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Surely the most common picking technique is alternate picking. This consists of picking the strings in both directions. This is made up of two types of picking:
-     the downstoke, also called picking in beat;
-     the upstroke, also called raise picking .
Usually the downstroke is considered the main technique, and it is often combined to strong movements of the bar or, in the case of rhythmic divisions like octaves and sixteenths, to even position notes.
The upstroke, on the other hand, is found on weak tempos or on odd notes. As always, every rule has an exception: learn to do something as well as the exact opposite. Lets see how the correct use of picking gives the guitarist good control of the right hand, allowing the exploration of new rhythmic and melodic solutions. If necessary, you can consult the section dedicated to the study of coordination and speed. The symbols used for alternate picking are the following:

The series of exercises that we have prepared have a double purpose: to teach the coordination of the hands while using alternate picking, and to exercise the fingers of the left hand, which is very important for the beginner. Keep in mind that some of these exercises are often used as warm-up's before a concert or a recording session.
The following exercises start in the first position. For those who have difficulty with the extension of the fingers of the left hand, you can move to a higher position on the fretboard,where its easier to play.

Using the concept of one finger for every fret, (the fingers of the left hand are placed one fret behind the other) put the index finger on the 1st fret of the first string. Play the note that we have created twice (the F), first with the downstroke and then with the upstroke. Now put the middle finger on the 2nd fret of the first string (note F#), and play two times, starting with the downstroke and then with the upstroke. Attention: when the index finger has pressed a note and later, on the same string, another finger intervenes within the available frets in the position, the index finger remains pressed. This is very important for correct execution. You should only make two finger movements: the first, which requires the pressure of the index finger, and the second of the middle finger. If, while pressing with the middle finger, we also lift the index, this is actually three movements. It seems rediculous, but think of how much energy is saved, besides the fact that with this system the notes are surely more connected.
Continuing with the exercise, now put the ring finger on the 3rd fret (note G), keeping the index and middle fingers pressed, and play twice as before. Press the little finger (note G#), holding the other three fingers down and play twice using alternate picking. In total you will have to play eight notes, to then repeat the two bars in succession.

Taking from what has just been done, develop the same execution on all the strings, always remaining in position. Then, after having played the first string (exactly as in ex. 1), move to the second, working with the same system. Then scale one string at a time up to the sixth, maintaining a constant and homogeneous strumming. Practice this exercise, as it will give you the basics needed for the exercises to follow.

Starting on the first string, we play the notes of the first four frets, once for each note, climbing a string every four notes. After you have played the four notes on the sixth string in the first position, advance one fret to the second position. In this way, the index finger will play the 2nd fret, the middle finger the 3rd, the ring finger the 4th and the little finger the 5th. This time we will ascend from the sixth string to the first. Once you have reached this last string, move to the third position (with the index finger on the 3rd fret, the middle on the 4th, etc) again climbing up to the sixth string.

As you may have realized by now, each time that the external strings are reached (the first or the sixth) you advance a fret. Continue up to the highest position on the fretboard, maintaining a constant alternate picking and preferably using a metronome. This system of execution will also be used in exercises that follow, which are written only in the first string but should obviously be played as described here.
Now it is up to you to do the work.

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