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).

Rhythm is ultimately the most important aspect of music. It is what reaches us first. When something is „correct“ rhythmically, then we can easily relate to the melodic and harmonic aspects of the music. If it isn't correct then we have problems—as both a listener and player—relating to the music. We feel uncomfortable and don't hear as well. Having reaped this, the non-drummer musician must set up things in his or her practice that will help cure any rhythmic „ills.“

Here are some good exercises that should serve as daily practice to improve your feel for time. Expand upon these with your own ideas, and also observe what is going on in the music you listen to. Much practicing can be done simply by listening and imitating what you hear, then developing the ideas into some small practice routine. It goes without saying a metronome is necessary. However, to absorb a style and its way of emphasizing and working with rhythms, you must listen and Imitate the masters in that style! Be consistent in your dally practice by always thinking rhythm in your playing and practicing. Use it when doing scales, arpeggios, and progressions, and also do pure rhythm studies to develop accuracy and relaxation. To develop a strong sense of rhythm and confidence in your time, you must drill on figures that accent different parts (subdivisions) of the beat. A common technique of rhythmic syncopation is to place accents on the basic subdivision that changes from downbeat to up beat. Here it is at the eighth note level. Try to memorize each example and look away from the page, hearing and feeling the rhythm.