A Common (and Versatile) Folk Fingerpicking Pattern

Classical guitarists don’t always learn folk fingerpicking patterns. But these are useful if we want to accompany singers or other instruments.

Fingerpicking patterns also build versatility and coordination. So regardless of what style we most often play, patterns can be fun and beneficial.

The “Outside-In” Pattern

We can learn this fingerstyle pattern in two stages. This makes visualizing the pattern easier.

Step One

For this example, we will use a G chord.

a) To begin, play the outside two strings together. These are strings 6 and 1.

b) Then play the next two strings in from these. So strings 5 and 2.

(For this pattern, we omit strings 4 and 3. Though we can substitute string 4 for string 5 if desired.)

c) Alternate between these two sets in a steady rhythm.

Once this is flowing and consistent, we can move to step two.

Step Two

Here we offset the two pairs from Step One.

Instead of playing strings 1 and 6 together, play them one at a time. 6 then 1.

And the same with strings 5 and 2.

So the full pattern moves in string order: 6–1–5–2 in a steady loop.

Other Chords with the Pattern

The G chord in our example uses all six strings. Many chords use only 5 or 4 strings. For these, we have a formula.

The root of the chord (the note for which the chord is named) is in the bass. This means that the lowest note of the chord is on the first beat.

For example, the A and C chords use five strings. The pattern for these will be: 5–1–4–2

The D and F chords use four strings. The pattern for these is: 4–1–3–2

With a little practice, this pattern can become habitual and intuitive. We can add it to our muscle memory and play through our chord songs with fluid grace and ease.