~ rhythm guitar / styles ~

' be the motor ... :)

Johnson / Sumlin

Greene / Upchurch

Lennon / Richards / Cobane

if you have a natural affinity for rhythm guitar, meaning you enjoy crearting this part of the aural mix in your musics, chances are you're a song writer too :)

octaves

first chords / open chords / fingerpicking

'A' minor and the gallop rhythm

 

barre chords

walking bass line

chomping chords
boom chuck boom chuck
down down up down
triplets
boom chuck boom chuck
boom chick boom chick
----- sh ----- sh
comping chords / chord substitution
off beat rhythms / chords

advanced rhythm guitar ideas

the chords do not have to follow the written order

chord substitution / rhythm guitar

'from children's songs and folk into bluegrass, country and the blues, on through to reggae, rock, hip hop, rap and pop then off to jazz ...'

 

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In a nutshell, play the groove. A great challenge in rhythm guitar is sticking with the rhythm and beat through a song's chord progression. Each of the styles have their challenges. The trick is to concentrate. And learn our grooves of course :)

bossa nova on

reggae

.

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In a nutshell, making the changes. Slang for our chords, we use the phrase 'making the changes' a couple of ways. Here in our rhythm guitar studies, making the changes is making sure the chords of the song we are performing occur in the rights spots in th.

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In a nutshell, follow the vocalist. Slang for our chords, we use the phrase 'making the changes' a couple of ways. Here in our rhythm guitar studies, making the changes is making sure the chords of the song we are performing occur in the rights spots in th.

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Rhythm guitar. Man if you want to drive the band, get some of the chords and your rhythm guitar working. Potentially right under our fingers and with today's gear, even the fewest of pitches set the house to rockin' from the garage to arena. Well, the arena gigs need bigger PA's of course and maybe some lights :)

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In a nutshell, making the changes. Slang for our chords, we use the phrase 'making the changes' a couple of ways. Here in our rhythm guitar studies, making the changes is making sure the chords of the song we are performing occur in the rights spots in th.

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a couple of key things to consider for rhythm guitar.

No pick? Just makes things easier. Wayback some of us used thin cardboard folded over. Didn't last long, like one song depending, but it had the right flexibility to make strumming easier. Once you got it going you'll find the picks you like.

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Start with a thin light pick. Just makes things easier. Wayback some of us used thin cardboard folded over. Didn't last long, like one song depending, but it had the right flexibility to make strumming easier. Once you got it going you'll find the picks you like.

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the big four. Start with a light pick. Just makes things easier. Wayback some of us used thin cardboard folded over. Didn't last long, like one song depending, but it had the right flexibility to make strumming easier. Once you got it going you'll find the picks you like.

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Two; the gallop. Start with a light pick. Just makes things easier. Wayback some of us used thin cardboard folded over. Didn't last long, like one song depending, but it had the right flexibility to make strumming easier. Once you got it going you'll find the picks you like.

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Reggae. Slang for our chords, we use the phrase 'making the changes' a couple of ways. Here in our rhythm guitar studies, making the changes is making sure the chords of the song we are performing occur in the rights spots in th.

wiki ~ one drop reggae
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Bossa nova. If there's any real trick to bossa nova rhythm guitar it's in the ability to stay focused and play

a song's established rhythm uninterupted throughout the body of the song and oits harmonic progression.

step above the tonic is often simply referred to by its numerical designation. Generally we'll use the sharp (#) when ascending away from the tonic and the flat (b) designation when descending towards our tonic pitch. I also call this pitch a blue note, but I'm probably the only one that does.

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Octaves.

: This half step above the tonic is often simply referred to by its numerical designation. Generally we'll use the sharp (#) when ascending away from the tonic and the flat (b) designation when descending towards our tonic pitch. I also call this pitch a blue note, but I'm probably the only one that does.

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Octaves.

: This half step above the tonic is often simply referred to by its numerical designation. Generally we'll use the sharp (#) when ascending away from the tonic and the flat (b) designation when descending towards our tonic pitch. I also call this pitch a blue note, but I'm probably the only one that does.

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Comping.

: This half step above the tonic is often simply referred to by its numerical designation. Generally we'll use the sharp (#) when ascending away from the tonic and the flat (b) designation when descending towards our tonic pitch. I also call this pitch a blue note, but I'm probably the only one that does.

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Chomping.

: This half step above the tonic is often simply referred to by its numerical designation. Generally we'll use the sharp (#) when ascending away from the tonic and the flat (b) designation when descending towards our tonic pitch. I also call this pitch a blue note, but I'm probably the only one that does.

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Gallop / an 8th note triplet.

: This half step above the tonic is often simply referred to by its numerical designation. Generally we'll use the sharp (#) when ascending away from the tonic and the flat (b) designation when descending towards our tonic pitch. I also call this pitch a blue note, but I'm probably the only one that does.

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"The key to the future of the world is finding the optimistic stories and letting them be known."

Grout, Donald Jay. A History of Western Music, p. 10. W.W.Norton and Company Inc. New York, 1960.

 

Aebersold, James and Slone, Ken. Charlie Parker Omnibook. New York: Atlantic Music Corp., 1978. I know this is a troubling stand to take but I felt I had to and as jazz player, I based it on Charlie Parker's compositions in the Omnibook. Find a copy, count the number of tunes, then compare the number of major key to minor key songs. Any real book of popular American song, by a mix of composers, will follow along similar lines in this regard.regard.