We will look at different ways the rhythm guitarist can create his/her own „part“ and interpret a given harmony. This is done primarily through the use of triads and 7th chords along with double-stops (two notes at once) and single-note melodies. When you combine rhythm patterns with ideas based on any of these concepts, you can help define certain styles and grooves with your rhythm playing.

Double Stops in Thirds

First let's look at double stops: specifically thirds. (Any interval can be a double stop: thirds, sixths, and fourths are the moat common). Any combination of double stops is legitimate if it:

• Interprets the chord change (conveying the appropriate major or minor sound, etc.).
• Has a solid rhythmic foundation.
• Sounds good! (subjective, stylistic musical reasons).

Double stops create small harmonic textures that compliment the overall sound and are used in a supportive rote. You should practice wilh a live rhythm section and/or tapes (bass lines, drum patterns, etc.) to explore this type of chordal texturing.

More Double Stops

Student should strive to adapt these intervals to his or her style and also write your own, based on some of these concepts. Repeated practice in different keys is mandatory if you want to be able to use these and create your own ideas for different progressions and songs. This should also be helpful to work on muting the unwanted (dead) strings.

Double Stops in Fourths

Fourth intervals are also common double stops. The shape is easily played with one finger. All of the shapes that go through the harmonized scale are perfect fourths, except one, which is an augmented fourth. Which two notes of the scale makeup the augmented fourth?

Double Stops in Sixth

Sixth intervals can be played on adjacent strings or by skipping a string, which requires you mute the string in between. Experiment with both ways. Observe the pattern of major and minor sixths that is created.

Single-Note Rhythm Parts

Oftentimes, if a second guitar part is needed in the rhythm section, lire, guitarist is called on to play some single-notes that serve a persevere function, Single-note rhythm parts are generally improvised. They are a little touch added to the overall scurid and should be played with strong time and short, catchy phrases! These single notes are being used in a rhythmic way, so few notes are needed – two, three, or tour notes are plenty. The trick is to set up a motif, or repetitive type of idea.

The first step would be to start with only one note and improvise rhythmically. Then try just two. notes, then three notes, etc. The key is playing with short, stabbing notes that will pop out in a mix. The strumming hand should be relaxed and percussive in its attack! Muting unwanted strings with the fretboard hand (left for most of us) also requires repetition and practice as you experiment with different melodies.

The most common two note group in pop styles is the root to the 1–7. Work with it in a variety of rhythms and get used to muting with the led hard and scratching with the right hand.