Guitar picking

[1] To achieve tremolo effects, varied arpeggios, and rapid, fluent scale passages, the player must practice alternation, that is, plucking strings with a different finger each time.

The melodic style in bluegrass is often fast and dynamic, with slides, hammer-ons, pull-offs, powerful strumming and rapid crosspicking.

Picking in this way balances the distribution of your movement and energy, minimizing any unnecessary motion while optimizing your control.

Moreover, it contributes to improved clarity and articulation by aiding in the separation of notes, preventing a muddled or blended sound.

This technique has become associated with Django Reinhardt in the 1930s, but was also employed by plectrum banjo players, mandolinists and many pre-electric jazz guitarists seeking a strong, projecting acoustic sound on their instruments.

The next beat is a percussive strum, produced by a down stroke, that emphasizes a more "trebly" sound by engaging a fuller range of the strings.

The pattern then repeats, but before every first and third beat, an upstroke is performed very quickly (typically with the strings still deadened), giving the music its heavy swing feel.

Anchoring is a practice in both fingerstyle and plectrum where part of the picking hand, usually the little finger, or "pinky," touches the guitar body.

Although anchoring is common, many guitar teachers advise against it as it limits flexible hand movement.

Traditionally, this technique is supplemental to conventional picking, being used to achieve legato and ornamentation effects.

It is similar to the technique of hammer-ons and pull-offs, but used in an extended way compared to them: hammer-ons would be performed by only the fretting hand, and in conjunction with conventionally picked notes; whereas tapping passages involve both hands and consist of only tapped, hammered and pulled notes.

Strings can also be played with bows, mallets, drum sticks, funk fingers or electric devices such as an Ebow or a Gizmotron.