Al Di Meola

• Strict alternate picking — every note picked down-up-down-up regardless of string changes. No sweeping or economy picking. The evenness of alternate picking produces the clarity in fast runs
• Flamenco right-hand influence on the electric — the percussive, snapping attack comes from applying classical/flamenco right-hand technique to the electric guitar pick
• Latin rhythmic cycles — Di Meola frequently uses 3-against-4 and 2-against-3 rhythmic superimpositions. Understand these polyrhythmic concepts before attempting his style
• The acoustic "Friday Night in San Francisco" with Paco de Lucía and John McLaughlin is essential listening — the acoustic work demonstrates the flamenco vocabulary applied to jazz
• Bright amp, no overdrive — any distortion blurs the note definition that is the entire point of the picking technique
• Heavy pick, steep pick angle — a heavy jazz pick held at a steep angle produces the sharp attack. Thin picks at a flat angle produce the wrong transient
• Practise scales with a metronome at 40bpm using strict alternate picking before increasing tempo — the mechanics must be perfect before adding speed
• Harmonic minor and Phrygian dominant scales create the Latin character over minor chord progressions
• The left hand uses very light fretting pressure with fast release — the clarity of Di Meola's fast passages requires the fretted note to release immediately after being played

Al Di Meola brought flamenco-influenced right-hand technique to electric jazz-fusion guitar — his strict alternate picking (never legato), lightning-speed runs and Latin rhythmic sensibility created some of the 1970s' most technically astonishing recordings.