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,.duci-es Over 150 picking Patterns and Nearly' 100 Rhythmic Grooves 10.. Guita ..!

TABLE OF CONTENTS
INTRODUCTION "
4

BLUES
Rural Blues Shuffle, Strum (1-2)

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Rural Blues Fingerpicking Pattern, Rag Style (1-2) Rural Blues Fingerpicking Pattern, Texas Style (1-2) "Hoochie Coochie Man" Blues Lick (1-3) Fingerpicking Boogie Lick (1-2) Basic Boogie Lick Basic Boogie Boogie/Rock Boogie/Rock Boogie/Rock Lick Lick Lick Lick (Moveable) #1 (Moveable) #2

7 8

9
10

11
11
12

12
13 13 14

Urban Blues Comping (1-4) Slow Urban Blues Strum (6/8) Slow Urban Blues Strum #2 Cross- References ROCK Basic Rock (1-3) Rock Shuffle (1-2) Fast Rock Shuffle Rock Boogie (1-3) (Rock Boogie #1, Variation) Rock Boogie Shuffle (1-2) Fast Rock Strum Bo Diddley-Style Strum (1-2) "Hi-Heel Sneakers" Boogie/Rock Strum (1-2) Rock/Funk (1-4) " 6/8 Rock Strum (1-2) 6/8 Rock Arpeggio (1-2) Reggae Strum (1-3) , , , , '...... . , , .. , ,

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15
, .. 15 16

17

18
, 19 19 20

21
21

22
24 25 26 27 28 30 32

Latin Rock (1-5) , Fingerpicking Rock (Swamp Rock #1) (1-4) Rockabilly Fingerpicking (1-5) Rock Ballad (1-4) Fingerpicking Rock Ballad (1-4) Cross-References R&B/FUNK/SOUL Basic Sparse Soul/Rock Strum (1-6) Basic Soul/Rock Strum (1--4) UP!ight Funk (1-6) , ,

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34
35
37

39

40
42

Sliding Funk Pattern (1-3) . . .. .

.44

Funk Ballad (1-3) .,
Disco/Scratch Rhythm (1-3) Soul Shuffle (1-2) Soul 6/8 Time (1-3) Cross-References METAL, PUNK, AND GRUNGE Power Chords Metal Riff with Sustain (1-3) Metal Rock Riff (1-5) Fast Muted Metal Lick (1-2) Metal Boogie Variation Metal Open-String Riff ,

.45 46

47
48

49

.50 51

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,.,

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52
53 53 54 54 55

Funk/Metal Riff (1-2) Punk Strum (1-5)
Cross-References

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56

COUNTRY
Bluegrass Strum (The Carter Lick) (1-3) Country Strum (1-2) , Honky Tonk Strum ., , Bluegrass Waltz. , . , , , Country Waltz Travis-Style Fingerpicking Pattern (1-2) Banjo Roll (1-2) Cajun Strum Cross-References , , 57

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,.,

59
, .. 59
60

. .60

61
62 .

62
63

FOLK MUSIC Folk Ballad Arpeggio (1-3) Folk Waltz Arpeggio (1-2) Folk Fingerpicking (1-2)
Calypso Fingerpicking Calypso Strum (1-2) Basic Plucking Pattern Plucking Pattern #2 Waltz/Plucking Pattern March/Plucking Pattern Cross-References EQUIPMENT APPENDIX , , ,,,

64
66 67

68
69 69

6?

70
, 70

70
71

t In a strum made of sixteenth notes.ming Most people strum with a flatpick. quarter notes. If you prefer using your fingers. chances are that much of your playing will not be just hot licks and fiery solos. eighth notes. distortion. a hanky-tonk country strum. general rules: The first is s crum down on the downbeats. The patterns are grouped in these musical categories to make it easy for you to find the feel you want. punkish thrash. soul/funk. A country tune in the nineties may have a seventies rock groove. up on the upbeats or "and" beats. someone else's. a and a gentle. For example. This book has a strumming or picking pattern for nearly any rhythmic groove you are likely to hear in rock. At the end of each chapter. nJ Strum. or country music. Most strums are written with rhythm slashes: j }1 These slashes have standard rhythmic notation: There are ties. metal. and playing along with the recording. The best news of all is that every strum Or pickin{5 pattern is played on the matching recording that comes with the book. a grungy. So learn each strum by reading.__ I INTRODUCTION Whether you play alone or with others. and a heavy-metal backup guitar part may come straight from a twenties Delta blues strum. folk. chorus) best suited to the pattern. Of course. Each pattern is repeated a few times to establish the groove. a lazy. Occasionally. rock-boogie lick. listening. blues. fingerpicked folk ballad arpeggio to groove is as much an art form as soloing. there are 1 j ~t JJJ &2&3&4& ~t!t j JJJ . pattern is doubled up and upstrokes are between tnc + t+t j a 3 JJJ a & t ) 4 + a J)J a & t+t a . some just use their fingers. Your guitar backs up your voice. or another soloing instrument. rests. fingerpicka syncopated scratch-rhythm to a funk groove. strum down with the fingernails of several fingers at once (or just the index finger) and up with the thumb. and all musical styles cross-breed. name a few. Fingerpicking patterns are written in tablature and standard music notation. punk. this downbeats and the "and" beats: j 4 + J JJ a & t+t+t a ) 2 JJ J a & . in a strum made of eighth notes: two If a strumming pattern has down and upstrokes. Playing the right backup with a good a hard-driving. strumming can consist only of downstrokes or of a combination of up and downstrokes. professionally or just for fun. many songs cannot be neatly pigeonholed in one category. there_ are cross-referencing notes to help you find the rock strum that is hiding in your favorite country tune (or the country-picking pattern hiding in your favorite rock tune!). etc. But what kind of accompaniment will you play? There are so many kinds of guitar backup: ing blues pattern. an equipment note will suggest the type of guitar (electric or acoustic) or electronic effect (echo. it will be accompaniment. Either way. relaxed calypso strum.

There are two ways to stop the strings from vibrating: touch them with the palm of your picking hand. j ~(t) ~ DpJ &3 t ~ t 0) t &4& par 1&2 j ~ t ~ t ~ (t JJJJ a & n t 0) 3 a 2a&a j~J J j a&a4a&a t 0) t ~ (t) n ~(t) Damping Sometimes you play staccato chords (clipped. a damped note has a dot over it: ~ or ) If a chord is damped by your fretting hand before you strum it. the ring and little fingers also pick treble strings. (i) • Notes picked by the fingers have stems pointing up.The second rule is keep your wrist going down-up-down-up smoothly. but don't strike the strings. • Notes that are plucked by the thumb have stems pointing down. Play the following two examples. or (if you are fretting the strings) release the fretting pressure so that your fingers are touching the strings but not pressing them down to the fretboard. If you playa steel-string guitar. Occasionally. it is written like this: or Fingerpicking Most popular styles of fingerpicking (blues. the picks make you sound louder and clearer and save wear and tear on your fingers. Players who do a lot of fingerpicking often wear a thumbpick (plastic or metal) and a fingerpick or two (on the index and perhaps the middle finger). In standard notation: cJ) 5 . The thumb usually picks the lower three (bass) strings. The fingerpicking patterns are written in tablature and standard notation. During the spaces that rests or tied notes indicate. with no sustain) by muting or damping the strings after strumming them. country) make use of the thumb and one or two fingers. keep the rhythmic down-up wrist action going. Either way. the index and middle fingers play the top three (treble) strings. This makes your rhythm flowing and musical. even when there are rests or tied notes. don't strike the strings when the arrows arc in parenuicete. rock.

Find other tunes with that same groove in songbooks. symbol: • tunes mentioned in the notes1 think about Track numbers are indicated by the following 3. to the left. Read about the pattern. 6 . Play it several If 4. It shows the chord that is played on the recording. Once you can do this. If you know any of the their rhythm groove.Practicing Here's a step-by-step method for learning a strumming or picking pattern: 1. try playing along with it. Playa tune that has that rhythmic feel and use the pattern as your accompaniment. the pattern is yours and it's part of your repertory. • Rhythm slash patterns include a boxed chord grid located to the right of the tempo indication. 2. long. especially ones that are familiar to you. • There is a tempo indication under the name. you 5. Play the pattern over and over. some are two bars. and use the pattern as accompaniment. Listen to the pattern on the recording. have a recording of a tune with the same feel. A few practical tips: • Each rhythm pattern has a name that is used to identify it in the book and on the recording. Most are one bar times and get the groove to match the recording.

Van Morrison. Use for moderate tempos like "Help Me" (Sonny Boy Williamson) and "Pride and Joy" (Stevie Ray Vaughan). "f RECORDING J t • "f ) t • "f J t Q :11 m E 00 This is for faster shuffles in the "Boogie Chillun" (John Lee Hooker) vein. Par a percussive effect and to enhance the beat. The strums and picking patterns of both urban and rural blues are used in rOCK. and urban electric blues styles of the 1940s lip to the present. folK. 7 . Since so many guitar styles grew out of the blues. There has always been crossover. Damp the strings with the palm of your picking hand. As you listen to and play the patterns. and funk/soul music. Rural Blues Shuffle. In this strum. or faster tunes like "Baby Please Don't Go" (Lightnin' Hopkins. the lingers brush up. and the boogie-woogie guitar backup style of rock and heavy rrier al goes directly back to rural blues guitar backup. Rural Blues Shuffle. the thumb plays downstrokes. slap the strings with the palm of your fretting hand instead of carefully damping them. For example. don't assume that "rural" strums can only be played on acoustic guitar and "urban" patterns must be electric. This chapter covers picking and strumming styles of rural "folk" blues. the Travis-picking of country and rockabill)' srew out of blues fingerpicking. Check the ROCK and R&BIFUNKISOUL chapters for the appropriate backup patterns. Strum # 1 Tempo: Moderate to fast shuffle • ON THE RECORDING ~ t ~ t ~i ~ t 14 ) J ) J ) J j J > >- :11 Through the 1950s and even into the I960s. but it has evolved and developed in tandem with European musical forms and has affected all American music. Contemporary electric blues guitarists often set their tunes to a rock or funk beat. this chapter is a good starting place for a study of guitar backup. in addition to using the traditional blues shuffle. and many others have recorded it). so try all the blues strums and picking patterns acoustically and electrically. most blues guitarists (especially acoustic players) used their thumb and fingers.coumry.--('I BLUES: THE ROOTS OF ROCK The blues is an African-American music form derived from spirituals and work songs. which goes back as fur as the beginning of the twentieth century. Strum #2 Tempo: Fast shuffle • ON THE I~ ) J ~ t . As in # 1. heavy metal. you brush down with your thumb and up with your fingers.

...... Do CI '" I . I . Mance Lipscomb.Rural Blues Fingerpicking. Merle Travis' style was derived from this rural blues genre.~ I..~b I h I A r A w .. 1\ h _. Classic tunes in the style include "That Will Never Happen No More" (Blind Blake). c i • . M T T M T T T M " T This is one of many possible variations of #1. rhythmic style seems to come from the popular ragtime dance music of the early part of the twentieth century. A n r . and Gary Davis are often called "ragtime blues" players because their bouncy. For more possibilities.. I b_ _I I .. Mississippi John Hurt. Rockers who have played in this style include Eric Ciapton (as in "Can't Find My Way Back Home") and the Rolling Stones ("It's AllOver Now"). . . Pattem Rag Style #1 . Furry Lewis. They all played a steady alternating thumb/bass. Willie McTell.. 8 . Tempo: Moderate to fast shuffle c It ) r .. w 1---. " T " v T M . "Warm It Up to Me" (Willie McTell).. . " A v r . " v r • I II I " " T - v . " T I A r . see the Travis-Style Fingerpicking Patterns in the COUNTRY section. M - .. Rural Blues Fingerpicking Tempo: Moderate to fast shuffle Pattern Rag Style #2.. T w T Fingerpicking blues guitarists Blind Blake. as in the previous pattern.. .. and "Candy Man" (John Hurt). Blind Boy Fuller...

v ....2 ... T .. as in ba-bump.. Many of the players noted for this style (Big Bill Broonzy... but they all share the same rhythmic feel. T v " T I T I . ._ . . thumb bass plays two notes per downbeat. . " .. ElInore James. i . . T ...o. " v 1.Ic-hrr Lee Hooker. . . as in "Key To The Highway" (McGhee..nzy... v T T I M ... al ... A 1:1 frrr ... while the fingers pick melody or rhythmic fills on the treble strings. " T . as in "It Hurts Me To.. ... The steady...... " v n ~ . T T ... .. This is a slower version of the Texas Style #1 pattern. and others) and "I Wonder When" (Broonzy.... tt ~ - I ~ - I - I . T M . Eric Clapton... . " v " rr - ~ > . T .. - - ... Tempo: Slow to moderate shuffle -TA _1:1_ rrr r rr r .. ..Rural Blues Fingerpicking Pattern Texas Style #1 . v M T Lightnin' Hopkins popularized this fingerpicking blues style in which the thumb thumps out a steady bass on every downbeat.. Rural Blues Fingerpicking Pattem Texas Style Tempo: Slow shuffle #.. T I v T .. ."(Bro. ba-bump. ba-bump.. and others) and "How Long Blues" (various artists). instead of alternating bass notes.... and Brownie McGhee) are not from Texas.. ba-bump.. v T v - . M . Muddy Waters)...o.... - .

IoIott . -. ~ ~ x ~ x -.. -. T ~ . .. Tempo: Slow to moderately fast shuffle llo oil: E ~ . As in "Bad to the Bone" (George Thorogood). --. i u ! u . " -x -v This popular blues lick is associated with the tune and "I'm a Man" (Bo Diddley)..IIHoochie Coochie Man" Blues Lif. ~ D =. • • II ::ill ::ill "111 . 10 ... --~ . ~.ie Coochie Man" Blues Lick #3 . l l · l l l - ~ u .. • . '_"f . T . "Hoochie Coochie Man" (Muddy Waters) IIHoochie Coochie Man" Blues Lick #2 • Tempo: Slow to moderately fast shuffle G §HE" .. . T •• x ..- A • " x u '" It' B A faster version ~.. ~ u " ~... rrr u I ... ~ ~ :- .. It's based IIHooch..... this lick include.. -~ -y • p t .k #1.~_I -" 'i -v 1 ..J . ~ u ~ -v .. ~. X T T of "Hoochie Coochie Man" Blues Lick #1 and #2.. . u . This is the same lick as "Hoochie Coochie Man" on the barred E chord formation.J :::JI "11 :::JI "11 · ill jj "11 ~ ~... .......I0Io • #..~- . Blues Lick #1...... ..!: thumb/downstrokes and finger/upstrokes..... . ~ ~ -f:: 1\ '_ t -y . Tempo: Moderate to fast shuffle E I . A 0 l ... A 0 • + === + • • • .J T ~ . u f:: . made moveable... ....

jjI ~ E A . the thumb plays the lower. .r. It's for slow tunes like "Caress Me Baby" and "Honest I Do" (Jimmy Reed).. ... " " Suitable for "Boogie Chillun" and "Baby Please Don't Go" grooves.. "Dust My Br oorrr" <ElInore JaInes and many others). Fingerpicking Boogie Lick #2 • Tempo: Moderate to fast shuffle E j. " .. '" . • rrr r ... " x " " x " . The index finger plays the higher of the two bass strings.. '! v "..f ~ '" - I - ~ ~I s... 11 . "u TIT T T etc......f .... ~ li: '" . TI ......If a E A . u ... ..J .. to moderate and fast songs like "Don't Start Me Talkin'" (Sonny Boy Williamson).to. " " ~ " " . '" " This is the same as #1. . ~~Vr V v -~= .. A -. ... _ ~ r ~ ~~~ - r - ~ ... ~ =i ~ A =i =~ ~ ~ _. ~ '" ~ r - ........_.. ~ ~ ~ . "Farther On Up the Road" (Eric Clapton).. r r . . The thumb plays bass.... ...~ oj 'I ~ ~I I- ~ I • I I • " r li: li: i " li: '! ........Fingerpicking Boogie Lick Tempo: Moderate to fast shuffle # 1 .. A 'r:> : r r . ~ ~ ~ .. ::I "11 ::I "11 ~ "111 ~ "111 ::I "11 ~ til ~ ~_ "'I ~ .I I- - i .}' . It's an down- strokes. A' '" " '" • .... u " . v v ~ '! v " :: u :: " ~ v :!" • 0--0--0--0-------0.. . this and the next lick were often played by rockabilly guitarists in boogie tunes like "Matchbox" and "Blue Suede Shoes" (Carl Perkins). " . '" TIT I TI etc.. up on the treble strings.. ..... . . and "Say What?" (Stevie Ray Vaughan). ._ =i =~ .. '" A'" .. " . " .. ~ u '! u '! u . ~I r '! u . . ~~ __ I ~ A oj I ~ ~.. ~ * " :: * " =: * " ! ~ ~ ~ A ~ .4 .... This archetypal boogie backup lick is usually played with the thumb or a flatpick..... but the thumb starts it.. . .. .. . the index finger brushes Basic Boogie Lick #1 • Tempo: Slow to fast shuffle Ij.. .. ~r ..

:t :t ... oil ~ p oil ~ ~ :. ~ ~ :.. strings.. J. :.... -2. + :r + :r 11 . therefore. . 11: .. . t ... Ii - tt .. "Memphis Tennessee" (Chuck Berry).Io f! a _.Io 111 11 '1'1 H . i.. ~ . ~ ~ . -~- This is the strum for "Big Boss Man" (Jimmy Reed. s: I u " JI: .. .. :.~ . but made moveable.. :::: . ~ . ~ ..Basic Boogie Lick (Moveable) • Tempo: Slow to fast shuffle x G xx ~'" . but simplified slightly.. + A ::JI ::I "'I :! "'I :! "'I ... 12 . .!: =i =i =i =i tt _t . • tt . ~ t ::: '!.... s: w :.. . ~ ~ =i ... ::.. ~ ... they can be played all over the fretboard.. a i. . !. This is the same as the Basic Boogie Lick. I..... It's the same as the Rock/Boogie strums of the ROCK section.. ~ . ~ u :: ••••••• . " " Ii Ie " - ..... based on abbreviated versions of the barred E and A chord formations.....J -. . ~ :. v ::JI :I :! ~ :! "'I "II + -"II t~ iii "'I :i ~ .) G G c c Boogie/Rock Lick #1 • Tempo: Moderate rock E A . ...~ _.. and "Smokestack Lightning" (Howlin' Wolf). ~ .. .. -= " :. . "'I .... . .. + -" i. . and many others). p !.. Elvis Presley.0. J. . "Good Morning Little Schoolgirl" (Sonny Boy Williamson).. . . (Moveable chords or licks use only fretted. not open. ~ .

Io G .." i. Urban Blues Comping #1 Tempo: Moderate to fast shuffle beat .".. I •• " :: r tt " =: . . A 0 .. " X r . BoogielRock l. ~ . ~ " " . The moveable version of the Boogie/Rock Lick is based on the same chord formations as Basic Boogie Lick (Moveable).Boogi. Tempo: Moderate rock . .J J.ick :fI:2... ..... . . on an A chord or a barred. You can play the same lick "up one string. J.. NOTE: These 9th chords are often used in all the Urban Blues patterns. -~ ....e. .elRock Lick (Moveable) Tempo: Moderate rock .. ... . .. abbreviated A chord... ~ ~ X ::: ~ . ••• tt This is a variation of Boogie/Rock Lick #1. I• ~ ~ ~ -~ - . ... r.... Here are the first position and moveable versions. ...

It's a swing band riff that crossed over into rock and roll.any others). Rattle and Roll" (Bill Haley. Bobby Blue Bland). and m. King. (Bill Haley and the Comets) and "Shake.g. Lowell Fulson.B."Camping" is a swing/jazz expression for strumming backup chords. You can combine the two to make a two-bar pattern. "Kansas City" (Wilbert Harrison and others). King's band).:» This is a variation of Urban Blues Comping #1.. and "Eyesight to the Blind" (Sonny Boy Williamson. B. This strum. Tempo: Slow to fast shuffle beat n n n. One Scotch. and it describes what the rhythm guitarist often does in a large electric blues band with a horn section (e.:11 §OO" + t t + t ~ ON THE RECORDING II E9 <. One Beer" (John Lee Hooker. this pattern works for slow tunes like "Stormy Monday Blues" (T-Bone Walker. Urban Blues comping ~2 . The chords are usually moveable and can be damped with the fretting hand. B. George Thorogood). and it works as a backup camping pattern as well. Brie Clapton). King).. 14 . is appropriate for tunes like "Everyday I Have the Blues" (B. The flat sign (~)over the last stroke of this pattern tells you to play that chord a fret lower than the others and slide up a fret for the next stroke. The pattern works with or without this embellishment. B. Joe Turner. Besides the tunes mentioned for Urban Blues Comping #1.. «Sweet Little Angel. The Who. Urban Blues Comping #3 Tempo: Moderate to fast shuffle beat • ON THE • ~1' I t RECORDING fiOO·· This rhythm figure is played often by horns and guitar in tunes like "Rock Around the Clock" and others). "One Bourbon." and "Three O'Clock in the Morning" (B.

... . "Blues With a Feeling" (Little Walter. t • • It ~1' t 1''i + t I ) + J J ) 'i } t t • + t • t ON THE RECORDING E9 )( :11 ffiffi'" This is a faster variation of Urban Blues Camping #3.=:: .. .. ...I II ." t . • • This strum is used for the tunes mentioned in Slow Urban Blues Comping #1 ami Slow Vr17Qn Blues Comping #2.. ..: t tt • '"-' • • '" '" ''t '~ • ..J -:i .Urban Blues Comping #4 • Tempo: Fast shuffle . They are based on the 9th chords so often played in that genre. . . as in "Eyesight to the Blind" (mentioned before) and "Stang's Swang" (Stevie Ray Vaughan). . • .. A . » #. .. .ING + Ig ) HJ +t + m + ++ :11 ffim6rr E9 This works with the blues tunes mentioned in Urban Blues Camping #2. t -t · • l' " .~ " ~ · .. These two sliding licks are often heard in Chicago-style blues bands. ...."""'~-.... .. " .... 'Il i!l: . ~ '! . 'L • . More titles are: "Reconsider Baby" (Lowell Fulson and others).· ..-.· •• II II /"..Blues Strum (6/8) Tempo: Slow shuffle > .. . .. Paul Butterfield). . ... Slow Urban Blues Strum #2 Tempo: Slow to moderate • ... J. Slow Urban ... • ON THE RECOAD. .:::.. 1.. . . . They are played usuany on electric S"'itili.

6/8 Rock Strum #1 and #2. King's hits." and Albert King's "Born Under a Bad Sign" are examples. Soul 6/8 Time #1 to #3. A slow version of "Stonny Monday" could use one of these! ROCK Chapter: Rock Boogie #1 to #3. Funk Ballad #1 to #3.Cross-References By the mid 1960s. Contemporary blues artists also use boogie patterns from the ROCK chapter.BLUES chapter. Sliding Funk Pattern #1 and #2. Basic Soul/Rock Strum #1 to #4. which are a bit fancier than those found in the . it was not unusual for electric blues players to use ROCK and R&B/FUNK/SOUL grooves or patterns. "Why I Sing the Blues" and "The Thrill Is Gone. B. R&B/FUNK/SOUL Chapter: Basic Sparse Soul/Rock Strum #1 to #6. Soul Shuffle #1 and #2. Rock Boogie Shuffle #1 and #2. 16 . and 6/8 strums from the ROCK and R&B/FUNK/SOUL chapters. Rock Boogie Variation. Uptight Funk #3 and #4.B.

> ! ..> .. usually lacking the strong beat of the other styles. "I'm a Believer" (the Monkees). Latin rock. "Beat It" (Michael Jackson). tJ1J1 > > J)J)JJJ :11 00]" All downstrokes This is the basic hard rock beat as in "I Want to Hold Your Hand" (the Beatles). and pop-the name reserved for everything else. "Jump" (Van Halen). lighter feel than Basic Rock #1 and is used often in country rock. as in "Proud Mary" (Creedence Clearwater Revival [the Ike & Tina Turner version would be better with all downstrokes]). Basic Rock #1 Tempo: Fast or medium rock . Beatles-style and contemporary rock ballads. Basic Rock #2 Tempo: Fast or medium rock • It) J n ))J J ~t t! t . the harder-edged strumming of the Stones or Bon Jovi. 14) J)J)JJJ :11 or Il) . folk rock. "Maggie May" (Rod . "Every Breath You Take" (police). RECORDING A :11 ~oor 17 ON THE This has a looser. and "With or Without You" (U2). . and more. doo-wop (the intricate vocal harmonizing style invented by black and white urban street corner singing groups). play all the patterns on electric and acoustic guitars. The strums and picking patterns that follow apply to early Chuck Berry boogie woogie.1. the guitar has become more prominent. "rock" meant many things: rockabilly (a white Southern blend of R&B and honky-tonk country music). "Solitary Man" (Neil Diamond).Stewart). and "Got My Mind Set on You" (George Harrison).__. "Mony Many" (Tommy James and the Shondells. and many electric and acoustic guitar styles have evolved.At its inception in the early 1950s. They are played both ways in rock recordings. "Brown-Eyed Girl" (Van Morrison). "Kokomo" and "Sloop John B. . "La Bamba" (Richie Valens. As rock has grown. . Alternating up. Billy Idol). and "Time After Time" (Cyndi Lauper). with honking saxes and a boogie beat." (the Beach Boys). "Bad Medicine" (Bon Jovi).and downstrokes This has a slightly more relaxed rock feel. .. funk-rock. Some examples are "American Pie" (Don McLean). R&B. As in the BLUES chapter. Southern rock. Rock has expanded over the decades to include many more musical influences.. RECORDING A ON THE . . country rock. Los Lobos). reggae.

the Beatles). "It's Too Late" (Carole King). Johnny Rivers). "Higher Ground" (Stevie Wonder. Red Hot Chili Peppers) . "California Girls" (Beach Boys). "Crazy Little Thing Called Love" (Queen). . "How Sweet It Is (To Be Loved By You)" (Marvin Gaye. • On tunes with moderate tempos.Basic Rock #3 Tempo: Moderately slow to moderate rock • ON THE A RECORDING . you can use all downstrokes to give this strum a harder edge . "Mountain of Love" (Harold Dorman. "Pride and Joy"(Stevie Ray Vaughan). t :11 mi" This is for rock with a slightly funky feel. Rock Shuffle #2 Tempo: Moderate shuffle > > • :11 ON THE 4) + n )J J J + + "--" t t > RECORDING t HIm" A This is the same as Country Strum #2. "Loves Me Like a Rock" and "Slip Slidin' Away" (Paul Simon). Rock Shuffle #1 Tempo: Moderate to bright shuffle • ON THE RECORDING '4 ) J J J ) J + t > + ttttt > JJ :11 mE'· A This basic shuffle strum fits tunes like "Bad. 4 J7j n ) J J J . as in "You're No Good" (Linda Ronstadt.___" •• t. James Taylor). Michael Bolton). "I Heard It Through the Grapevine" (Marvin Gaye (the Creedence Clearwater Revival version sounds more like Basic Rock #1 with alternating up and downstrokes]). Bad Leroy Brown" (Jim Croce). Betty Everett). and "Sittin' on the Dock of the Bay" (Otis Redding. as in "Chains" (the COOkies. t t. "All Shook Up" (Elvis Presley).

. . . ..• " " . .4 ~ ..." .. '.. Tempo: Moderately slow to fast rock C II F e... Goode" (Chuck Berry)...." · '.. . It's based on the barred E7 and A7 chords (see Basic Boogie Lick [Moveable] for more explanation).. ... . .. .. . ." " ~ ... .. A n + 'A + - + •A + 'A- + + •A + ~ . "Johnny B.. !. . 19 .. Mix the two patterns together... . · . this is a variation of Blues Boogie #1.. Robinson" (Simon and Garfunkel). + + + 11'1 'au + __o...· . Billy Idol). " ....... I . . ~ .~ .~" !. this is the rhythm strum for rockabilly classics like "That's All Right._..! ~ -ill -ill > -ill ~ -ill ~ -ill .. It was used in countless fifties rock tunes and is still a favorite today: "Mony Many" (Tommy James and the Shondefls.." "Mystery Train" and "My Baby Left Me" (Elvis Presley)........" . Tempo: Fast shuffle > > ON THE RECORDING 1 e. Tempo: Moderately slow to fast rock I r_ c . .. .. .. . "Get Back" (the Beatles).· 'I .. • ft + _ + + 'Y + + ~ ..~. Rock Boogie #1 Variation . It's usually played on an acoustic guitar. -ill -ill • or > -ill -ill · -ill -ill '--' 'I II -ill > + I + . I .Popularized by Chuck Berry. g ... + n )J J + + t ttt J :11 The same as Country Strum #1.. Rock Boogie #1 .o" . .... . . ... and "Hanky Tonk Women" (the Rolling Stones).._u .. "Mrs. · · This is the same as Rock Boogie #1. ...... Mama... and "Mother's Little Helper" (Rolling Stones).. ..Fast Rock ShUffle..~... ." . .._. but the first beat is anticipated to make the strum more syncopated. I .: + -" + ' + __oUI. ~ '_V .. .....~ g g + + . .. " '" . > > > > II II .. .

" ..." v 'ft ._"" . + + ~ g '_" 0 '.. ... '. " . . __h'" '0" '8 8' .. ... .. It has a relaxed feel when you alternate as in "Blue Suede Shoes" (Carl Perkins....UI .o" ._ v + + '" s: _..>- "">- '-' · -· · · II -. ~ . .." + "._" '_'" " . D + in + 1'] + in t ~ --=i tt !_II ..- I I I 1).... ... + '" ." U"l . . Rock Boogie #3 • Tempo: Moderately slow to fast rock c j F • J . ~IIII .." .." . " ....n ~ ~" ...- I : :._". Tempo: Moderately slow to fast rock . ...." U"l + _"-"'" + + '.. . .. anticipate the first beat by tying it to the last beat.RoCk Boogie:»2 . as in "Sweet Little Sixteen" (Chuck Berry) and "That'll Be the Day" (Buddy Holly).... down and upstrokes..V l l l '_6 '_V · • This is used in the same types of tunes as the other two Rock Boogie strums. · · · · .... Q .....- 11 ·· ·· > :.... 11 ~ ~ . - ...... >+ + _... ~ This is similar to the Moveable Blues Boogie Shuffle. " '.. .. + '... . .. '. Variation..g '" ) .. .._v 0 + '" 0 + A -cPO . • c 11 111 F > ... l '... 20 .... For still more variation._.... . ~ 11 ·· ·· ~'-" r-... + '...... as in Rock Boogie #1. ...... . ':' 0 . A .'" _.. t '_" . . ·· ·· (' ... t -41 > -41 + . .. ........ . '" . ... . t _ · · or I c : II • A "t + __1n_ 11 ~ 11 1- ~ ~ + '" '" " .. + + + . Blvis Presley) anc "11'1):Jtill ROCK tlno Roll to Me" (Billy Joel). > + '" t ~ .. . .. Rock Boogie Shuffle #1 • Tempo: Moderately slow to fast shuffle C • 11 > 4 I + ._.. + . > -41 -41 > ... .. }IA .. ... ." · .o" 0 ..... and a more driving rhythm when you only play downstrokes. · .. '" .._. 'ot " This is yet another syncopated variation of Rock Boogie #1............. ... ( '. Q '':g '.. . v + + '" . + ....

. "Not Fade Away" (Buddy Holly).. "Turn on Your Love Ltgnt" (Bobby Bland). "Willie and the Hand Jive" (Johnny Otis..Rock Boogie Shuffle #2 Tempo: Moderately slow to fast shuffle . . -.. '-' --=- A PO • A t ... which is identified with Bo Diddley. " aI C -_. "Faith" (George Michael).. EQUIPMENT NOTE: Bo Diddley played electric guitar with a lot of reverb and tremolo. • This is more syncopated than Rock Boogie Shuffle #1.. Fast Rock Strum Tempo: l'astrock • ON THE RECORDING 14 ) + n) n~» ) » ) J J J mEr + t + + t t t + t + t A :11 This is a two-bar pattern for tunes like "Good Lovin" (Rascals).. A t 'A I"V D t"-."" t '" " .. '_ 0 --. 21 .... and "MaBie Ca'1'et Ride" (Steppenwolf).. .. Eric Clapton).... Tunes with this rhythm groove include «Bo Diddley" and "Mona" (Bo Diddley).... and "I'm a Believer" (the Monkees). Michael Jackson) are some examples. Bo Diddley-Style Strum #1 • Tempo: Bright rock REGORDING ON THE nJJJJ '---" + t t + t In) ) + t + + :11 There are many variations of this strum.. "The Doctor" (Doobie Brothers).- 1 ._ ~ _. so these effects are used often with this strum.. '-" .... • + . 'Q ~'" -u- '-" . . . "Your Mama Don't Dance" (Loggins and Messina).. ~ _ or! + '. A . . "Some Kind of Wonderful" (Grand Funk).tI + . an extra push.. You can also play "straight" (without the anticipated first beat) and add the anticipation occasionally for variety and to give the rhythm. and "Rockin' Robin" (Bobby Day.

.f1I . v..~ 'A u .._. !OJ --. I This is the same as #1.U v . . " + . .. ~ v LA ".. -ill ~ • II . ..0.. I . '-'" ...._v iii t " . ••• -. ~ ~ ~ '. "Freeze Frame" (J. .6 I " " !. ..". "Can I Get a Witness" (Marvin Gaye. ..... . .. - + + •A g + ...... • " t '_'" u • X 'Y •j }iI_ .._ __a_ .' .A + . . _. ... but a bit bluesier with the flatted 7th note added. .. I'"'"I I ofl ITI + . + '_'" !OJ . ""Hi-Heel Sneakers" Boogie/ROCk Strum #1 Tempo: Moderate to bright rock J .. .... + '~ . .... ... Geils Band). .._ . "Cold As Ice" (Foreigner)... 22 . --I 4 • ._ .... Johnny Rivers)..t t U . "• . --g + !..-! . As in "Lay Down Sally" (Eric Clapton). .v !OJ + .. ._ .. ... .." " ..... + ~ ..... . .. ."'- ·11 • I{ _I' ~ I _B_ •• 0 aJ ..... "Bread And Butter" (the Newbeats)........ ......_. ... c I I• " ~ ·--..... c _.V U + '_.'" 'v v ...VA ~v + ___'...'" g + 'A'" g ...Bo Diddley-Style Strum #2 • Tempo: Bright rock RECORDING ON THE B 14) + ) + n +t ) J :!I ~ This is one variation of the Bo Diddley groove. + '. 100 . . "The Boy From New York City" (the Newbeats.. "Hi-Heel Sneakers" (Tommy Tucker) was such a popular bar-band tune that its rhythm srooyc became known as the "Hi-Heel Sneakers" beat.. ... the second a bit more syncopated than the first.1- c -ill -ill -ill · · · .. Tennessee" (Chuck Berry. I tr !.." """""' -ill _1 _.11 .. I --._ + !... • + !. v • .. ....6 · ·!. "u ... . .:'_ _ . . "Morning Train (Nine To Five)" (Sheena Easton). _. .V U .~ + 'AV + t+t ~ 'v... Rolling Stones).....'...." ... . .... '.. ... ... ... .. Here are two variations of the groove. . as in "Memphis.... t !. ""Hi-Heel Sneakers" Boogie/Rock Strum #2 Tempo: Moderate to bright rock C . t '... !OJ 'r " .. j II ... Manhattan Transfer).. " ... 1_'" . ..

.. ".... v t ! . + 2 lI: t t t ttt i! lI: ....J I •1 • v I '1 v ~ . c I 4... J.... an abbreviated "barred E"chord... I_ flo n I• .: • 51 51 ~ OJ 2 . but with chords instead of the bass-note boogie lick. ~ . .. . If ' c 'T II. Consider the G chord.-· v + t t t. .. .. W" This strum is moveable: that is. II ::: oJ + . G II ... • I ~I ... ~ · . . !! ~ ~ ::: v + A + l!I l!I IC == IC . + l!I v · · ...IJ ._ A .. v .: I · · This is the same as the "Hi-Heel Sneakers" Boogie/Rock Strum #1.1 01 ++ .. . G rr- l. 4. .J ·• • • • + - •• K •• ~ ::: i _. with chords instead of the bass-note boogie lick.. The three chord shapes used in this pattern can be fattened by adding finn string notes: xx C x xx C ~Sfrcanbe xmmx F x xx Sfr F ti:t±±j played: ~" can be played: or ~'. This is the same as "Hi-Heel Sneakers" Boogie/Rock Strum #2... -~ .: ~ 'l: .! + t ~ . .11 t . IC .~~Hi-Heel Sneakers" Rock Strum #1 • Tempo: Moderate to bright rock ... .. the C chord is an abbreviated "barred A": ~~Hi-Heel Sneakers" Rock StRim #2 • Tempo: Moderate to bright rock .. it can be played in any key. I • '! • oJ I ~ · t v . ..: ~ . ....+ := v II + 111: v ... ~ ~ ~ . ++ " '! '. . .. ~ ~ ~ .. play these chords: II: rum 'I ffm1'/1 ffim'l mill'l :111: G mm'lm'l C I ~'/ tttm'/:II . lI: · II ~ . + v ::: l!I - ::: ~ ..: I i lI: 2 I il I OJ OJ 2 :. + + + " ... ·~ · .. . . .. like all strums in this book.J · • "al I ~ I ... ~ v + + + III ~ " J. For a still brighter sound. . I ++ . . I 4. ...

The second bar is optional and can be played every other time (as written) or at the end of a musical phrase or when there is a space between lyrics. you can play the first bar most of the time and throw in bar two occasionally. and "Purple Haze" (Jimi Hendrix). EQUIPMENT NOTE: Often played on electric guitar with a lot of distortion. Jimi Hendrix). "Spinning Wheel" (Blood.1 + n + > t In + + nrn + > t I! + n. as in "Centerfold" (J.1 1 1 RECORDING ON THE This is suitable for fast. as in "Wild Thing" (the Troggs." Rock/Funk #2 . "1 Love Rock 'n' Roll" (Joan Jett). The first bar is the main groove of this strum. strum-filled tunes like the Doobie Brothers' "Listen to the Music" and "Long Train Running" or Bachman-Turner Overdrive's "You Ain't Seen Nothing Yet" and "Let It Ride. "After Midnight" (Eric Clapton). "Sgt.:11 + t RECORDING m ON THE This is rhythmically tighter than Rock/Funk #1.Rock/Funk #1 • Tempo: Bright rock/funk 14 ) ) ) + 1 + J )~n~·))) ) J ) ) ) + + + '----" 1 . Rock/Funk #3 • Tempo: Moderately slow and heavy rock/funk ON THE RECORDING This is for slower tempos.1 1. the Leaves). EQUIPMENT NOTE: Often played on electric guitar with a lot of distortion.. Tempo: Moderate to bright rock/funk > 14n nrn + + + 1. Geils Band). "Hey Joe" (Hendrix. 24 . Pepper's Lonely Hearts Club Band" and "She Came in Through the Bathroom Window" (the Beatles). Sweat & Tears). As in Rock/Funk #2.

"Time Is on My Side" (Wilson Pickett. n. 25 . This syncopated version fits tunes like "Sweet Home Alabama" (Lynyrd Skynyrd) and "Magic Man" (Heart). EQUIPMENT NOTE: Often played on electric guitar with a lot of distortion. "When a Man Loves a Woman" (Percy Sledge). :11 + + +t > t + t > + t RECQRDING There are countless ways to vary Rock/Funk #2 and #3. or you can alternate the two.. Bobby Vinton). This strum fits countless fifties ballads like "Oh Donna" (Richie Valens). As in 6/8 Rock Strum #1.1+ > + + + I) + :N J J J J J :11 +ti > It tl mm" A For slower 6/8 tunes like "Sleepwalk" (Santo and Johnny). the Rolling Stones). and "House of the Rising Sun" (the Animals). • 6/8 Rock Strum #1 . EQUIPMENT NOTE: Often played on electric guitar with reverb. <'To Know Him Is to Love Him" (Teddy Bears. Peter and Gordon.Rock/Funk #4 • Tempo: Moderate to bright rock/funk ON THE I! njJ jn ~ ~ ~t > t ~ ~ +t > JTl t I n j J j n. Tempo: Slow rock ballad ON THE RECORDING I g J :N J ) J J + . or you can alternate the two bars as written. "Red House" (Jimi Hendrix). ~ + + + + + + 1 ) J J ) :N J + ~ + +t+ :11 mm A ON THE s • You can use the first bar and occasionally add the second bar for variety. "This Boy" and "Oh Darling" (the Beatles). Tempo: Moderately slow rock ballad > >RECORDINQ I~) J J ) J J (Sam Cooke). 6/8 Rock Strum #2 . you can use just the first bar and play the second bar occasionally. and "You Send Me" EQUIPMENT NOTE: Often played on electric guitar with reverb..

6/8 Rock Arpeggio #1
Tempo: Moderately slow rock ballad
xx

I

ffim'·
..
"
v

c

..
..

~

..
..
v

_.

..
w/flatpick, all downstrokes
_A

w

·
·
·

II

• II

or

A

...

.,.

'"

..

Use for the same tunes as the 6/8 Rock Strums. To play an arpeggio, pick the notes of a chord in rapid, even succession. This picking pattern was especially popular in early rock ballads like "The Great Pretender" (the Platters) and "Young Love" (Tab Hunter, Sonny James). The guitar plays first position or moveable chords. EQUIPMENT NOTE: In early rock, this lick was usually played on an electric guitar that was drenched in reverb and tremolo. More recently, chorus, phase shifter, and flanger have been used. (See EQUIPMENT APPENDIX for description of these effects.)

6/8 Rock Arpeggio",2
Tempo: Slow to moderately slow rock ballad
xx

..

ffim
c
~
IV

S.

I


+

~


w/flatpick
I

· · i
~

A

... ...

t+ .. .. " .. "
A

+ ..

.. *

...

.

.

This works well in the same tunes as 6/8 Rock Strum Rock Arpeggio #1. EQUIPMENT NOTE: The same as 6/8 Rock Arpeggio #1.

#2. It has more rhythmic bounce than 6/8

26

Reggae Strum #1 .,
Tempo:A1oderaterock
ON THE RECORDING

n

i

t

n

+

t

:11

[Hm'.
A

The electric guitar usually plays very sparse, clipped rhythm strums in reggae music. The tone is very sharp and biting. To achieve that clipped effect, moveable chord fragments are often employed. They are easier to mute (with the fretting hand), as in "The Harder They Come" (Jimmy Cliff), "Stir It Up" (Bob Marley and the Waiters), and "I Shot the Sheriff' (Bob Marley and the Waiters, Eric Clapton). EQUIPMENT NOTE: To get the appropriate biting tone, use the back (treble) pickup on an electric guitar.

Reggae Strum #2 •
Tempo: Moderate rock
RECORDING

ON THE A

:11

mEr

This is the same as Reggae Strum #1, but even sparser .

Reggae Strum #3
Tempo: Moderate rock

!

t

t

n
+

t

t

This is yet another of the many possible variations of Reggae Strum #1.

"

,

..
ON THE
ReCORDING

-t

:11

mffi"
27

A

Latin Rock #1
Tempo: Moderate to fast Latin rock

..
ON THE REGORDING
A

14 )

+

-r

»)
t
+

t
-r }

.._.-

I })

t

}n )
t
+

t

+

:)1

~mr

This bossa nova* beat resembles the Fast Rock Strum. As heard in "Along Comes Mary" (the Association), "You Are the Sunshine of My Life" (Stevie Wonder), and "1 Say a Little Prayer for You" (Dionne Warwick, Aretha Franklin).
*NOTE: Bossa nova is a popular Brazilian dance music that has mingled with American jazz and pop.

Latin Rock #2 ..
Tempo: Moderate Latin rock
ON THE RECORDING

t
-t )

ftim"
Latin Rock #3

Am7

For funkier, more percussive beats than Latin Rock #1, as in "Oye Como Va" and "Evil Ways" (Santana).

Tempo: Moderately slow to moderate Latin rock


)
t
ON THE RECORDING
xCmaj7

It

t

)

+

-t

t )

-t

)

+

)

+

-t

-t

:11

~3.

This is a gentler bossa nova strum, as in Jose Feliciano's version of "Ligbt My Fire,' "And I Love Her" (the Beatles), the "Theme from M.A.S.H. (Suicide Is Painless)," and bossa nova standards like «The Girl From Ipanema." At a slower tempo it works for "Killing Me ~oftly With rns Bong" (Roberta Flack).

28

King. "Love the One You're With. "It's Now or Never" (Elvis Presley). ON THE RECORDING }}) '-_. but with some damped strums./ t t t } :11 §im'fr A The wiggly line ( indicates a slow rake in which the flatpick hits one string at a time in rapid succession. Latin Rock #5 Tempo: Moderately slow to moderately bright Latin rock .. It also works in 1960s tunes like "Under the Boardwalk" (the Drifters). and "Stand By Me" (Ben E. !) Z8 . John Lennon). this fast samba beat fits tunes like "(Marie's the Name) His Latest Flame" (Elvis Presley). and "Little Darlin'" (the Diamonds)." and "Suite: Judy Blue Eyes" (Crosby.Latin RoCk #4 Tempo: Fast Latin rock • ON THE RECORDING \4 ) + n) ~ ) + t ~ t ~ I} ) t } ) ) J) t ~t ~t :11 A Similar to Latin Rock #1. like a quick arpeggio. Stills & Nash). "Diana" (Paul Anka). This rhythm was popular in 1950s rock tunes like "Love Is Strange" (Mickey and Sylvia).

"I Feel Fine" (the Beatles).. . T \I .4 .1_ r - I I I- . r u T . M This cut time fingerpicking pattern works in tunes like "Dust in the Wind" (Kansas)........ it sounds very funky on electric guitar.. A . Fingerpicking Rock #2 .... £. r ~ A r oJ • I I ~ .J -r - . M 1"'1 M {T) \. oJ r (WI (T) r A U . Dwight Yoakam)... I L~ . - • ... If you leave out the tablature numbers that are in parenthesis. T . r \"" r A r (T) U " \2. and "Little Sister" (Elvis Presley... A U ... "Polk Salad Annie" (Tony Joe White).I - I 1.. lA' I"" -\IiIT (T) (T) M M This fingerpicking pattern is appropriate for swamp rock tunes like "Born on the Bayou" (Creedence Clearwater Revival)... " T T M . you can easiIy adapt the pattern to a flatpick. It is the same as Rural Blues Fingerpicking Rag Style #1.. EQUIPMENT NOTE: Though this is an acoustic style... ~ .~ - h r •I . Tempo: Moderately slow to moderate rock E I ~ ~ oj 1..J c ) -f . 30 . and "It's AllOver Now" (the Rolling Stones).Fingerpicking Rock #1 (Swamp Rock) .. Tempo: Moderately fast rock ..

. 31! . .. or electric six string enhanced by chorus or flanger. chorus.Fingerpi. II' J...J .\ ~ AI AI ~J> G .. .. . " M T M This simple pattern is a steady backup lick behind a straight rock beat..II u lh...... EQUIPMENT NOTE: Often played on electric guitar enhanced by flanger... T ..... EQUIPMENT NOTE: Often played on acoustic guitar.. • A . but with a rock beat. as in "Tired of Waiting for You" (the Kinks) and "Mama Told Me (Not to Come)" (Three Dog Night). .cking Rock #3 • Tempo: Moderate rock - .. and "I Am a Rock" (Simon and Garfunkel).. or tremolo.. r \~I ..._ IJ -.. I I I " ~ A .. Fingerpicking Rock #4 • Tempo: Moderate rock - .. .- sr=> . As played in "Mr.. u T r - I -01 a . . . . w " " " T 0 T M T M This folk-rock pattern resembles Fingerpicking Rock #2. acoustic or electric twelve Gtrillt.... . Tambourine Man" (the Byrds).P ~ I .. . . .. . D oW: AI ~ ( J ( .. . • .. .

I U I -L • I ll __ ~~ J I~J • I J--J il • . ... moved up five frets...Rockabilly Fingerpicking #1 . and it's a B lick. etc. " M T H M T U T H M '" T T This is a variation of Rockabilly Fingerpicking #1. Tempo: Moderate to fast shuffle First Position Moveable fI" ~ . play an electric with a "slapback" echo effect (see T " T . alternating thumb bass. - r " T r " .. Travis and Atkins embellished the raggy blues fingerpicking style of rural blues players and made their licks moveable (see Rural Blues Fingerpicking. . Elvis Presley). '" M '" '" T This is played in first position in the key of E. as well as country hits like "My Baby Thinks He's a Train" (Roseanne Cash) and "Heartbroke" (Ricky Skaggs). it's a C lick. This pattern and the other rockabilly patterns that follow can be heard in songs like "Blue Suede Shoes" (Carl Perkins. '" T ... The key-of-A pattern next to it is the same lick.. Rockabilly Fingerpicking #2 • Tempo: Moderate to fast shuffle First Position E Moveable A ~ ff -t. ... EQUIPMENT NOTE: All the Rockabilly Fingerpicking patterns sound good on acoustic or electric guitar. but for an authentic rockabilly sound... rockabilly patterns feature a steady. Rockabilly fingerpicking is based on the style of Merle Travis and Chet Atkins. ~~ lOOt > A 1 ~ I- - r v r A r - I i. Use it as a Rockabilly Fingerpicking patterns to make two-bar phrases. M '7 . T - M '" T .. 32 repeated pattern or mix all four . . up one more fret.J -""A 0 -~ I ~ - . As in raggy blues. Many rockabilly pickers simulate fingerpicking by playing the bass notes with a flatpick and the treble notes with the middle finger. Move it up two frets.. "Crazy Little Thing Called Love" (Queen). It is based on a barred E chord. Rag Style in the BLUES chapter). T EQUIPMENT APPENDIX). A r a V r T \I - r '" T 'Il r ... and "All My Loving" (the Beatles).> r - I . u ""_ r - I • ~ '" T IJ . Mama" and "Good Rockin' Tonight" (Elvis Presley).. A r . "That's All Right.

.... r A r .. T .._ I "j}..~ I H M T H T M T T T This is the same as Rockabilly Fingerpicking #1.. A r u r . . " T .Rockabilly Fingerpicking Tempo: Moderate to fast shuffle First Position J #3 • JlI II! E ). EQUIPMENT NOTE: Same as Rockabilly Fingerpicking #1. I I -- Moveable l I .. u ... ~ . ._]. .... - 1 I ~ r T __ T M . Rockabiny Fingerpicking #4 ... Tempo: Moderate to fast First Position Moveable .... " T V " . . T . T r ... T f r . ... " r . A r .... II -.--J • . with a hammer-on added.J I '" T . tI: ~ A l~JI l. III ~ "11111 . •• I r ~ - ~ I ~ ~J.... Try mixing it with #2. ... EQUIPMENT NOTE: Same as Rockabilly Fingerpicking #1. M T I This is yet another of the countless variations on this theme. M T _.. . ..Ilo to. r '" I'" A7 • . 33 .. V r M A CI ... . .

:.. T M This pattern works well in faster rockabilly tunes like "Mystery Train" and "My Baby Left Me" (Elvis Presley).. John Lennon). T r - l.. Rock Ballad #2 Tempo: Slow rock . "Stand By Me" (Ben E.. as in "The Best of My Love" (the Eagles). H T T M . :..-_r A ..._ v II(.. "Right Time of the Night" (Jennifer Warnes).. King...__. . and "I'll Be There" (Jackson 5). T ~ VI - r - II> " . ON THE i4 n )n n J n it i it it + + t R~COI=IMJO . . - • " -Ii '"' t _.. and country hits like "Workingman's Blues" (Merle Haggard) and "That's What I Like About You" (Trisha Yearwood).. T :.ai ~ t r V 'W X . . only slower. Rock Ballad # 1 • Tempo: Moderately slow rock ON THE 14 ) + n n )J +1 + 1 1 . T T H . i V '" v I . Rose HasJts Thorn" (Poison)._. t JJ + RECORDING A :11 mm'" This is the same pattern as Basic Rock #3...jl mffi" "Every A This is slower than Rock Ballad #1. EQUIPMENT NOTE: Same as Rockabilly Fingerpicking #1.. Fret the final barred chord of each pattern with your ring finger.. and "Every time You Go Away" (Paul Young). as in "Hey Jude" and "Let It Be" (the Beatles).Rockabilly Fingerpicking #5 • Tempo: Moderately fast First Position Moveable ~~ 6i -- goo'" ~ A7 .

.. etc... enhanced by effects (echo. I I I I . and "Don't Know What You Got «Till It's Gone)" (Cinderella). flanger.. EQUIPMENT NOTE: Use acoustic guitar..•.. the more sixteenth-note strums are added..).Rock Ballad #3 • Tempo: Slower than Rock Ballad #2 ON THE RECORDING H + t n + t J )JJ) + ~t+i :11 ttmr A The slower the tempo.. nemolo. and "I'll Have to Say I Love You in a Song" (Jim Croce). It's atypical backup for tunes like "You've Got a Friend" and "Candy Man" (James Taylor). " T T There are many variations of this fingerpicking pattern. electric guitar chorus.. A co r " T " .. M r ~ v • " 1 I " M T " .J .•. 5fr 'tttl±J ' This is one of countless possible variations of the ROCK BALLAD #2 or #3 strums. or twelve-string guitar. "Helpless" (Neil Young).#:1 Tempo: Slow to moderately slow rock ballad Am fl • . Eric Clapton).. 35 . Fingerpicking Rock Ballad.. as in "Knockin' On Heaven's Door" (Bob Dylan. Rock Ballad #:4 • Tempo: Same as Rock Ballad #2 or #3 ON THE H) H ) J J J '--' + t + + t rr t:t: RECORDING A J)J :11 m:m .

..... .. Eric Clapton). t • .. "Fire and Rain" (James Taylor).Finge... M t A t .J .. fingerpicking " v T M M This is an alternative pattern to Fingerpicking Rock Ballad #1.. A .. . "Killing Me Softly With His Song" (Roberta Flack).. t + u t .... " t + A \I t . A T T M .rpicking ROCk Ballad #2 • Tempo: Slow to moderately slow rock ballad Em AJof . with a half-time feel G I. .._ + .. "Sailing" (Christopher Cross). flatplcking ~ I + " T M v .. 36 . T T This one can also be played with a flatpick.. oj. EO UIPMENT NOTE: Same as Fingerpicking Rock Ballad #1. Fingerpicking Rock Ballad #3 • Tempo: Slowly. " " M T fingerpicking ... flatpicking + V • A . + I + A I --u- A I:) .!oj. It works in songs with the same type of beat. T t v . and "Knockin' on Heaven's Door" (Bob Dylan. EQUIPMENT NOTE: Same as Fingerpicking Rock Ballad #1. " + + \I t v v v . It fits rock ballads like "Every Rose Has Its Thorn" (poison).. I _. such as "Play With Fire" and "As Tears Go By" (the Rolling Stones) and "Lady" (Kenny Rogers).

.g.. A --. country. Often."Mabellene. rhythms.g. "Let's bop again. and it borrowed the swing band camping found in the BLUES chapter. Disco Scratch Rhythm #1 to #3. Chuck Berry played a bluegrass strum on electric guitar on his first hit. Basic Soul/Rock Strum #1 to Rockabilly lead guitarists play many of the boogie licks found in the BLUES chapter..... "Let It Be Me" (the Everly Brothers) and "I'll Be There" (Jackson 5).. Early rock was sometimes called "bop" (as Gene Vincent said. EQUIPMENT NOTE: Same as Fingerpicking Rock Ballad #1. Country Strum #1 and #2. and folk (e. 37 . (For example. this is for tunes like "StairVV'ayto Heaven" (Led Zeppelin)..J . Finserpickins Boogie Lick #1 and #2. T I u I r . #4. BLUES Chapter: Rural Blues Fingerpicking Pattern (Rag Style) #1 and #2 FOLK Chapter: Folk Fingerpicking #1 and #2 .. T I T M T Similar to Fingerpicking Rock Ballad #2. Cross-Referenc. . ~ h I ""I t. The same licks are staples of swamp rock and Southern rock. Kansas' folky "Dust in the Wind").. Uptight Funk #1 to #6.") BLUES Chapter: Urban Blues Camping #1 to #4. T • oJ ... Hanky Tonk-Strum.. the Rolling Stones' "This Could Be the Last Time" and "It's All Over Now"). listen to Bill Haley's "Rock Around the Clock. Blue Caps!"). it has used R&B/funk!soul while contemporary techno-pop uses disco and uptight funk" patterns. I I ~ .. COUNTRY Chapter: Bluegrass Strum #1 to #3. Rockabilly rhythm guitarists (especially acoustic guitarists) play Country strums.FingerpickingRock Ballad#4+ Tempo: Very slow c Ii • >. Rhythms found in this book." BLUES Chapter: Rural Fingerpicking Blues Pattern (Texas Style) #1 and #2.. R&B/FUNK/SOUL Chapter: Basic Sparse Soul/Rock Strum #1 to #5. Rock steals fingerpicking from blues (e. A 0 .. ~.es Rock borrows heavily from all musical forms.

To give definition to those rapid sixteenth-note patterns.g. a crisp sharp-toned electric guitar has always been preferable.." rather than constant strumming. this strum is played in a hiSh resister and. the beat is often guitar-driven. hitJhH"hts the snare drum accents. The Fender Stratocaster and Telecaster have long been standard funk guitars. and a "soul" section in your local record store. and "soul" charts .. As the strums that follow illustrate. though many modem hybrid electrics can achieve the same sound. funk. 38 . "black" pop music has a funkier beat than "white" pop music. super funkmeister George Clinton produced the white rock group. soul. • Moveable chords are the chords of choice. • Space is important in funk patterns. the bass and drums are more likely to define the rhythmic feel. Here are some other qualities that set it apart for the guitarist: • Funk strums are more rhythmically complex than rock strums because the beat is more subdivided. Basic Sparse Soul/Rock Strum #1 Tempo: Moderately slow to fast rock ON THE A RECORDING :11 Like one of the most basic reggae beats. and many other names. and the bass and drums follow that riff. • In rock and metal. Muting is needed for the same reason a sharp-toned electric guitar is used: it gives sharp definition to those sixteenth-note strums. and "Ain't too Proud to Beg" (the Temptations). This can push and syncopate the beat. Notice that there are many sixteenth-note strums in the patterns that follo'W. such as "In the Midnight Hour" (Wil~On Pickett). In spite of musical crossover and racial and musical integration (e.. because they can be muted more easily than firstposition chords. listen to conga drummers and try to imitate their rhythmic approach. In soul or funk music. and the guitar responds to them. "soul" video programming. the Red Hot Chili Peppers). there are still "soul" (read "African American") radio. It was used in many early soul tunes.R&B/FUNKISOUL It has been called R&B (rhythm and blues). Notice how the patterns that follow often contain "holes. A raunchy guitar riff defines the groove. To make up syncopated funk patterns.

t ) . t RECORDING ON THE A 'f t :11 mID" This is another more syncopated variation of #1 and #2. Basic Sparse SoulfRock Strum #3 Tempo: Slow to moderate rock • ON THE RECORDING t } . P t • RECORDING A ON THE 'f A more syncopated version of the previous strum was used in early soul/rock ballads like "Stand By Me" (Ben E. 'f A mID" This is a slight variation of #2. King) and "Under the Boardwalk" (the Drifters).Basic Sparse Soul/Rock Strum #2 Tempo: Slow to moderate rock/ballad .. 39 . Basic Sparse Soul/Rock Strum #4 Tempo: Moderate to fast rock • 11 'f » t . as in "Walk On By" (Dionne Warwick).

lly" (Wilgon Pickett). ~t :11 mID'" A This is still another syncopated variation. Bas'ic Sparse SoullRock Strum #6 Tempo: Moderate rock . ON THE RECORDING I~ P ~ i . It has a rhythmic feel similar to the Sam and Dave hits. I'm Comin'" and '<Soul Man. and two-bar patterns can be created (i. The sixteenth note adds syncopation.. The last stroke is played one fret lower and slides up a fret. so that the first beat of the repeated pattern is a slide.Basic Sparse SouifROCk Strum #5 Tempo: Moderate to fast rock • ON THE RECORDING n .m Tempo: Moderate to fast rock #1 • nn 40 i t~t ON THE RECORDING E9 This strum is played in soul classics like "Papa's Got a Brand New Bag" and "I Feel Goodl1 (James Brown).e. "Knock On Wood" (Eddie Floyd and many others). "Hold On. All of these can be mixed and matched.. -r ~ t }1 -r p t x -r :11 mm'· E9 This strum has a funkier feel than the other Sparse Soul/Rock Strums." Basic Soul/RockStru. . The strum also works well without this extra feature. and "Mustang Sa. play #2 followed by #4).

as in "She's Lookin' Good" (Wilson Pickett).Basic Soul/Rock Strum #2 Tempo: Moderate to fast rock • ON THE RECORDING This is the same as #1. which creates a very syncopated feel. with a slightly funkier feel (because of the extra "scratcn" strokes). Basic Soul/Rock Strum #3 (Variation) • Tempo: Moderate rock ballad to moderate rock ONTH~ RI'OCCROINC. Try alternating #3 and #4.B. the Rolling Stones). for tunes like "Let's Stay Together" (Al Green). it is sometimes called a "scratch rhythm. with one variation: the last beat is tied to the first. . "Midnight Train to Georgia" (Gladys Knight and the Pips). If a strum includes many muted strokes. "The Thrill Is Gone" (B. so that the "anticipated first beat" happens every other bar. King). and "Just My Imagination" (the Temptations." Basic Soul/Rock Strum #3 • Tempo: Moderate rock ballad to moderate rock Ia ) ~ ) JJ J ~t + t~t n ON THE RECORDING x Emaj7 §mj" This is a slower variation of #1. x )J)) + t + t n »---+ t t f :\1 rnm" 41 g9 This is the same as #3.

Uptight Funk #1 Tempo: Moderate to fast rock • f) + t f) + t RECORDING x E9 ~6ft ON THE James Brown popularized this "uptight" (funky/high tension) feel in a series of tunes like "Say It Loud-I'm Black and I'm Proud.." "I Got the Feeling. Uptight Funk #2 Tempo: Moderate funk • I)JJJm}~~ '--' J t+ t tt + RECORDING x ON THE E9 ~ . the overall groove was the same." Though each tune had a different guitar part. This is the flip side of Uptight Funk #1." and "Baby I Love This strum fits songs like "Shotgun" (Junior Walker) or "Respect." and "Ain't It Funky Now." 42 . His arranging in the late 1960s pushed soul music in a much funkier "rhythm groove" direction." You" (Aretha Franklin). as in James nro'INn's "Cold Sweat" and "There Was a Time.Basic Soul/Rock Strum #4 Tempo: Moderate to fast rock • ON THE E9 14 n p ~ ~» n ~ + t • • + i + t RECORDING x :11 §Hft "Think.you achieve the same groove with a scratch rhythm (many sixteenth-note strums). which had few strokes and a lot of space. H~re. Note all the "space" in this pattern.

. and "Disappear" (INXS).. "It's Genna Be Uptight Funk #4 • Tempo: Afoderatefunk :> )H ! + t f)l + t + ) n ffiffi" + + x > t ONTHE RECORDING E9 :11 This is one of many ways to vary #3. Uptight Funk #5 .._______..uptight Funk #3 • Tempo: Moderate funk It n ~ ~ > ) ~ n ~ t j ~ JJJ i!! :11 :> ON THE Flr=CORDING ~ H9 ~'. as in "Don't Wanna Love You" (Shanice) and "Hold On" (En Vogue).. My Heart" (Baby Face). 43 . This is a modern funk strum...-n.. as in "Seven (Grace Jones). Tempo: Moderate funk ON THE E9 I a )JJJ ~ t+ t ).. It has more sixteenth notes..-t· f)l . as in "I Give You Alright" (Aaron Hall). + + t t! RECORDING x :11 §M" Day W~~k~nd" This is another modem funk groove.

. When you make up variations on this theme. or I and ii (E and F#m). t + ~ ~ ~ )! w + ~ t ~ ~ w .g.... As in Isaac Hayes' "Do Your Thing. (Falettinme Be Mice Elf Agin)" (Sly and of this pattern." and «Thank You the Family Stone). and "Clean Up Woman" (Betty Wright). This is an "uptight funk" beat that manipulates space and shifting chords. • t • . 44 . Sliding Funk Pattem #2 Tempo: Moderate funk ballad to fast funk • RECORDING 13 ON THE 5 & This is a variation of Sliding Funk Pattern #1. three-note or four-note formations to make the rapid shifting easier. all on the strength of one stroke of the pick. such as I and IV (e. Sliding Funk Pattern #1 Tempo: Moderate funk ballad to fast funk • ON THE RECORDING x Em9 }n ~ + + t :11 B±m" The slides are part of the rhythm back up to normal position.. The chord shapes are abbreviated. I + :. use any closely related chords.~ ~ w • + :: !l- t . E and A). Slide the whole chord down a fret. then down. The pattern also works without slides. then slide then up again. Early examples of this style of strum include "Want Ads" and "StickUp" (the Honey Cone). I and V (E and B).: p t~ ~ ~ w /J ~ w * -x ...Uptight Funk #6 • Tempo: Moderate funk .

.. ~ 1P The slide in this pattern is used in a different way in Slow Urban Blues Strum #2 (see the BLUES chapter).Sliding Funk PaHern #3 Tempo: Moderate funk • J . . ~ ~ ~ / :=:." Sliding Funk Patterns #1 and #2 are used often in soul ballads." Funk Ballad #1 Tempo: Slow to moderate funk • ON THE RECORDING or moderately slow funk groove. Since it's a two-bar pattern. first popularized in Marvin Gaye's Get It On" as well as the Jackson Five's "Never Can Say Goodbye.t r.....:. 4 .':. .t~ ....it 4 .. + II.. t ! :... The strum would also work if you played the same inversion throughout... .. :....it + . This "What's Gain' On" and "Let's pattern is another ballad 45 . Sliding Funk Pattern #3 works in one-chord vamp songs like Sly Stone's "Thank You" and "1 Want to Take You Higher. .. ~ . ~ . + . ~. ...A .." and Wilson Pickett's "Don't Knock My Love" and "Engine Number 9. . The high E9 chord at the end of the pattern could be any higher inversion of the original chord... • + .. ·1 A ... ! r: '. Ir E9 ~ .x t l.:.. • -~- " '. .. ..

t. Disco/Scratch Rhythm #1 Tempo: Moderate funk • x . such as by removing a sixteenth-note strum or two. This non-stop sixteenth-note rhythm was popularized in early disco tunes like the Bee Gees' "Jive Talkin'. ONTHE RECORDING >< It ) J J J J J j J J J J J j J JJ + tt > t i t...Funk Ballad *2 Tempo: Slow to moderate funk • RECORDING ON THE One of many possible variations of Funk Ballad #1. Funk Ballad #3 Tempo: Slow to moderate funk • n it ON THE RECORDING J + x Dmaj1 :11 ~'. as in "Tonight Is Right" (Keith Washington)." It is played with normal or muted chords.. In tunes like "Shaft" (Isaac Rayes). This is another variation. t. as in the two patterns that follow.--. a rhythmically rocking wah-wah pedal gave it a distinctive sound. for tunes like "Feel Like Makin' Love" (Roberta Flack) and "Do Your Thing" (Isaac Hayes). . > > t :11 E9 ~'. It can be varied in countless ways. > t. t.

"Suicide Blonde" (INXS).. "Morning Train (Nine to Five)" (Sheena Baston).. ))JJ t.__ --. t :11 ON THE E9 x ffiffi6& Soul Shuffle #1 Tempo: Moderate to fast rock shuffle • x .. Disco/Scratch Rhythm #3 Tempo: Moderate funk .. ON THE RECORDING j * t!t JJJ x :11 ffiffi" R9 This is heard in "Night Fever" (Bee Gees).-----.~isco/ScratchRhythm Tempo: Moderate funk #2 . RECORDING • H )~""""I""""H)))) 14 ) This is yet another variation.. x ... + t + • t. this strum works in tunes like "Don't Mess With Bill" (the Marvelettes)... t. 47 . and "I Will Survive" (Gloria Gaynor). and "Heat Wave" and "Jimmy Mack" (Martha and the Vandellas). ON THE RECORDING It ) + ) + n) + t + x ffim" 59 Essentially the same as Urban Blues Comping #1.. t..

SOUl Shuffle #2 Tempo: Moderate rock shuffle x ..--__ --. taut 6/8 feel. l~ ) + J J J--. 48 . + t + t 1ii tffi§'" A This has a very clipped. as in "Anyone Who Had A Heart" (Dionne Warwick). James Taylor) and "The Way You Do the Things You Do" (the Terrtptations)_ Soul 6/8 Time #1 Tempo: Slow to moderate ballad • ON THE RECORDING J J J J )~J--'J :11 Men). and "End Of the Road" (Boyz II Soul 6/8 Time #2 Tempo: Slow to moderate ballad • ON THE + l~ ) JJJ)) t ~t ~t ~ »~~ RECORDING A :11 This is a variation of #1. "I've Been Loving You Too Long (To Stop Now)" (Otis Redding).) J J J t + t t + t RECORDING ON THE E9 X :11 §lill'> This has a slight!y looser feel than Soul Shuffle #1. as in "How Sweet It Is (to Be Loved by You)" (Marvin Gaye.

Latin Rock #1 to #5. Boogie/Rock Lick #2. Tempo: Slow to moderate ballad ON THE I~ H ~ J + t t RECORDING J + mm'" A This is a very syncopated variation of 6/8 time.. Cross-References R&B and rock have always shared musical ideas. Urban Blues Camping #1 to #4. Marvin Gaye's "Can I Get a Witness. "Hi-Heel Sneakers" Boogie Rock/Strum #1 and #2. Slow Urban Blues Strum #2. and both forms derive from the blues. BLUES Chapter: Basic Boogie Lick. and many early.. Boogie/Rock Lick (Moveable). 6/8 Rock Strum #1 and #2. #2 and #3. #1 Variation. Boogie/Rock Lick #1. Ail the boogie-woogie patterns occur. soul hits use "Hi-Heel Sneakers" strums (e. That's why rock and blues strums are useful in R&B/funklsoul music. Basic Boogie Lick (Moveable). ROCK Chapter: Rock Boogie #1. 49 .. Slow Urban Blues Strum (6/8). Rock Boogie Shuffle #1 and #2." also covered by the Rolling Stones). 6/8 Rock Arpeggio #1 and #2.g.Soul 6/8 Time #3 _ .

There are chord/rhythm riffs and single-note melody riffs. and they use the rock strumming and picking patterns. G5. etc. Distortion changes the way you play. They are an exploration of typical ways to construct metal riffs.METAL PUN AND GRUNGE These terms mean different things to different people..) The chord/strumming riffs that follow are not lifted from specific tunes." . is optional): 6 th string root m 1 x comes from: 5th string root ffii 2 xx x x comes from: ~ 4th string roo! II comes 3 from: Power chords have no thirds. They first appear in this book in the BLUES section. and they use these three shapes (the third note of each chord. Here are three ways to play AS: xx ~7fr A5 xx not to mention. (A riffis a short musical phrase that is repeated over and over. Metal is driven by heavy guitar riffs. a foot pedal. t±±ti:j 50 . See EQUIPMENT APPENDIX Power Chords Power chords are the two-note and three-note chords popularized by Chuck Berry that go back to the early blues/boogie licks. C5. or any combination of these". and many strumming patterns have evolved that are peculiar to metal and punk. It can come from an over-driven tube amp. in parenthesis. Heavy metal rhythm guitarists play power chords more often than standard guitar chords. with the Basic Boogie Licks. Naturally. an overdrive channel in a solid-state amplifier. an effects processor. but for guitarists they all have a comman denominator: distortion. just a root and fifth. they are all to be played on electric guitar with the distortion turned up to "eleven. Metal ana punx arc both rock. so they are written like this: AS.

Metal Riff Tempo: Moderate to fast rock with Sustain #1 • G5 Bb5 + p5 + I ). This happens often during a verse.. a busier (more chops) pattern is played for the chorus.__.~ I~ I) ~ rn F~5 p5 ++ E5 i :11 This pattern would have a lot of empty space if it weren't for pounding drums and a sustaining wall of rhythm guitar grunge. Metal Riff with Sustain #3 Tempo: Moderate to fast rock • D + 1a mID ~ ~ I) j rum Dsus t D t })J <:» :11 This is a third example of the infinite possible variations of sustain riffs. ) Distortion makes the electric guitar sustain. Many riffs contain long-sustaining power chords. 51 . Metal Riff with Sustain #2 Tempo: Fast rock • -rr: F5 F~5 G5 ~~i .

Hi A sus + A Asus t A t t :11 n») » Metal Rock Riff #3 • Tempo: Moderate to fast rock + p5 05 + + p5 G5 ++ I ~)) JJ) Metal Rock Riff #4 .Metal Rock Riff #1 • Tempo: Moderate to fast rock E5 + + + ~ ~ ~ 14 ). Tempo: Moderate rock Ian n p AS GS 52 + + CS + t + AS + ) G5 » I) n ))))~II (5 + t 05 tt A5 ttt '-----" ... Metal Rock Riff #2 Tempo: Fast rock ._... + 14 ) mm A + + t + t t n») »1 ) .... }» ) 1 ) JJJ as n) ~ ~ DS ~ :11 This is the first of a series of five metal rock riffs that illustrate some of the possible rhythms .

.. • + '" x : . -.. There. Tempo: Fast rock n) Tempo: Fast rock ~t + + nIJJJJn) ~ p5 t B~S t t t ~ t AS t :11 Fast Muted Metal Lick #1 • 05 ~ ) :11 Muting the strings with the palm of your picking hand can add variety to your riffs. " + _X r + " x r ! " :. + t ONTHE RECORDING :11 m C5 Metal Boogie variation Tempo: Moderate to fast rock (0) ps ~ '" . + A . + 'l:! .... + " ~ _'"_ . ....._.. 53 . .. ~ ~ " ...II ~ T .._. u " " .... . Fast Muted Metal Lick #2 Tempo: Fast rock • HJ + t + + t + HJ HJ ~t + n . '-' .. . . 0 " " '" ~ ~ ........ + v -.Metal Rock Riff #5 . ..are countless ways to syncopate and vary the standard Chuck Berry-style bass/boog~e lick.... :. ~ "'_ .. + " . This is one..... ! x ! '!:!.

simpler approach to funk/metal. + AS 4. . . • .." (Ratt). Funk/Metal Riff #1 Tempo: Moderate funk/rock . rhythmic riff... droning..".1' IItC . "Walk This Way.. ." and "Love In An Elevator" (Aerosmith).... = 01 " " This is typical of the many riffs that take advantage of an open bass string. . ' =i =i =i ~ =i ~ + + + ~ ·01 + + 1.1 + 1...1 + . "Kick 'n' Fight" (Britny Fox) . " . + 1. It creates a powerful.. .._ ~ . 1 4)' nn ) HJ H J1: + + + + + + t t t t :11 This is another.'" ..I ~ I I ..l 01 .. It E5 n + + + t + J)l )~n~' J)l GS '--' + + t t AS + :11 Is there such a thing as funk/metal? Think of the grooves in tunes like "Way Cool Jr.. think of the Red Hot Chili Peppers! Funk/Metal 'Riff #2 Tempo.. Similar licks could be played using the open E (6th) and D (4th) strings.Metal Open-String Riff Tempo: Fast rock . .-·-11 II .. "I Love Rock 'n' Roll" (Joan Jett). 54 .' Moderate funk/rock .. A ~ I =i =i I ~ ..

. only simpler.. t)· .. Punk Strum #2 Tempo: Fast rock . + + + • • • • + RECORDING. ON THE 14 ) + n) n + t + + t I) + n )J + t + t JJ + t RECORDING :11 Play this one several times and you'll understand why they often call it "thrash" metal....___. repetitious. It) J J J ) J J J Punk tends to rely on simple. ON THE :11 ~ loud strums to push the beat.Punk Strum #1 Tempo: Fast rock . ) This is like the metal sustain riffs. + +t RECORDING ON THE 55 ..s first-position chords... The guitarist 'often trse. This all-downstroke strum is about as basic as you can get.. Punk Strum #3 Tempo: Moderate to fast rock .

Punk uses all of the boogie licks from the ROCK and BLUES chapters._. ! ). Rock/Funk #1 to #4. Blues patterns also occur in metal. I))) + t + J) t + ) + This is a slightly more extended version of Punk Strum #4. Rock Boogie Shuffle #1 and #2. Boogie-Rock Lick #1. #1 Variation. and all the boogie licks: Basic Boog:e rick. but simpler. Shuffle Blues Lick #1 to #3. and it uses many rock strums for uptempo tunes and ballads. Punk Strom #5 Tempo: Moderate to fast rock ... BLUES Chapter: Rural Blues Shuffle #1 and #2. It's similar to Metal Rock Riff #1... ! ) ) ) JJ <c::» ! ~~ i ONTI-ll:< RECORDING This syncopated strum has all downstrokes.. Rural Blues Fingerpicking Pattern (Texas Style) #1 and #2. Rock Boogi" #2 and 3. Boogie-Rock Lick #2.c Boogie Lick (Moveable).. Cross"References Metal grew out of rock. ROCK Chapter: Basic Rock #1 to #3. ON THE RECORDING I!). Boogie-Rock Lick (Moveable).Punk Strum #4 Tempo: Moderate to fast rock . and all the boogie licks: Rock Boogie #1.. I a ). Bas. Finoerpick: ing Rock Ballad #1 to #4. 56 . Rock Ballad #1 to #4.

• ~I t --!. Early country fingerpicking was derived from rural blues. Brush up on the treble strings with your index or middle finger. Tempo: Moderate to fast E ) . did it finger style. and western swing._ . blues. "" . 2. Pick a bass note with your thumb. 4. COuntry rnytnm _guitarists use it. . Repeat steps 2 and 3 (brush down and up on the treble strings)..... .. which is documented in this chapter.. 57 .. :: . Pick another bass note with your thumb. v v . Brush down on the treble strings with your thumb or the back of the index or middle ringer..1.. Bluegrass Strum #1 (The caner Lick) . - ':! u ':! ':! xx y 5. Most guitarists use a flatpick for this strum. rock. 3. For example.. . 5....COUNTR Today's country music is a blend of traditional country. B in an Echard). who popularized it. EQUll'MENT NOTE: Usually played on acoustic guitar. It should be the keynote (C in the key of C. 4. 2.. but Maybelle Carter. and it's a staple in modern country... A. preferably the 5th in the chord (G in a C chord. E in the key of E). A v 't . There is always a back-to-the-roots/traditionalist element popping up in country music that makes use of the patterns in this chapter. the patterns that follow are of the more traditional country variety.lI 1.. pop. u T I T I T ..... the Carter strum was popular in 1930s string bands and 1940s bluegrass bands. Since blues and rock guitar backup is covered in other chapters of this book... in "Jambalaya" and "I Saw the Light" (Hank Williams). ft " r T • • II ~t ~. Contemporary country music often borrows rhythms and guitar styles from 1960s and 1970s rock and blues. 't 't . "Wabash Cannonball" and "Wildwood Flower" (the Carter Family). and "I Walk the Line" (Johnny Cash)... but Merle Travis and Chet Atkins put a new twist on fingerpicking.. as well as bluegrassers. 3. So look in the ROCK chapter for straight-eighths rock strums and boogte-woogie backup licks. The alternating bass notes (root and 5th) are an important part of the strum.. as did Lester Flatt and other early bluegrass players: 1.

"Blue Eyes Crying in the Rain" (Willie Nelson)." "Roll in My Sweet Baby's Arms.. "Will the Circle Be Unbroken" (Carter Family and many others). . iii. I + A + . ~ lI:: r + u • Clio • . + ){ • t.. with an extra upstroke added to fill out the rhythm in a slower tempo... ~ v !I " lI:: " " This is like Bluegrass Strum #1.11 . Tempo: Fast cut-time ... ){ A . Some examples are "Orange Blossom Special. " ." "Mountain Dew. It X " • or v ~ ~ 'J ~ ~ It 'i ... EQUIPMENT NOTE: Usually played on acoustic guitar.... 1:11 " " ..." EQUIPMENT NOTE: Usually played on acoustic guitar.If aJ G • ~ ~ ~ !it X -'" . ~ • ~~ E iii. ~ )(' t ..Bluegrass Strum #2 . The alternating bass remains. 58 . as in "Your Cheatin' Heart" (Hank Williams). .. The upstrokes are removed. Tempo: Moderate to slow country shuffle 1~ • ~ • "• ." "Rocky Top." "Foggy Mountain Breakdown." and the fast part of "Dueling Banjos... Bluegrass Strum #3 . and "Cool Water" (Sons of the Pioneers).. "'" . ){ t . A . This is the same as the previous strum--streamlined for speed......

59 .). and "Honky Tonk Man" (Johnny Horton.. "I Can't Help It If I'm Still in Love With You" (Hank Williams. Sr.. It is often accompanied by a walking bass and is used jn rowdy honky tonk tunes like "I Never Knew God Made IIonky Tonk Angels" (Hank Thompson).Country Strum #1 Tempo: Moderate to bright country shuffle > • ON THE RECORDING > + ¢) n )) J + + + t t J t :11 The first downstroke can be aimed at the bass strings. Country Roads" (John Denver). as in the bluegrass strums (but less precisely). shuffle beat than Country Strum #1 or #2. and Hank Williams. and "Back in the Saddle Again" (Gene Autrey). "Mama Tried" (Merle Haggard). "Detroit City" (Bobby Bare). Jr.. the Beatles). . Linda Ronstadt). "Take Me Home. Honky Tonk Strum Tempo: Moderately slow to moderately bright shuffle > . I t)JJ + t > + J)J t > + t > ON THE JJ + t RECORDING :!I This has a stronger. country Strum #2 • Tempo: Moderate to slow country shuffle > > > ON THE RECORDING ¢) + n )J . as in "Bye Bye Love" (the Everly Brothers).- + t t +. Dwight Yoakalll). "Wake Up Little Susie" (the Everly Brothers).__. JJ t :11 Play slower and more syncopated than Country Strum #1. and "Don't Rock the Jukebox" (Alan Jackson). Some examples are "Act Naturally" (Buck Owens.. "Honky Tonk Blues" and "Move It on Over" (Hank Williams.

. .T T - x or + .. "Are You Lonesome Tonight" (Elvis Presley).t.. and classic waltzes like "Amazing Grace.- t t .':t r' + X -~ ':! X + . A-. x x .. ':! X t +. Try the Country Waltz on "Norwegian Wood" (the Beatles). The two waltzes are interchangeable. :I0Io ~ ~ . but you strum instead of picking an individual bass note. "You Light up My Life" (Debby Boone)." "Goodnight. or electric guitar enhanced by £langer. etc..and "Mamas Don't Let Your Babies Grow up to Be Cowboys" (Willie Nelson and Way ton Jennings). Irene. the Bluegrass Waltz has more of an old-fashioned country sound.ft E ) • .. 60 .." country Waltz Tempo: Slow to fast waltz • ON THE RECORDING nn + t + t :11 This is the same as the Bluegrass Waltz. A Y ':I X I ':! As in the other bluegrass strums. ~ ~ J - ~... EQUIPMENT NOTE: Use acoustic guitar. phase shifter. t..Bluegrass Waltz Tempo: Slow to fast waltz . Try this on "I'm So Lonesome I Could Cry" (Hank Williams). (see the EQUIPMENT APPENDIX). "Lucille" (Kenny Rogers)." and "Tennessee Waltz. you alternate the root and 5th bass notes.

.. All Travis-style picking is based on a steady... The thumb/bass pattern never wavers... EQUIPMENT NOTE: Same as Travis-Style Fingerpicking Pattern #1.. " V . as well as country hits like "My Baby Thinks He's a Train" (Roseanne Cash) and "Heartbroke" (Ricky Skaggs). sound. ._I " . but use an electric to get the Travis sound. play an electric guitar with "slap-echo": digital or analog delay (see EQUIPMENT APPENDIX) will recreate that Sun Records sound.. This is a variation of Travis-Style Fingerpicking Pattern #1...... R ~ . . . .. 61 ...... - r ~ v v r • . I . is the same as the preceding key-of-E pattern.. "That's All Right. and "All My Loving" (the Beatles). ..... It's based on the barred E chord. Travis-Style Fingerpicking Pattern #2 Tempo: Moderate to fast shuffle E .. r - ! ~ w r .._ ..J ..J . on-every-downbeat.. W _J_~J ~ A .... I _...... They work well in songs like "Blue Suede Shoes" (Carl Perkins.. ..Travis-Style Fingerpicking Pattern #1 Tempo: Moderate to fast shuffle • ~ jJ. r ~H> - fmi3"_J r ._ A ~ l . Mama" and "Good Rockin' Tonight" (Elvis Presley).. picking melody or rhythmic fills... The index and middle fingers play the higher strings on or off the beat.: . '. alternating thumb/bass pattern. The key-of-A pattern above. "Crazy Little Thing Called Love" (Queen). V '. A . . _. r . . . or Chet Atkins. A r v r . For a rockabilly sound. A r U ft f . damp the bass notes with the palm of your right hand. For a more authentic Travis. . ~ mm > - E I~h I . A n r . Use it as a repeated pattern or combine it with #1 and make a two-bar phrase. J. Elvis Presley). " . Both Travis-Style Fingerpicking Patterns are also rockabilly patterns. .jo ft "T ! - ! I I. R . turned into a moveable lick. EQUIPMENT NOTE: The Travis-Style Fingerpicking Patterns sound good on acoustic or electric guitar.

but the Cajun Strum has more of a straighteighths rock feel... with some left-hand movement added.. '" ~ . ... The second sample has the same picking as the first... u " MTIMTITM " ..- I "'"- I or E II .. ... • . .. ...... I .. as in "Down at the Twist and Shout" (Mary-Chapin Carpenter) and "Louisiana Man" (Doug Kershaw).0 · . . '" .. '" . this pattern is a tasteful backup lick in songs like «Mama Tried" (Merle Haggard) and «Guitar Man" (Elvis Presley)...... • • " " • • I 1 • " _T A .. .. " . .. .. . . TI . '" '" MTI ~ . cajun Strum Tempo: Moderate to fast rock > ON THE RECORDING I t)JJJ ) JJ J + tit > > + t~t >- :11 On paper this looks like the Honky Tonk Strum. ... • I"'" .. .. I • I • ... • J I -Iii +r I"'" _A.H: II II . Banjo Roll #2 Tempo: Fast two-beat E JoIo .. . 62 . '" '" ....... . " .. .. '" . or " . ... '" " . I '" TIMTIMTI This is a variation of Banjo Roll #1. u A u .. MTIMTITM Borrowed from five-string banjo picking. '" '" . _lJ II A .. .Banjo Roll #1 Tempo: Fast cut-time D ~ " JoIo II1 ~ .. . ~ .. '" '" MTI ~... u " " " .. .I"'" I II ... u u ...-u u u '" . '" ... rather than a shuffle beat..~ . . ...

Rock Boogie Shuffle #1 and #2. Rock Shuffle #1 and #2. Basic Boogie Lick (Moveable. Boogie/Rock Lick (Moveable) and #2. Urban Blues Comping #1 to #4. Country songs regularly evoke the vintage rockabilly sound by playing fingerpicking and boogie patterns from the ROCK and BLUES chapters. It still is. BLUES Chapter: all "Boogie" Strums. Country with a Southern-rock flavor may feature an electric guitar playing blues boogie licks. Fingerpicking Boogie Lick #1 and #2. listen to the recording and compare the Cajun Strum to the Hanky Tonk Strum. Rock Boogie #1 to #3. ROCK Chapter: Basic Rock #1 to #3. BLUES Chapter: Rural Blues Fingerpicking Pattern (Rag Style) #1 and #2. all "Boogie" Strums. BLUES Chapter: Rural Blues Shuffle #1 and #2. To feel the difference between a straight-eighths and shuffle rhythm. Acoustic country guitarists often borrow fingerpicking patterns from blues and rock for ballads and moderate-tempo tunes. Some contemporary R&B. Fingerpicking Rock Ballad #1 to #4. ROCK Chapter: Fingerpicking Rock #2 and #4. The western swing feel is often evoked by playing blues camping strums. Basic Soul/Rock Strums #1 to #4. country songs have a rhythm groove reminiscent of 1960s and 1970s R&B/FUNK/SOUL Chapter:Basic Sparse Soul/Rock Strums #1 to #4.The "straight-eighths rock feel" has eight beats to the bar and lacks the "dotted note" or "triplet" feel of a shuffle beat. "Hi-Heel Sneakers" Boogie/Rock Strum #1 to #4. Rock Ballad #1 to #4. Lick. Cross-References A strumming acoustic guitar has always been the backbone of the country sound. ROCK Chapter: Rockabilly Fingerpicking #1 to #5. 63 . Funk Ballad #1 to #3. Basic Boosie Boogielkock Lick #1. Rock Boogie Variation. but today's acoustic guitarist may be strumming a rock groove or a boogte-woogie feel.

Gordon Lightfoot.:y - . straight-eighths beat (like a rock ballad) G I I{ . the Weavers. . 64 . Irish. ! ' . Folk Ballad Arpeggio #1 • Tempo: Slow to moderate..g." "Careless Love. Judy Collins). . It has a gentle.. ana commercial than most pop music." To others. A . T ~ +1 .. Tracy Chapman. or any nation's songs that are so old their composer is unknown. M ... Though it can be played with a flatpick. and other pop artists who emphasize acoustic guitar in their performing and recording.1iIo . Robert Flack).. and COUNTRY chapters. ." and "Greensleeves. "folk music" means British... and "All My Trials" (Joan Baez and others).. "Skip to My Lou. American. e. "The First Time Ever I Saw Your Face" (Ewan MacColl. . this arpeggio pattern is often played with the thumb and three fingers.... For many people it refers to the folk/pop revival of the late 1950s.." The bottom line is: It's folk if it highlights acoustic guitar and other unelectrified instruments and is less slick. it means early acoustic blues or string band (country) music.. Suzanne Vega. " M ~ ... early 1960s led by city musicians like the Kingston Trio. and the Limelighters. Singer/songwriters of the 1980s and 1990s who drew upon musical styles of the sixties folksters were called "new wave folk......FOLK MUSIC To some people. Most of the picking and strumming styles needed to perform "folk" music are found in the ROCK. What follows are some patterns not found elsewhere that are heard on recordings of Joan Baez. .> -.. soothing feel that suits songs like "Suzanne" (Leonard Cohen.. BLUES. " '" . .

. Tempo: Slow to moderate.. as in "Danny Boy" (recorded by countless artists) and "Leaving on a Jet Plane" (peter. A r' " ¥ ...Folk Ballad Arpeggio #2 . Donovan).. Paul and Mary). Judy Collins).. ." the lullaby that was turned into a rock song ("Mockingbird") or "TumbEng Tumbleweeds" (the Sons of the Pioneers). and "Dona Dona" (Joan Baez.. Little Baby. IlL • - . R M _" A ~ V " A v V ~ T T R M This has a slightly stronger beat than #1 or #2. R r V ~ " ~ . T A U U M T This is a variation of #1... 65 ..~ • eJ II II A ~_ . It can also be played as a slow shuffle beat. as in "Both Sides Now" (Joni Mitchell. FOlk Ballad Arpeggio #3 • Tempo: Slow to moderate._ X .... straight-eighths beat G _I ~ aJ J . r u r _. . straight-eighths beat ..... . as in "Hush. M ..

66 . .. :110 • ~ #. ... -. -v A ..Folk Waltz Arpeggio #1 Tempo: Moderate waltz • ~ :Ilo L III • . .. as in "Scarborough Fair" (adapted by Simon and Garfunkel). airier feel than Folk Waltz #1... the Folk Waltz Arpeggio #2 Tempo: Moderate waltz G .. . Bob Dylan). ~ g ..a...... ro ' ...x . as in "Goodnight. ..J T ro T ~ ro '.... ll: U -v A R R M M This is another thumb-and-three-fingers pattern. .. '" T A r1 ~ A U ~ . u 0- M M R M This has a lighter.. M . . r1 r"-J A ~ . V . U . -. .T . Weavers) and "Satisfied Mind" (Ian and Sylvia. . and "Plaisir d' Amour" (Joan Baez). R ... Irene" (Leadbelly.

. T r T I . Paul and Mary). Johnny Cash). I r . " r . It's All Right" (Dylan.0.J. u ~ . and many others)... Joan Baez.. u - ~ I • . this works for tunes like "It Ain't Me.. " T .JoIo 01 I ~I .. T M Derived from the raggy blues styles (see BLUES chapter). I r .. Babe" (Bob Dylan. "Blowin' in the Wind" (Dylan. and "The Boxer" (Simon and Garfunkel)..j.. Peter.. as in "The Last Thing on My Mind" (Tom Paxton. • ...Folk Fingerpicking #1 Tempo: Moderate to fast cut-time • c J ... Doc Watson.. .. . .. .. Paul and Mary). Peter. "Don't Think Twice. M T - v .. T M ... '" T M . Folk Fingerpicking #2 Tempo: Moderate cut-time G J.. ..0. I ~ ~ j I v ~ al . Paul and Mary)... ana this is a popular one.. PO v . and "Puff the Magic Dragon" (Peter.. " T There are countless variations of Folk Fingerptcking #1.. ~ .

. T .Calypso Fingerpicking Tempo: Moderate to bright . The "rasgueado" effect. hitting the strings with the thumbnail. is done by unwinding the nngcrs or your strumming hand from the pinkie to the index finger as you strum. I .4." (the Kingston Trio..1 . loose strum 68 . - M Calypso was a mainstay of the folk boom of the late 1950s.. Paul and Mary).I r" - .. You can do this strum with a flatpick.u.. Calypso Strum #1 Tempo: Moderate to bright > > • 4 4 ) + ~ )J n + '--" t t )) + 1 :11 ON THE RECORDING This is a strumming version of the Calypso Fingerpicking pattern. -. M T " T . indicated by the wiggly line ( j ). It's a popular Spanish guitar technique.. . k j J k. A V~r . This creates a rippling strum. . ... This fingerpicking pattern works for folk hits like "Sloop John B. as in "Jamaica Farewell" (Harry Belafonte and many others).. the Beach Boys) and "Lemon Tree" (Peter.. "Banana Boat (Day-O)" (Belafonte).. • Brush up with the thumb. and the tunes mentioned for Calypso Fingerpicking. I . j » r -~ • &. but many folkies used their hand like this: • Brush down on the top (treble) three or four strings with the fingernails. that's why the Kingston Trio was so named. M .1. using a that includes three or four fingers. " ..

The index. middle.~ • I Em ) ) r . :11 This is a faster version of Calypso Strum #1.. as in "Marianne" (the Easy Riders." Plucking Pattern #2 • Tempo: Moderate cut-time . and children's songs '''I've Been Working on the Railroad").. ~ ) ." "The Fox.___.calypso Strum #2 • Tempo: Bright > I a) + n )J J J + > t t tt ON THE RECORDING .. T _.. A PO r X . A c I r - .. It brings to mind Burl Ives' folk hits like "Skip to My Lou. Jewish folk songs ("0 Hanukah"). R M I R M I This very simple pattern is often taught to beginners as a first strum. _I'l '! X ':f " T . and ring fingers simultaneously pluck upward on the top three strings.." and "Froggie Went ACourtin'.. and others) and "Tijuana Jail" (Kingston Trio). x r .. _X_ ~ This variation of the Basic Plucking Pattern is often used on Russian songs CMOi:j~OW Nights"). . x x _X u X II .. and the thumb alternates bass notes. Basic Plucking Pattem Tempo: Slow to fast cut-time E Jl. ) . Christmas songs ("Twelve Days of Christmas")... Belafonte.

Cajun Strum. J BLUES Chapter: Rural Blues Shuffle." "What Child Is This?" and "On Top of Old Smokey. Peas. .. Bluegrass Waltz. :. 6. Rock/Funk #1 to #4 Fingerpicking Rock #1 to #4.'_ "} "} -..jo Em ~ ~ - ) ""- i') . Fast Rock Strum. Basic Boogie Lick (Moveable). Rock Boogie Shuffle #1 and #2. 4 }.Waltz/Plucking Tempo: Slow to moderate waltz Pattern • c II ~ ~ L." and "Oats.. ROCK Chapter: Basic Rock #1 to #3. co r . rock. Rural Blues Fingerptcking Pattern (Rag Style) #1 and #2 and (Texas Style) #1 and #2._ ." "Cielito Lindo. v 't . Rock Ballad #1 to #4.J . COUNTRY Chapter: Bluegrass Strum #1 to #3. Basic Boogie Lick.. . Boogie Rock Lick (Moveable).. . A . v .. Beans and Barley. Boogie/Rock Lick #2 .. Fast Rock Shuffle. and all the Boogie licks: Rock Boogie #1 to #3.. x .. BoogielRockLick#1." "I Know an Old Lady." "Tumbalalaika.. Rock Shuffle #1 and #2. Hanky Tonk Strum. Country Strum #1 and #2. X This pattern is used for march-tempo folk tunes like "Johnny.. Travis-Style Fingerpicking Pattern #1 and #2." March/Plucking! Pattern Tempo: Moderate to fast march • I j. X r ... X .. Fingerpicking Rock Ballad #1 to #4... t ¥ r :.. Strum #1 and #2.. A CI - . I Hardly Knew Ye._ This pattern fits the same categories of songs as Plucking Patterns #1 and #2: three-quartertime tunes such as "Cockles and Mussels." Cross-References Folk music borrows strums and fingerpicking patterns from the blues. Rock Boogie Variation. l .I r' .. . and country bags... . The following list includes most of the patterns from those three chapters. Country Waltz.

It's similar to a phase shifter. and tremolo) can have several shapes. often built into amplifiers. They can be built into an amplifier. It produces an oscillating. screaming guitar sound associated with loud rock and metal. Flanger: an electronic effect that produces a rhythmic sweep effect of variable intensity and speed. They distorted more easily and had a warmer sound than solid state amps. Reverb: an electronic effect that creates echo. echo. It's often used for nngcrplcking. flanger. "Delay" and "reverb" are electronic effects that produce echo. distorted sound an amp produces when it is turned up so loud that the sound "breaks up." A variable overdrive channel is often built into amplifiers. It allows you to get a range of distortion (from slightly fuzzy to completely broken up) at any volume. It can be produced by electronic effects or by turning up an amplifier (especially a tube amp) so loud that the speakers "break up" or distort the sound. gymnasium. vintage appearance. such as a shower. distortion. wave-like sound of variable depth and speed to your guitar'S tone. or an individual rackmounted unit. an effects processor. delay. background arpeggios. Echo: the repeating. espe- ciall y on ballads. a footpedal. Electronic effects that produce the same sounds are called "overdrive. SJapback Echo: the particular type of echo associated with rockabilly music and the Sun Records' sound. Distortion: the fuzzy. enriched sound you get singing or playing in a room that bounces sound around. often with a retro. Early amps were au tube amps. making a six-string guitar sound like a twelve string. Chorus: an electronic effect that "doubles" an electric guitar's notes.UIPMENT APPENDIX Here is a description of musical equipment that was mentioned in this book. 71 . It was pioneered by Bo Diddley and heard often in surf music and early rock. Solid State Amp: an amplifier that has transistors instead of tubes. phase shifter. chorus." Phase Shifter: an electronic effect that adds a sweeping. Delay (Analog and Digital): an electronic effect that produces many types of echo. It was originally invented to imitate the oscillating effect produced by a Hammond organ's Leslie speaker. reverberating. wavering sound. The electronic effects (reverb. Tube Amp: an electric guitar amplifier powered by tubes instead of transistors. Tremolo: an electronic device that was built into many early tube amps. or an echo chamber. Overdrive: the fuzzy. It's characterized by a brief but powerful single repeated signal. and solos. and many manufacturers are producing them again. it can be produced by delay effects. It enriches and fattens a guitar's tone.

fuller sound. but they are harder on your fretting hand than thinner strings. • Use light or super-light gauge strings if you do a lot of string-bending. Fatter strings have a richer. Some players use medium gauge strings except for the top two or three (treble) strings. So. 72 . the type of music you play determines which gauge of strings you use. • Use heavy or medium gauge strings for strumming and fingerpicking. and they are harder to bend or choke.GUITAR STRINGS Strings come in different gauges (thicknesses). unless you bend a lot of strings when fingerpicking. They use lighter gauges on these because that's where most string-bending occurs.

If you play rock.. '. .. country.' here are-all the strumming and -.eking patterns and' nearly 100 strums • Standard notation and tablature' • A recorded example of every pattern • Music styles are cross-referenced • Tips on equ~pment and <~ e~~~*5~~~~~~ .'" '. heavy metal...· " ~ ... cover any musical sltuatlon~. or foil<. you ..! _. • Over 150 pi. soul/funk... pop. ~ :S3 0-7935-2090-8 .. . blues...picking patt~rns you need to help ~ ~ .t ~ l . _.' . ' r: .' ..'Ii.

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