Name: 如何真正握住吉他撥片（這很有效！！）。 (How to REALLY hold your guitar pick (this works!!))
Uploaded: 2025-10-22T21:50:04.000Z
Duration: 18 min 20 s

形容詞最高級

My friends, with this very special video, I want to give you a full comprehensive guide concerning the absolute best and most reliable pick, grip and picking technique that I found in the last over 20 years of playing guitar.

各位朋友，在這支非常特別的影片裡，我想給大家一個關於我過去二十多年吉他演奏生涯中，找到最頂尖、最可靠的 pick、握法和撥弦技巧的完整指南。

情態助動詞 A2

So this video should answer the burning questions.

所以這支影片應該能解答大家最想知道的問題。

Should you pick with an open or with a closed hand?

你應該用開手還是閉手來撥弦？

And pretty much any other picking technique related question.

還有幾乎所有跟撥弦技巧相關的問題。

So let's not waste any more time and get started right away.

所以，我們就別再浪費時間，馬上開始吧！

So, as I'm sure you've seen with any kind of videos that I post here on Patreon or on the YouTube channel, I'm always working with a closed hander pro approach with my picking hand.

所以，就像各位在我 Patreon 或 YouTube 頻道上看到的影片一樣，我在撥弦時，總是採取閉手的方式。

Simply meaning that my fingers are not sticking out like this or flopping around like that.

簡單來說，就是我的手指不會像這樣伸出來，或是像那樣飄來飄去。

I'm not clenching my fist like this, I'm really just closing my hand.

我不是像這樣握緊拳頭，我只是把手閉起來。

And there are multiple reasons why this is a better approach for my playing style at least.

而且至少對我的彈奏風格來說，這還有很多更好的原因。

First of all, I also started out as an open handed player, but

首先，我一開始也是個開手彈奏者，但是

I was dealing with a lot of string noise when I started playing faster, trying to push my technique to new levels, especially with alternate picking and sweep picking.

當我開始彈得更快，試圖突破技巧極限時，我遇到了很多弦噪，尤其是在交替撥弦和掃弦的時候。

I think this is roughly how I was playing back then.

我想我那時候大概是這樣彈的。

And when I'm trying to play like this right now, my hand somehow feels heavier because I feel the extra weight of my fingers.

而現在我試著這樣彈，我的手感覺有點重，因為我感覺到手指額外的重量。

As you might know, one of my biggest problems was that I was sometimes touching the strings or the knobs or accidentally switching the pickups, especially when I was playing live.

各位可能知道，我最大的問題之一就是有時候會碰到弦或旋鈕，或是意外切換拾音器，尤其是在現場演出時。

And those movements were really exaggerated with my picking hand.

而這些動作在我的撥弦手上被誇張化了。

And I personally also could never really figure out if I'm supposed to anchor my fingers on the guitar body like this, or if they never should touch the guitar at all, which is kind of difficult to me.

而且我個人也一直搞不清楚，我應該像這樣把手指固定在吉他琴身上，還是根本不該碰到吉他，這對我來說有點難。

It always felt like something is kind of wrong with my picking technique, something is holding me back.

我總覺得我的撥弦技巧好像有點問題，有什麼東西在阻礙我。

But when I started studying jazz guitar at the conservatory in Vienna, I saw a lot of super fast and very clean jazz players play scale lines like this, of course, with a clean channel most of the time and with those big semi hollow guitars, but

但是當我在維也納的音樂學院開始學習爵士吉他時，我看到很多超快又非常乾淨的爵士樂手這樣彈奏音階線，當然，大部分時間是用清音頻道，還有那些大臺的半空心吉他，但是

they were playing so fast, over 300 beats per minute with those up tempo jazz standards.

他們彈奏得超快，在那些快節奏爵士標準曲中，每分鐘超過 300 拍。

And here's the main thing, it looked and sounded effortless.

最重要的是，看起來和聽起來都毫不費力。

While I could also play fast back then, I was still stuck in my early metal way of playing.

雖然我當時也能彈得很快，但我還是卡在早期金屬的演奏方式裡。

So kind of using a lot of my arm, the open hand picking approach, I think this is roughly how I was sounding back then.

所以有點大量運用我的手臂，用開手撥弦方式，我想我當時大概就是這樣彈的。

it didn't exactly sound elegant, especially with less Distortion or with a clean channel.

聽起來並沒有那麼優雅，尤其是在失真較少或使用清音頻道時。

And I was also not really in control of the note values that I was playing.

而且我也無法真正控制我彈奏的音符時值。

So in my case with the open handed approach, I couldn't really feel the individual 16th notes or triplets that I was playing.

所以以我的開手撥弦方式來說，我無法真正感受到我彈奏的個別十六分音符或三連音。

Often I was just going as fast as possible with this kind of up and down movement.

我常常只是用這種上下移動的方式盡可能地彈快。

And when a teacher called me out on that, saying that it's nice that I can play that fast, but

當有老師糾正我，說我能彈這麼快很不錯，但是

that I'm just playing completely random note values, I'm not in sync with the backing band, I'm not playing triplets, I'm not playing 16th notes, I knew that I had a bigger problem right here.

我彈奏的音符時值完全是隨機的，跟著伴奏樂團也不合拍，我沒辦法彈三連音或十六分音符，我就知道我這裡有個更大的問題。

So it wasn't just about string noise anymore or about touching parts of my guitar.

所以這不再只是關於弦噪，或是碰到吉他的某些部分。

It was about asking myself how can I get more control over my playing, especially at fast tempos with alternate picking, but

而是要問我自己，要如何才能更精準地控制我的彈奏，尤其是在快節奏的交替撥弦，但

My friend, I have one very important information before we continue.

我的朋友，在我們繼續之前，我有一個非常重要的資訊要告訴你。

If you're serious about improving your picking technique and you want to take it from this to this in just 30 days, remember that I put together a special 30 day alternate picking masterclass and workout challenge that has helped over 40,000 happy students by now with achieving their dream picking technique.

如果你真的很想提升你的撥弦技巧，並希望在短短 30 天內從這樣進步到那樣，請記得我為你準備了一個特別的 30 天交替撥弦大師班和訓練挑戰，至今已幫助超過 40,000 位滿意的學生實現他們夢想中的撥弦技巧。

So let's finally take your picking technique to a world class level as well over the next 30 days.

所以，讓我們在接下來的 30 天裡，也把你的撥弦技巧提升到世界級的水準吧。

Just click the link in the description or in the first comment down there.

點擊說明欄或下方第一個留言的連結就可以了。

So how can I start feeling the note values, playing them in time, although I'm playing super fast?

那我要怎麼開始感受音符時值，並在彈奏超快的時候也能準確彈奏呢？

And my personal solution for this problem was just taking a close look at what these advanced fusion and jazz style guitar players are doing.

而我個人解決這個問題的方法，就是仔細觀察這些進階的 Fusion 和爵士吉他手都在做些什麼。

And the biggest difference I could personally observe is that they all don't play like this.

而我個人觀察到最大的不同是，他們都不是這樣彈的。

All of the technical, super impressive, super clean players played like this with a closed hand.

所有技術精湛、令人印象深刻、乾淨俐落的彈奏者，都是用「閉手」的方式彈奏。

So it's safe to say that this was one of my big lightabout moments back then and this is what drew me to this playing style initially.

所以可以說，這是我當時一個很大的啟發時刻，這也是一開始吸引我走上這種彈奏風格的原因。

But before we go on, I want to mention once again, of course there are amazing players that play with an open hand approach as well.

但在我們繼續之前，我想再強調一次，當然也有很棒的吉他手是用「開手撥弦方式」演奏的。

This is a lot about identifying what you want, meaning how you want to sound like, what kind of material you want to play or compose.

這很大程度上是關於辨識你想要什麼，也就是你想要聽起來像什麼，你想彈奏或創作什麼樣的音樂。

I can't recommend enough to do your own thing and to find out what works for you.

我非常鼓勵你做自己的事，找出最適合你的方法。

But if you want to achieve a certain playing style or level of virtuosity and you literally see that all players, or let's say 90, 98% of them use this one approach, I think it's safe to say that this is probably not a coincidence.

但如果你想達到某種演奏風格或高超的技巧水準，而且你確實看到所有，或者說 90%、98% 的吉他手都使用這個方法，我認為可以肯定地說，這可能不是巧合。

So with this video, I don't exactly want to tell you this is right, this is wrong.

所以，透過這支影片，我並不是想告訴你什麼是對，什麼是錯。

I just want to encourage you to try it because this was a huge game changer for me.

我只是想鼓勵你試試看，因為這對我來說是個重大的轉變。

But how do you go about reconstructing your picking technique?

但你該怎麼著手重塑你的撥弦技巧呢？

Maybe after years and years of playing with a different approach.

也許是在用另一種方式彈奏了許多年之後。

This is something I read very often in the Patreon VIP member Facebook group where people say, well, I tried the closed hand approach now for two days.

這是我經常在 Patreon VIP 會員的 Facebook 社團裡看到大家說的，像是「嗯，我試了兩天閉手方式。」

I'm gonna stick to my way of and then I sadly never really see them getting better with their own approach, kind of sabotaging their own progress.

我會堅持我自己的方式，然後我很遺憾地從來沒看到他們用自己的方式進步，有點像是阻礙了自己的進步。

So to take my journey as an example, when I switched from open to closed hand, it took me quite a long time, a couple of months to adjust.

所以，以我的經驗來說，當我從開手換成閉手時，我花了好一段時間，幾個月才適應。

I actually started out with some exercises that I showed you recently, mainly two note per string stuff.

我其實是從一些我最近教過的練習開始的，主要是兩音一弦的練習。

So just playing arpeggios or chord shapes with two picking strokes per string.

所以就是用每弦兩次撥弦的方式彈奏琶音或和絃形狀。

And I was also naturally using more of my wrist playing like this, and

而且我也很自然地用比較多的手腕這樣彈奏，

I wasn't playing like that anymore, kind of like a barbarian.

我不再那樣彈奏了，有點像個野蠻人。

It was also difficult to use all of that a live music context because I was touring a lot and I practiced these songs for years with an open hand approach.

在現場演出時也很難運用這些技巧，因為我當時經常巡演，而且我用開手撥弦方式練習這些歌曲好幾年了。

So that was kind of hardwired into my mind when I was playing live.

所以當我在現場演出時，這點就深深烙印在我的腦海裡。

So I was doing fine at home with the new picking approach, kind of building that step by step.

所以我在家裡用新的撥弦方式彈奏得還不錯，有點像是一步一步地建立起來。

But as soon as I went out on stage, this happened and I started going back to what I was used to.

但只要一上臺，就會發生這種情況，我又開始回到我習慣的方式。

At one point it became this weird kind of mishmash of a technique.

有時候它變成了一種奇怪的技巧大雜燴。

So yes, this definitely takes some time until you get fully used to it.

所以是的，這絕對需要一些時間，直到你完全習慣它。

I'd say the transition period is at least one month until you get some good results.

我會說過渡期至少要一個月，你才能看到一些不錯的成果。

And then of course, it takes even longer after after that to really improve that technique that you're building.

然後當然，在那之後還要更長的時間才能真正改進你正在建立的技巧。

But right now I'm just super glad that I went through this phase because before that I always needed a fret wrap in order to dampen the strings for my recordings.

但現在我很高興我走過了這個階段，因為在那之前，我錄音時總是需要一個fret wrap來抑制弦的雜音。

There were always some issues with string noises.

I always blamed my fretting hand, of course, but

當然，我總是怪我的按弦手，但是

oddly, when I transitioned to the closed hand and really worked on it, I did not have these problems in the studio anymore.

奇怪的是，當我轉變到閉手並且認真練習時，我在錄音室裡就沒有這些問題了。

So I got super clean takes much faster without relying on a fret wr.

所以我能更快地獲得超級乾淨的錄音，而不再依賴fret wrap。

I'm super happy that I was patient enough to work on this because those are the relaxed and clean results that I was personally always going for.

我很高興我夠有耐心去練習，因為這就是我個人一直追求的那種放鬆且乾淨的成果。

Now, to continue with your most frequently asked questions.

好了，接著是你們最常問的問題。

Number one, what about riffs and strumming?

Do I change my picking approach for different kinds of playing styles?

我會針對不同的演奏風格改變我的撥弦方式嗎？

When it comes to riffs, I'm not suddenly opening my hand like this.

講到 Riff，我不會突然像這樣打開我的手。

That's something I want to avoid switching back between two completely different techniques all the time.

這是我不想一直來回切換兩種完全不同技巧的事。

Because in a practical context and especially on stage, you have to switch quickly between lead phrases and rhythm phrases.

因為在實際運用上，尤其是在舞臺上，你必須在主奏樂句和節奏樂句之間快速切換。

So riffing, I mostly keep my closed hand approach, but

所以在彈 Riff 時，我大多保持閉手的方式，但

when it comes to strumming chords, I'm relaxing my fingers much more.

彈和絃時，我會讓我的手指更放鬆。

And if you watch me performing live, you might even see my fingers stick out a little bit when I'm playing like this, because in that context it's simply not as important for me compared to super complicated high speed phrases with advanced techniques.

如果你現場看我表演，你可能會看到我彈奏時手指稍微伸出來一點，因為在這種情況下，跟複雜的、需要高技巧的快節奏樂句相比，這對我來說沒那麼重要。

So once again, with chords, I don't change to this immediately.

所以再說一次，彈和絃時，我不會馬上切換成這樣。

I just feel like my fingers are relaxed a little bit more.

我只是覺得我的手指稍微放鬆一點。

And another example of that is combining sweep picking with tapping.

另一個例子是結合掃弦和點弦。

Because with that it's kind of tricky to sweep with a closed hand, then tap one note, then sweep with a closed hand again.

因為那樣的話，用閉手掃弦，然後點一個音，再閉手掃弦，會有點棘手。

So sometimes you might see me doing things like this.

所以有時候你可能會看到我這樣彈。

So when I'm switching between sweep picking and tapping really quick like this, my hand also stays much more open because I'm not really touching the strings that much.

所以當我快速地在掃弦和點弦之間切換時，我的手也會保持得更開放，因為我不太會碰到弦。

And it feels a bit awkward to go from this to just one finger sticking out to this.

然後從這樣變成只有一根手指伸出來，會有點彆扭。

But once again, overall, I definitely don't recommend developing completely different picking styles for different techniques.

但再說一次，總體來說，我絕對不建議為不同的技巧發展出完全不同的撥弦方式。

What helps with developing this is just working on different techniques in your routine at the same time.

有助於發展這點的方法，就是同時在你的練習中加入不同的技巧。

So choosing one block where you combine sweep picking, alternate picking, hybrid picking, legato, all of these crazy things, tapping so that you form one solid unified technique.

所以選擇一個練習區塊，將掃弦、交替撥弦、混合撥弦、點弦、所有這些瘋狂的技巧、點弦都結合起來，這樣你就能形成一種堅實、統一的技巧。

And lastly, what are the downsides when it comes to the closed picking technique?

最後，閉手撥弦技巧有哪些缺點呢？

To be completely honest, I can't even really think about any.

老實說，我真的想不到有什麼。

Once again, of course, I only have my journey as an example and this pretty much fixed all of my problems.

再說一次，當然，我只能以我的經驗為例，這幾乎解決了我所有的問題。