Learn how to play 30 of the best fingerpicking patterns for Guitar

Beginning - Intermediate Online Guitar Course

Most guitar players know at least a couple of fingerpicking patterns such as a simple Travis picking pattern or maybe just arpeggiating the chords with their fingers. Fingerstyle players have more patterns at their disposal, which they use as a rhythmic tool to support the harmony and melody of the tune they’re playing.

Whichever best describes you, this collection will greatly expand your vocabulary of patterns and provide you with many more creative options when composing your own songs and accompanying another player or vocalist. Learning these patterns is also your gateway to developing the technique necessary to play fingerstyle guitar in a variety of styles.

In 30 Fingerpicking Patterns You MUST Know, Brooks Robertson shows you picking patterns used by many of the greats -- Chet Atkins, Jerry Reed, Tommy Emmanuel, Buster B. Jones, Marcel Dadi, and many more.

You’ll learn 6 picking patterns in the Boom-Chick alternating bass style - great for country, folk, Americana, blues, and more. Then you’ll dive into 9 Jerry Reed style patterns, which work with a wide range of musical styles. Next, you’ll cover 5 Banjo roll picking patterns, which can be used in a multitude of applications. Lastly, Brooks will show you a stylistic mixture of 10 patterns ranging from fingernail clicking, Bossa Nova style patterns, folk patterns, and simple waltz patterns.

Brooks will explain and demonstrate all of the key concepts and techniques along the way. You’ll get standard notation and tabs for all of the fingerpicking patterns. Plus, you’ll be able to use TrueFire’s learning tool to sync the tab and notation to the video and can also loop or slow down the videos so that you can work with the lessons at your own pace.

Single Pinch - Pattern 1
”The key to many fingerstyle accompaniment patterns as well as solo tunes is the ability to keep the thumb alternating, playing steady quarter notes on the bottom three bass strings while the fingers simultaneously play either chord tones or a melody on the top three treble strings. This "Single Pinch" pattern uses the fingers to play together with the thumb (i.e. pinch) on beat one. Notice there is no syncopation in this pattern. You should also practice a few extra single pinch patterns on your own by placing the pinch on either beat 2, beat 3, or beat 4. Be sure your thumb is always playing on every beat which means is does not stop and that it is performing the correct alternating pattern. Be sure as well to put in some extra work with the 4th string root pattern, for example as we did here on D7, where the entire picking hand shifts up a string thus excluding the low 6th string and the ring finger. Remember these patterns will work over any chord progression so experiment with what this pattern sounds like over different chord changes.”

Double Pinch - Pattern 2
”Double Pinch is a great accompaniment pattern and skill builder to develop more thumb independence. For this pattern, we keep the thumb playing steady quarter notes (always starting the alternating thumb pattern on the root of the chord, on beat 1 of each bar) while the index, middle, and ring fingers play together with the thumb on two beats. First, try pinching on beats 2 and 4 along with this video then on your own try placing the pinches on other beats, i.e. 1 and 3, 2 and 3, 1 and 4, or any other combination. Experiment with muting the bass strings on the picking hand as well as dampening and muting the strings on the fretting hand with the techniques described and demonstrated in the video. Muting the strings helps accent and punctuate the pinches, an essential percussive and rhythmic tool you can utilize. After you have the "Double Pinch" pattern down, try some variations over a few different chord progressions.”

Between Beats 1 & 2 - Pattern 3
”Between Beats 1 & 2 is a pattern that will introduce syncopation into the rhythm, which in this case will occur between the first and second beat of the bar. While the thumb continues to play steady quarter notes on the beat, the fingers will play both in-between the beats and on the beat. The index, ring, and middle fingers will remain grouped together as a unit playing in between beat 1 and beat 2 and then pinching together with the thumb on beat 3. You can play the syncopation with straight 8th notes or as swing 8th notes - try both. Also, experiment with both left and right-hand muting. You may notice that in the performance I completely muted the 4th string on beat 4 which provides a percussive quality to the groove. Finally, try having the strings sustain, using no muting.”

Between Beats 3 & 4 - Pattern 4
”Between Beats 3 & 4" is another great rhythmic pattern that works for accompaniment and can serve as a useful melodic rhythm as well. Here we continue to alternate the thumb while keeping the fingers together as a unit, pinching with the thumb on beat 1, then we add syncopation (fingers by themselves) between beat 3 and beat 4. The progression shown here is a simple blues in E, however, you should try to apply this pattern to a few additional progressions to see how it sounds in a different context. Notice how the alternating thumb pattern is slightly modified in bars 6 and 7, on the A#o7 and E7/B respectively. If the chord shape you're playing doesn't allow for the alternating thumb on three bass strings, you can always alternate between just two strings - the important concept is to always keep the thumb alternating and do not let it stop!”

Melodic Groove - Pattern 5
”Melodic Groove is one of my favorite boom-chick style patterns. It utilizes a lot of syncopation played by index, middle, and ring fingers which makes is great for developing dexterity, coordinating and thumb/finger independence. This pattern was heavily inspired by Merle Travis' son Thom Bresh, especially by his tune "Hangin' with the Girls I Know". Check out Thom's course The Breshman Chronicles on TrueFire, where he plays and teaches his tune. See if you can identify the similarities between this pattern and what he's doing. If you're looking for a great tune to learn after you get this pattern down, Thom's tune would be a good choice! You'll notice the bass is muffled but the melody is smooth and rings out clearly. This pattern works really well with swing 8th notes and using a heavy thumb (i.e. when the thumb plays on beats 2 and 4, it not only plays the 4th string but also during its downstroke it will occasionally brush the 3rd string as well).”

Green Thumb - Pattern 6
”Green Thumb is the basic rhythmic pattern used in the intro of Tommy Emmanuel's tune "(The Man with the) Green Thumb". The pattern has a great groove and uses a variety of pinches and syncopation. The version I'm teaching here is slightly simplified and uses the left-hand thumb over the top of the neck to play the F# on the second fret, sixth string on beat 3. If you can find a video of Tommy playing this tune (there are dozens on YouTube), notice that he also uses his pinky finger to play C# on the fourth fret, fifth string. TE plays the notes with the thumb very "heavy", in such a way that he often brushes two strings with one downstroke of the thumb, which is what allows him to play both F# and C# on beat 3. Additionally, he usually adds syncopation on the upbeat of beat 2, which I demonstrate toward the end of this video as a variation. Try getting this pattern down first and then play it along with Tommy as he plays the intro to "(The Man with the) Green Thumb". Go for feel and a good solid groove!”

Learn to Reed - Pattern 7
”In my opinion, Jerry Reed was one of the greatest fingerstyle guitarists ever to pick up the instrument. He influenced generations of players who were inspired by his innovative ideas. In addition to writing great chord progressions and melodies, he was also a master of groove and great rhythmic patterns. If you're not familiar with Jerry's music, I strongly suggest you listen to his recordings and become familiar with his work.

With "Learn to Reed" you'll learn one of the foundational rhythmic patterns that produce the "Reed" sound. One of the characteristic techniques Jerry used with his rhythmic patterns was to pair a set of fingers, in this example notice the index finger plays by itself on the upbeat of beat 3, and the middle finger and ring fingers pay as a pair on the upbeat of beat 4. The paired fingers create a double stop. You'll see that my right hand is anchored on the top of the guitar, a technique that works very well for all these Reed-style patterns. Work on getting the pattern down with this progression then try it out with some other chord qualities and progressions.”

Reed All About It! - Pattern 8
”Reed All about It! introduces an essential technique for the Jerry Reed-style rhythmic patterns. The key here is the ability to easily switch which fingers you pair on the picking hand. Essentially, this is the same rhythmic pattern and chord progression as "Learn to Reed" except this time the index and middle fingers are paired on the upbeat of beat 3 and the ring finger plays by itself on the upbeat of beat 4. Having this type of control between fingers will help improve your finger independence and overall technique. Once again, when you have the pattern memorized try applying it to other types of chords and progressions.”

Hubba Hubbard - Pattern 9
”As a continuation of the Reed-style finger-pairing patterns, "Hubba Hubbard" introduces more syncopation into the rhythmic pattern. During this pattern, as well as the previous two patterns, the 8th notes are played straight vs. swing 8ths. You could certainly play this with swing 8ths which will give it a totally different feel. Most often Reed used straight 8th notes for his patterns. For added percussiveness and accents the left hand occasionally mutes the strings on beat 2. Pay special attention your thumb's alternating pattern and make sure it is accurate. For clarification - around 1:26 in the video I mentioned "ring finger on the 3rd string". What I had meant to say is "ring finger on the 1st string". Please excuse this error and be sure your index finger plays the 3rd string, middle finger plays the 2nd, and ring finger plays the 1st string.”

Alabama Wild Man - Pattern 10
”Alabama Wild Man utilizes the same rhythmic pattern as "Hubba Hubbard" except this time the index and middle finger play paired together for the double stop and ring finger isolated, pinching with the thumb. We'll apply this syncopated pattern over an E Blues. This is a great example of how you can take one picking pattern and generate more melodic content from it by adding a hammer-on or varying the top note of the chord throughout the measure.”

Hook It - Pattern 11
”Hook It is another great Jerry Reed-style pattern that incorporates syncopation and pairing of the middle and ring finger for a double stop. The progression in this example is a simple blues in A. It's important with all of these patterns to try them over all types of chords and progressions at varying speeds. Note that in the performance there was palm muting on the right hand and then the second time through the 12 bar blues I anchored my hand on the top of the guitar which offered a different tone and dynamic. You may also notice that the left hand was slightly muted and accented on beat 2 during the performance. I would encourage you to try this pattern varying your tone, picking hand position, and to practice it at differing volumes.”

I'll Say She Does - Pattern 12
”I'll Say She Does we take the same rhythmic pattern as "Hook It" and vary the pattern by pairing the index and middle fingers together, letting the ring finger play by itself. The chord progression is from Jerry Reed's tune "I'll Say Say She Does". Once you get this pattern down see if you can play along with Chet and Jerry's recording of the tune. As always, try this pattern over all types of chords and progressions. The other thing to try here is playing the pattern with straight 8ths as well as with swing 8ths as I demonstrated toward the end of the breakdown.”

Composite - Pattern 13
”One of the things you can do with any of the patterns we have covered so far is to take any two one-bar patterns and combine them into a two-bar pattern. The "Composite" pattern demonstrated here takes "Learn to Reed" and combines it with "Hook It" thus creating a new two-bar pattern. The chord shapes demonstrated here can be a bit difficult to play for some people, so if you're having trouble with the left-hand fingerings just try using E7 and A7 in first position instead. If you're serious about learning more patterns and getting the most out of this course I would encourage you to see how many combinations you can come up with from the patterns covered thus far. Also, consider that you could make three or four-bar combinations as well. Get creative and start exploring!”

Clawin’ = Pattern 14
”Clawin’ borrows the basic picking pattern from one of Jerry Reed's most recognized and popular tunes, "The Claw". If you've never listened to this Reed classic you're in for a treat! We've now stepped away from the Travis-picking alternating bass style and closer to a banjo roll with the middle and ring finger paired together creating double stop. The trick here is to keep straight and even 8th notes in your rhythm, which can be a challenge because the picking hand pattern has a grouping of three elements to it: 1) thumb, 2) index, 3) middle and ring finger paired. I tend to accent and mute on beat 2 as you can hear in the performance. Push yourself to try this with several types of chords, keys, and different progressions.”

Extended Clawin’ - Pattern 15
”Extended Clawin' takes the basic picking pattern from "Clawin'" and turns it into a two-bar pattern with an added pinch in bar 2. You can hear Jerry use this pattern in a number of his tunes, a great example is the recording of "Wabash Cannonball" from his 1968 album Nashville Underground. Once you've got the pattern down with one chord, such as A7 shown in this example, try to apply it to an entire progression or song. Also, check out the added movement in the bass line by varying the notes played by the thumb, i.e. the picking pattern does not change but the specific notes being played by the thumb do.”

3 Basic Banjo Rolls - Pattern 16
”The intention behind "3 Basic Banjo Rolls" is to get familiar with the three most basic elements of the banjo-style techniques used by many fingerstyle guitar players, especially Chet Atkins and Jerry Reed. Simple forward, backward, and mixed rolls are found in many of the patterns used in tunes and licks. You'll first want to get comfortable playing and identifying these three roll types. The performance example shown here uses a forward roll (thumb, index, middle) playing 8th note triplets, switching string sets over a 12 bar blues in A. Getting comfortable playing the three basic types of rolls over varying string sets ascending and descending will greatly help improve your technique and prepare you for the upcoming patterns. If you want some inspiration and to hear examples of how these techniques are used in tunes, give a listen to some of Jerry Reed's masterpieces using Banjo rolls: "Jerry's Breakdown", "The Mad Russian", "Swarmin'", "Squirrelly", "Stumpwater", and "Hellacious". If you want to further improve your picking hand technique and finger independence, try practicing these 3 basic rolls with alternate fingerings, which I demonstrate in the video starting around 8:29.”

8th Note Roll: 3 Strings - Pattern 17
”8th Note Roll: 3 Strings is one of the most common banjo rolls found in many of the great Chet Atkins and Jerry Reed tunes that elegantly utilize this technique to play the melody. To keep things simple and focus on the picking pattern we'll vamp between two chords, E7 and A7. It's most important to get the pattern down solid and then try using it across more chord types, string sets, and progressions. When Jerry Reed used banjo rolls he often included slides, hammer-ons, and pull-offs. It's important though that if you include one of these decorations, such as the hammer-on played on the 3rd string during the E7 chord, that the picking pattern does not change. Go for nice even straight 8th notes. Also notice that when the open strings are played they ring out and sustain.”

Cannonball 8ths: 4 Strings - Pattern 18
”Cannonball 8ths is a very useful 2 bar pattern made up of essentially a series of 5 forward banjo rolls which alternate string sets. Your picking pattern should always be thumb, index, middle, in that order - a forward roll. For the specific performance example, I chose a simple progression that follows the chords from the A section of "Cannonball Rag". Banjo rolls typically work very well on the top 4 strings although they are useful too on lower string sets so be sure to practice them on across all 6 strings. Strive for smooth clean notes that sustain with both the fretted and open strings. Once again, the rhythm of this pattern in the example is even straight 8th notes. It's absolutely possible you could play the pattern with swing 8th notes which will produce a completely different sound and feel. Don't just get this example down and think that you've mastered the roll or the possibilities. With all of the patterns in this course, I encourage you to explore and experiment with all kinds of applications!”

Swiss Army Roll: 4 Strings - Pattern 19
”Swiss Army Roll: 4 Strings is a pattern that has many uses. It works great for both accompaniment and melody. The basic pattern here includes the use of 4 strings though the picking hand is still only using three fingers (thumb, index, and middle). You'll notice the index and middle fingers remain on the top two strings and the thumb alternates playing the 3rd and 4th string. One simple way to understand components of the pattern is that there are two mixed rolls (thumb, middle, index) on the top three strings preceded by two notes played by the thumb and then index finger on the 4th and 2nd string respectively. Check out Jerry Reed and Chet Atkins playing "Jerry's Breakdown" where you'll hear many applications of forward, backward, and mixed rolls in use as well as this "Swiss Army Roll..." which Jerry uses on the B section of the tune. If you want to work on improving your finger independence and control, try playing this pattern and all the previous banjo rolls using alternate fingerings with the picking hand. For example, use thumb, middle, and ring, or thumb, index, and ring to play the exact same patterns as we have been working on instead of using thumb, index, and middle fingers.”

Swiss Army Roll: 5 Strings - Pattern 20
”Swiss Army Roll: 5 Strings takes a banjo roll and adds the ring finger into the mix by pairing it with the middle finger. Essentially the result is a banjo roll pattern with a built-in double stop. I use this technique on the B section of my tune "Jonesin'" if you want to hear it in action. Also listen to "The Claw" by Jerry Reed, where he plays a forward banjo roll with the middle and ring fingers paired. As a variation, you could also work on pairing the index and middle fingers and letting the ring finger to play by itself which offers a completely different sound, basically moving the double stop to the middle of the string set you're playing vs. the top. Be sure that you first have a good grasp on "Swiss Army Roll: 4 Strings" before going after this pattern and technique.”

Straight Waltz - Pattern 21
”For a change of pace and feel "Straight Waltz" is a simple pattern that will work in 3/4 time. Here we are playing only on the beat with a "thumb, pinch, pinch" pattern, no syncopation. For this particular example, I'm only using the thumb, index, and middle fingers, however, you could also add in the ring finger as well. Another variation to try is keeping the "thumb, pinch, pinch" pattern going and try mixing up combinations of using one, two, or three fingers when pinching along with the thumb. Try this on a few different sets of strings and with some other chord progressions.”

Syncopated Waltz - Pattern 22
”Syncopated Waltz uses the index and middle fingers to play on the beat and in between the beat i.e. on the upbeat. Make sure your thumb plays steady quarter notes on the bottom three bass strings. Experiment with playing swing 8th notes (as I did here in the performance) and straight 8th notes. Also notice in the performance that I move my picking hand either closer to the bridge for a more bright, brilliant tone, or I move the hand toward the neck for a more gentle, softer, warmer tone. I encourage you to experiment and practice pulling out varying tones and volumes from the instrument - no need for a volume pedal or any effects, it's all in your hands! (Well, I always need some reverb too!).”

Dadi Style #1 - Pattern 23
”The great French fingerstyle guitarist Marcel Dadi had a versatile touch, tone, and technique. While he was well versed in the styles of Merle Travis, Chet Atkins, and Jerry Reed, he also wrote beautiful songs that utilized an innovative technique of lightly brushing the strings on beats 2 and 4 with his fingernails. Almost effortlessly, he was able to keep the percussive fingernail downstroke going while he also played bass, chords, and melody. This style of playing has quite a different groove and feel than other patterns we have covered. "Dadi Style #1" will get you started with Marcel's unique way of playing and this pattern works very well for accompaniment. To hear what this technique can sound like when elaborated and used in an instrumental tune check out Dadi's original piece "Je Te Veux”.”

Dadi Style #2 - Pattern 24
”Dadi Style #2 is an elaboration of the previous Dadi-style pattern. We'll now add some syncopation with the index finger on the picking hand. You'll notice there are also a few additional pinches in this pattern, too. Make sure you've got "Dadi Style #1" solid before you go after this pattern, trust me it will make it much easier to master. As you practice this pattern, try to mute the strings for your fingernail brush immediately after playing your chord on beats 2 and 4. Try this pattern with many chord qualities, various speeds, and across different string sets. You'll notice there are also a few additional pinches in this pattern, too. Make sure you've got "Dadi Style #1" solid before you go after this pattern - trust me, it will make it much easier to master. As you practice this pattern, try to mute the strings for your fingernail brush immediately after playing your chord on beats 2 and 4. Try this pattern with many qualities of chords, various speeds, and across different string sets.”

Bossa #1 - Pattern 25
”Bossa #1 is a simple bossa nova pattern that works great for accompaniment and offers yet another great groove to have at your disposal. The thumb plays 1/2 notes in the bass while the index, middle, and ring fingers are paired together playing quarter notes and dotted quarter notes for the chord tones. Strive to play the pattern rhythmically even as you change chords. This pattern works well with the chords sustaining as I demonstrated in the example, and it also works well if you incorporate some left-hand muting as well. Try it out with some other chord progressions and at a few different tempos. Correction: During the introduction, I mentioned that this example is in the key of C. In actuality, the progression starts on CMaj9 but the tonal center and key is really E minor.”

Bossa #2 - Pattern 26
”Bossa #2 is a syncopated pattern that generates a really nice Bossa Nova groove. I learned this pattern from listening to Brazilian guitar legend João Gilberto and trying to emulate one of his most used rhythmic patterns. The use of 16th note syncopation is a characteristic of this pattern and the last 16th note of the pattern is often used as a chance to anticipate the upcoming chord, as you can hear in the example. Take your time and learn this pattern slowly at first. Once you have it memorized correctly, try bringing up the speed and applying the pattern over some alternative progressions on any string set. Notice the use of left-hand muting as well and how that helps accent and punctuate the rhythm.”

Groove Land - Pattern 27
”The "Groove Land" pattern comes from a pattern used often by Jerry Reed. The pattern is very percussive due to the fingernail click on beats 2 and 4. To get the right feel and groove, make sure you play this pattern with swing 8th notes. Practice getting a good clean and crisp click on the strings with the back of your fingernails. Listen to Jerry Reed play "Blues Land", "Hallelujah I Love Her So", and "Careless Love" to hear him use this pattern in his guitar accompaniment. To correct myself - the chords are going by two beats each, i.e. a 1/2 note harmonic rhythm.”

Groove Land Variation - Pattern 28
”Groove Land Variation" is a simple embellishment of the basic "Groove Land" pattern. Make sure you've got "Groove Land" memorized and polished before going after this pattern. Adding an extra note with the thumb offers a little more motion in the bass making this a wonderful pattern for accompaniment and setting up a solid groove. As always get this example down first and then experiment playing the pattern over all types of chords, progressions, and string sets. Practice this along with a metronome to ensure you're keeping good time.”

Skipping 8ths - Pattern 29
”Skipping 8ths" works well for both accompaniment and melody. This pattern shows up in Buster B. Jones' tune "Jessica Sue". The rhythm here is straight 8th notes. Be sure you always play the thumb twice in a row followed by two notes played by the fingers - either index then middle or index then ring. Strive to let all the notes ring out and sustain. Learn this slowly and then once you've got it under your fingers try it at a medium-fast tempo as well.”

Common Folk - Pattern 30
”Common Folk is a simple pattern that works well for folk and Americana tunes. You can use the picking pattern for accompaniment and it also works just as well for melody. The thumb plays an alternating bass pattern while the index and middle fingers play both on the beat and in between the beat. For a variation, you can try adding the ring finger on the picking hand which will allow for the pairing of the index and middle or middle and ring fingers to play a double stop. By now you know the drill, try this with various chords, progressions, string sets, dynamics, and tempos.”