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In this lesson, Dan continues to emphasize two hand sync, adding the new ideas of inside picking and outside picking.
Taught by Dan Sugarman in Sugarman's Shredding Revolution seriesLength: 10:08Difficulty: 3.0 of 5
Sync or Swim - Part II: Inside & Outside Picking
Now that we’re comfortable with all kinds of single string stuff, let’s get into some 2 string ideas with “Sync & Swim - Part III: Inside Outside Picking”
In the last lesson we got really in depth with different ways we could interface and sync up with a single string line, in this lesson, we’ll be taking our 2 Hand Sync to the next level by introducing a second string, and an alternate picking detail that sometimes goes unnoticed that is usually called “Inside & Outside Picking”
A lot of people prefer one or the other… to me it’s always been about being able to do both, and then making the call based on tone first, and playability second. If the playability of it comes first, then I know I have work to do. The most effective thing we can do as a guitarist is be a master of the musical language and its tools… Inside & Outside picking is one that is essential to get through if you want to excel.
Level 1 - The first thing we’re going to do is get acquainted with what it feels like to do inside and outside picking in a single position with some different finger permutations. We’ll start with fingers 1/2, then 1/3, then 1/4, you can take it a step further and do all the finger permutations on your own if you’d like. Notice how the double stroke on a single string is what turns our picking from inside to out, or outside to in… Lets take it slow and go through this together.
Level 2 - Then, we’ll take the first shape we used, with finger 1 on fret 5 on the A string, and finger 2 on fret 6 on the D string - This is very important that you don’t hear the CHORD noise, but instead you’re arpeggiating each note for the exact rhythmic value without any bleed between them. Think of the ball rolling the energy from one engaged finger, to the other - relaxing the disengaged finger into rest position with ease, and without thought.
We’ll take this shape up all 6 strings - Make sure you’re using all of our home position knowledge by going across the 45 degree angle for all of our sweet spots, and best picking hand mechanics! Again, feel free to do this exercise with all other shape & finger permutations!
Level 3 - for this portion, we'll begin some quicker transitions and adding some string skipping… Also head up the fretboard to fret 14 on the G string so we can get one of our uncomfort zones.
Then we'll go back to the 14 18 shape we did earlier… Here’s the trick! We hit 17 on the same string as 18 to turn us around to inside picking, then we repeat the same exact pattern from the inside!
Now, for level 4… We're going to begin changing shapes and ascending and descending home position with inside and outside picking going to shift up to fret 7 on the D string with the down stroke again and then up stroke 10 on the G string. This just put us back to outside picking. We’re going to do that twice - down stroke then on fret seven on the G string after of stroking ten on the same string — again this is our turnaround. Then we shift shapes and picking to fret 7 on the g string with fret 11 on the D string. Now, do fret 9 on the G string and fret 11 on the B string followed by 10 on the B string for our turnaround, with 12 on the G string. Then we shift up to fret 11 on the B string and 13 on the E string for outside picking, and then go inside on fret 12 on the E string and 14 on the B string.
Now, as we descend we’re going to start adding in some more notes and some string skipping. Fret 14 on the G string to fret 17 on the high E string with outside picking, then inside on the B string fret 14 to fret 15 on the G string with an up stroke. Then we go to fret 12 on the D string, 15 on the G string with an upstroke for outside picking, then 12 with a down stroke on the D string, followed by 14 on the G string for a changed note - followed by the inside 12 on the G string with 15 on the D string first, then 14. Then we head to the A string on fret 12 with an octave upstroke on fret 14, then 12 again, then 15 on the D string with an upstroke followed by a downstroke on 12 on the same string for inside picking, then up 13, down 11 on the D string, up 12 on the A string. We close out this little riff with 11 on the low e string to 12, then 11 to 13, then flip it to 10, 12, 10 11.
Level 5 - at this point, I want to take us through these transitions a little bit quicker… Let's focus on the upper strings just a practice in those on comfort sounds again. Start with the down stroke on 17 on the B string, then upstroke 14 on the G string, down stroke 18 on the B string, upstroke 14, Down stroke 17 on the high Estring for string ski- and then upstroke 14 on the G string. Remember to set up your home position BETWEEN the two strings being played.
Then we down stroke 18 on the B string and then upstroke 17 on the B string to turn around inside taking much more quickly. We continue out the riff the same way we did before, And then down stroke 14 upstroke 15 before looping it around again
Level 6 - this portion of the exercise is along endurance workout for you. It's a long stream of notes that goes from fret to on the D string to fret to on the G string going through frets 2 3 5 on the D string up to two on the G string and then back down and then back up again.
Notice we end on the upstroke on fret 3 before down stroking the same pattern and just placing the accent differently where we put fret 2 on the G string. The Outside pattern has the 4th beat accented on fret 2 on the G string, while the inside version accents fret 2 on the G string on beat 1. We take this same exact pattern all the way up the 12th position in D harmonic minor like so.
Level 7 - This last portion of the exercise is the intro riff of my song “Adrift” off of my album “Centersun” - It’s an intricate inside & outside picking pattern that involves rolling your fingers, as well as working with odd groupings of numbers. This one works a lot with sevens in different sub groupings - It’s a great exercise to get your hands working together in unique and different ways.
As we’ve discussed before, playing a note is 3 actions: the approach, the note itself, and the escape… if you have problems in your approach, your sync is off - if you have problems in the escape you will have excess string noise problems… this lesson will expose these flaws for you so take note of them - in the next few lessons we will begin to smooth those out for you.
The notion of Inside & Outside picking should be beginning to feel somewhat comfortable… It’s very important to make sure you are following the picking directions, and playing single notes at a time, not multiple notes ringing over each other. Review this Lesson as often as you need to!
Sugarman's Shredding Revolution is all about discovering and creating ways to develop a new and unique level of understanding of two-hand synchronization, which is one of the core foundations of clean playing.
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In this lesson, Dan continues to emphasize two hand sync, adding the new ideas of inside picking and outside picking.Length: 10:08 Difficulty: 3.0 Members Only
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About Dan Sugarman View Full Biography
Dan Sugarman is a 26 year old guitarist, producer, teacher and songwriter hailing from the South Bay of Los Angeles, CA. His tenacity and dedication to the art of music and guitar led him to the lead guitar position in the internationally touring band, As Blood Runs Black. Now as a solo artist, Dan continues to work on his original music being released through Patreon, and is currently producing and engineering other bands & artists at Sugartone Studios, and composing for film & television. He also maintains an ever-growing student body as a private guitar teacher, mentor, and educator in the crafts of songwriting, creativity, and modern day recording techniques.
Dan is currently working on his "living album", Inside Out - Part I, available on patreon.com and completing an album for his new group A Mind Made Me, featuring singer//actor Sarah J Bartholomew.
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