Hear the grouping before choosing strokes
In a common six-eight feel, six eighth-note subdivisions group into two larger beats: one two three, four five six. The first and fourth subdivisions carry the main pulse. Tap those two larger beats while speaking all six numbers evenly. This is different from treating every subdivision as an equally strong beat. Listen to the recording to confirm the grouping rather than assigning six-eight merely because the accompaniment sounds rolling or because a chord happens to last six picked notes.
Build a sparse accompaniment
Hold one comfortable chord and strike it on subdivisions one and four. Keep counting the spaces between attacks. Add a lighter brush or pluck on a neighboring subdivision only after the two-beat foundation feels natural. You can also play a bass note followed by two upper notes in each group of three. Make the first note of each group clear without making it harsh. The pattern should have forward motion while leaving enough room for the singer to phrase across the larger beats.
Place chord changes within the grouping
Take a verified progression and note whether each chord lasts a full measure, half a measure, or another duration. A change on subdivision four belongs to the second large beat, not to an arbitrary interruption of a six-note picking loop. Practice the change with only the two main attacks, then restore the lighter notes. Record yourself and tap the large pulse while listening back. If all six notes sound equally accented, reduce the inner attacks. The goal is a coherent two-beat sway that supports the phrase, not a mechanical count of six identical events on the guitar.