The Secret to George Benson's Speed: A Complete Guide to Rest Stroke Picking

Playing Fast, but the Notes Sound Muddy? Once a jazz guitarist reaches a certain level, the desire to play fast, fluid lines like George Benson becomes almost universal. However, when we try to execute these rapid phrases, we often find that individual notes get lost in a muddy blur, or the pick snags on a string, derailing our rhythm. Many players mistakenly blame their left-hand speed for this problem, but the real key is often hidden in the right hand: the picking technique. During the Q&A in the transcript, when a viewer asked about George Benson's lines, I emphasized a critically important picking technique alongside the harmonic analysis. This technique is the Rest Stroke.

The Rest Stroke for Power and Precision The rest stroke is fundamentally different from the typical picking motion where the pick simply strikes the string and continues through the air. The core of this technique is to pluck a string with a downstroke and then let the pick come to rest against the adjacent, lower-pitched string. This isn't just a quirk of George Benson's; it's a method used by a majority of the great lineage of jazz guitarists, including Wes Montgomery🔗 (who used his thumb, but the principle is identical) and Grant Green. So, why is it so effective?

1. A Powerful, Full-Bodied Tone: Because the pick moves through the string with intention and depth, the rest stroke produces a much thicker, denser, and more powerful tone. Each note carries weight and presence, allowing it to sing clearly even within a rapid-fire line.

2. Rhythmic Stability and Control: By stopping the pick on the next string, you eliminate extraneous right-hand motion. This creates a physical anchor point for your hand, leading to incredibly stable rhythmic control. The inherent emphasis on the downstroke makes it perfectly suited for articulating the strong beats of a swing rhythm.

A 3-Step Practice Method to Master the Rest Stroke This technique cannot be mastered overnight. Developing the correct nuance and feel is far more important than achieving initial speed.

• Step 1: Focus Exclusively on Downstrokes: Begin by playing everything—scales, arpeggios, even bebop heads like "Donna Lee"—using only downstrokes. The goal is to ingrain the feeling of the pick striking the string and coming to a clean stop on the one below. Crucially, the pick shouldn't be parallel to the strings; it should be angled slightly, creating a slanted point of contact. The quintessential artist to study for this is Grant Green. Transcribing his solos is the perfect way to internalize the downstroke-driven groove.

• Step 2: Introduce Limited Upstrokes (Economy Picking): Once the downstroke feels natural and controlled, it's time to add the upstroke. However, there's a strict rule: only use an upstroke when playing two or more consecutive notes on the same string. When you change strings, you always use a downstroke to cross over. This is the core principle of economy picking, which is mechanically identical to sweep picking and allows for explosive speed on ascending lines (moving from lower to higher strings).

• Step 3 (Advanced): Apply Alternate Picking to Descending Lines: While economy picking makes ascending passages feel smooth, you might notice the pick feeling "trapped" or awkward during descending lines (moving from higher to lower strings). This is where masters like Rodney Jones employ a hybrid system: they switch to strict alternate picking specifically for these descending passages. This is a highly calculated system that chooses the most efficient motion for any given musical situation.

Copy the Sound, Not Just the Notes If you truly want to play like George Benson, you must go beyond transcribing the notes and start copying his sound and rhythmic feel. The rest stroke is the foundation of that sound. In your next practice session, cut your tempo in half and focus intently on each downstroke. Listen for the solid "thump" as the pick strikes the string and "clicks" to a rest on the next. It is on this solid foundation that your own lines will finally gain power, clarity, and life. For more advanced improvisation strategies that integrate with this picking technique, visit VoiceLidJazzGuitar.com.