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Chord charts

Chords! Lots of them!


Man, there’s a lot of these things. The problem isn’t that they’re not useful. The problem is that they encourage you to stop exploring. What if you need an Ab9 chord, but you don’t like the sound of the one on the chart? Just use the one on the chart anyway?

Well, there’s this.


Make your own stuff

Or you can learn some basic chord theory and key signatures. Then you can make your own stuff instead of depending on someone else. You also need to know where all the notes are on the neck of the guitar.

This type of work develops your brain and allows for creativity. Learning a chord from a chart doesn’t. It just trains your fingers.


Exploring C major

Take the C major triad. It’s made of three notes: C, E, and G. Find as many combinations of those notes on the neck as you can. Find a C on the G string, then find the closest G and E.

Now find the C on the D string. Where’s the closest G and E?

Play the open high E string and the C on the G string. Where’s the G?

Now use this same procedure for a G chord. Or any other chord. Move between the C chords and the new chords.


Chords, keys, and notes

Here’s a post that talks about building chords.

And another one that talks about building chords in different keys.

Here’s one on notes on the neck of the guitar.


Once you start moving between the chords you make, it begins to feel a lot like composition instead of just going between the same old C an G chords. You start getting new ideas.

And you don’t have to depend on outside resources if you don’t want to.

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This term gets thrown around a lot. But what does it really mean, and how is it developed?

First of all, if it grooves, you’ll be moving your body. This happens most naturally in funk, rock, soul, latin, and big band jazz. It’s not usually associated with folk. Certain styles of country make you want to move, but not all of them.

Here’s Part 3 of a collection of music that grooves (there are 7 parts in this collection that I know of). The first tune will show you what groove is, but you might as well listen to it all.



The pocket

The phrase “in the pocket” means playing with great feel, usually in the middle of the beat. It can imply the bass player and the drummer feeling the downbeats together, but a single person can play in the pocket. I’ve heard singer-songwriters playing solo that do it really well.

Many people feel that the question is not so much what the pocket is as much as how you know when you’ve achieved it. If it feels as though all the rhythmic parts have merged into what feels like a single instrument, you’re there. If you’re playing solo, it kind of feels like the instrument is playing itself. No speeding up or slowing down, just a consistent rhythmic pulse. Everything happens naturally.

You can play a groove in three basic ways:

  • in front of the beat, which feels kind of rushed and energetic
  • behind the beat, which feels really relaxed
  • or right in the middle of the beat, which just feels solid


The metronome

Get a metronome. They’re free on your phone.

Use a medium tempo (somewhere between 80 and 100) and just play a chord every time the metronome clicks. Or beeps. Or whatever sound yours makes. Each sound equals a quarter note.

Try to stay aware of where you’re playing the chord. Is it in the middle of the beat? It’s not always obvious. You might hear the metronome sound after you play the chord. That means you’re in front of the beat. If you hear the metronome before you hear the chord, you’re behind the beat. Or you might not hear the metronome. That means you played exactly in the middle of the beat.

Try to put the chord in the same place every time. Think of it as a game. Give yourself points every time you play in the same spot as the last time. Or see if you can do it five times in a row. After awhile, you’ll start to feel where the metronome sound is going to land.

Once you can feel that, you can put the chord anywhere you want, and do it consistently.






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I did a Mile Zero Dance show called Sho-tel a while ago. Mile Zero does a lot of really interesting things in this city, bringing together dancers, musicians, visual artists, filmmakers, archivists, folklorists.

The show I did happened at a motel in the west end, seedy and gradually falling apart.

I made noise.

By noise I mean that I played with timbre. I didn’t worry about melody, chords, or playing in any conventional way. In other words, I concentrated on the sound character of the instrument. Check my soundcloud page under experimental guitar if you want to hear examples.

Timbre and the electric guitar is an insane topic. There’s just so much you can do.



 Here’s a basic list of effects:






Ring modulation






Each effect has a range of intensity, so you can get a variety of timbre out of just one of them. When you start combining them…


You can also get interesting sounds out of your guitar without effects.


Prepared guitar

All of this applies nicely to abstract or avante-garde music. But how do you use it to write songs?

Try re-conceptualizing the guitar as a different instrument. Make it a percussion instrument by weaving some felt through the strings and tapping the strings with a chopstick. Can you hear this in an intro, or as a coloristic device in the chorus?

When you use timbre this way, it’s a good idea to start simple. Don’t overplay. Play the sound once and let it ring (if it’s a sustained sound). If it’s different than the sounds around it, it will draw focus. Think of it as highlighting important events – beginnings of verses, choruses, etc.

If it’s a percussive sound, you could use it in place of the drums, or as part of the drum sound.

These are suggestions for where to start. As you work with this, ideas will occur to you. Follow them.

Experiment by making sounds that don’t normally fit in the stuff you normally write.



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Funk 2

In the last post I talked about using a combination of scratch rhythm and chords to create accented rhythmic grooves. But I only looked at accenting the first 16th and the third 16th notes of a four note group.


A reminder of those two:

funk - 1st 16th

funk 3rd 16th


You may be wondering about accenting the second 16th note and the fourth 16th note. Perhaps you’ve been playing around with them. If not, here they are.


funk 2nd 16th

funk 4th 16th

The procedure here is pretty much the same as what we did with the first and third 16ths. It’s just harder.


Body rhythms

It’s harder because of the way we use our body when we play. Most of us tap our foot on the beat. This makes it necessary to lift our foot on the offbeat.


Here’s what I mean:


So we have a clear movement for the downbeat (the number) and the offbeat (the “and”). But there’s no foot movement that corresponds to 16th notes. They’re somewhere between your foot going down and coming up.


Some people tap their foot on every 16th. Understandable, but this destroys the sense of the beat. Developing a good sense of rhythm means accenting the downbeat while feeling different rhythms in different parts of the body. Drummers do this every time they play.


So our foot “feels” the 8th notes simply by moving up and down. Our strumming hand “feels” the 16th notes. In doing so, it goes twice as fast as the foot. This requires body independence that can take a bit of work to attain. Be patient if this is difficult.


The new rhythms

As always, play the 16th notes slowly and count “1 ee and uh, 2 ee and uh, 3 ee and uh, 4 ee and uh”. Just use scratching to start. Keep counting. Now play a chord when you say “ee”. Loop that rhythm until you’re comfortable with it. You should still be playing slowly.

funk 2nd 16th

Now speed it up, but not too much. Funk generally falls somewhere between 75 and 90 beats per minute (bpm).


Which reminds me…


The metronome

Get a metronome if you haven’t got one already. I use this one.


Set it at a tempo slow enough to make the 16th notes easy to play. When you’re comfortable at that speed gradually increase the tempo. So if you start at 60 bpm, increase the tempo to 65, then 70, etc.


Here’s a good article on issues to consider when using a metronome.


Switch to the other new rhythm. Same procedure as the other one, but play the chord when you say “uh”.

funk 4th 16th


Mixing it up

Now create some loops using all four rhythms.

Here’s one. This is an exercise designed to challenge your concentration. No hook or riff is going to change this rapidly.

funk 16th note rhythm mixed


As always, take it slow. Then speed it up.

Create a few of your own by making one of the rhythms the main focus. Then improvise by inserting the other ones wherever it feels right to do so.

Or you can structure this work more by deciding to play one of the rhythms three times in each bar. Then fill in the fourth beat with one of the other three rhythms.


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16th notes and funk

Back to sixteenths…

A discussion of 16th notes needs to include funk. Develop your ability to play funk, and you develop feel and groove. This is important for overall development of rhythmic abilities.


Funk basics

First step: play nothing but four 16ths to the beat.


4 16ths scratch

The ‘x’ noteheads mean that you need to mute the strings while you strum them. This is called scratching.

To get the right feel, do the following:


  • lay your left hand fingers lightly on the strings
  • keep your right arm and wrist loose as you strum
  • go through the strings quickly as you strum whether the tempo is slow or fast. Try to make it sound like a percussion instrument


Tap your foot on each beat, and count “1 ee and uh, 2 ee and uh, 3 ee and uh, 4 ee and uh.” Be patient. This can feel weird if you’re not used to doing it.


Placing accents

 Once you’re comfortable playing the scratch rhythm above, move on to the second step: placing accents on different parts of the beat.

Placing accents on different parts of the beat is really important for funk. It’s also important for developing a strong overall rhythmic feel.

Here are a couple of examples.

1. Accent on the first sixteenth note.

funk - 1st 16th


2. Accent on the third sixteenth note.

funk 3rd 16th



The slash indicates a chord.  Use scratches for the rest of the 16ths. Pretend your strumming arm is a machine and keep the 16ths even.

This works best if it’s a chord that covers all the strings that you’re playing. Open string chords generally don’t work, since some of the strings will ring when you release the chord.

This one works. A lot do, but this is a classic funk chord. It’s the E7#9 chord.


E7 #9 chord

As you’re strumming, release it just enough to keep your fingers lightly on the strings for the scratches.

Try to play just the strings that have your fingers on them. This chord is very forgiving since both the low E and high E strings are part of the chord. It won’t sound that bad if you hit them.


Combining rhythms

Mix the two rhythms I provided above, and create some four-beat loops. For instance:


funk rhythmic pattern 1


Come up with as many as you can.

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Paradiddles on the guitar

Let’s transfer this paradiddle idea to the guitar.


Choose two notes from any scale. One note will represent the left hand from the paradiddle in the last post. The other will represent the right hand.

Here’s the “para” using an E and a G.

para - two notes alternating



And here’s the diddle.



The entire paradiddle looks like this.

entire paradiddle 


Making it random

Try taking each two-note unit of the paradiddle and mix them randomly.

 longer paradiddle



Of course, you can stretch it out and use more than two notes. If you do, then you’ll need to maintain one of the two pitches that you start with. If you don’t, you’ll lose the paradiddle idea.

random paradiddle


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