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.
For this example, we will use a G chord.
Step One
To begin, we can play the outside two strings together. These are strings 6 and 1.
Next, we 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.
We then alternate between these two sets in a steady rhythm.
Step Two
Once this is flowing and consistent, we can move to step two. Here we offset the two pairs.
So instead of playing strings 1 and 6 together, we 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.

Hi, I’m Allen Mathews.
I started as a folk guitarist, then fell in love with classical guitar in my 20’s. Despite a lot of practice and schooling, I still couldn’t get my music to flow well. I struggled with excess tension. My music sounded forced. And my hands and body were often sore. I got frustrated, and couldn’t see the way forward. Then, over the next decade, I studied with two other stellar teachers – one focused on the technical movements, and one on the musical (he was a concert pianist). In time, I came to discover a new set of formulas and movements. These brought new life and vitality to my practice. Now I help guitarists find more comfort and flow in their music, so they play more beautifully.
Click here for a sample formula.
Allen Mathews was recommended to me as somebody who could help me expand my guitar vocabulary. Allen started me on a really fun cycle of lessons and practice. He is a very good,and very enthusiastic teacher, and I feel that I'm on the road to learning. I couldn't be more pleased with my experience.
~ Peter Buck (r.e.m.)
-Peter Buck (r.e.m.)
I just started level 1C...I was able to look at a Carulli piece, albeit a simple one, and understand it. And that understanding allowed me to play it much more easily on the first run through, and I expect it will allow me to make it fully musical at tempo quite soon. That's a huge personal victory for me. Until very recently my mindset was: "Notes on a page. Jimi didn't need them and I don't either." But I ain't Jimi, and now I want those notes on a page.My work in CGS, even at these early levels, got me to that personal breakthrough. And that's given me more confidence that continued work will get me to greater places in due time. So to answer your question: yes, I absolutely feel like I'm making headway and moving forward in my playing. Thank you for that.~ Matthew Ecker
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