I noticed recently while working on the whole picking sub-division 1-10 pick/beat thingy that I am a lousy picker in contexts where I am expected to alternate pick my way through beats in a non-palendromic fasion. For instance; take the following measure of 4/4

[8th rest, 8th note] [8th rest, 8th note] [8th note, 16th, 16th][8th note, 8th note]

By palendromic, I mean a pattern that maintains consistancy in the face of being fliped around backwards. FWIW, I am starting to gravitate away from such symettry both tonaly and rhythmically in my phrasing b/c I dont find it to be very melodic.

In Troy Statna 's Speedy Lead book he says that for rhthyms like 8---16,16 to go D--du for that beat...

Thoughts anyone?

Also what about for phrases that not only involve severe rhythmic assymetry but also have rests of variable duration sprinkled in there...perfect example of what I mean would be the guitar riffery at the begining of this song:

http://www.youtube.com/watch?v=mGaSPGLYrLM

Do I need to maintain Strict Down,up,down,uppery in order efficiently pick such phrases @ 100+ B.P.M?

Symphony X...cool band. I was in a band with their original singer from their debut album, Rod Tyler. That band was called Sun Burns Red. Good times!

Anyway, when picking a rhythm like this, do whatever you need to make it happen. Sometimes I'll start things on an up stroke, or two down strokes followed by an upstroke. Whatever strokes you need to make to play it properly do that.

When we talk about strict alternate picking, it's generally in the context of scale practice or soloing

Ursin,That must have been so cool !!! More and more it seems to me, that a lot of the best guitarists in this world are part of some inner eclectic circle seeing as they all at some point seem to know each other...If it were not for Pebber, I dont think I ever would have found the path that leads to all I want from my instrument. Musical purpose and intentions are worthless without a path to bring them about. I guess the real issue I face with the picking is useing the picking hand to create rests not the left hand...Perhaps I need to take another look at my staccato.

Yeah man. Rod was totally cool. Great singer. His performance on that first Symphony X record isn't really what he is all about. He's more of a bluesy, soulful, type singer instead of the straight ahead "opera rock" type things. I haven't heard from him in a while. I believe he moved to Florida.

Anyway, the key is to not only get the pick working, but use both of the hands to control the starts and stops. I notice that I lift my fret hand up slightly to mute the string off. Sort of like when you are sweeping.