Posts Tagged ‘Boulder guitar instruction’

A Lesson in Chords and Voice Leading

April 5, 2017

By Jim Simmons

guitar instructor at the lesson studio

Many famous artists have used and much good music can be made from strumming simple chords against melodic lines, vocal or otherwise. Nevertheless, during guitar lessons at the studio, I am often asked by those who have moved beyond a cursory acquaintance with simple chords and strum patterns how to choose more interesting chords, or how to differentiate their part from other instruments, especially another guitar prone to strum the same chords.

Possibilities here are myriad, and some comment should be made on how to navigate these choices, but before that, I want to introduce two concepts which may prove helpful in any and all scenarios from here on:

(1) Chord Scales, & (2) Voice Leading.

While both of these are topics unto themselves, much can be gleaned from their use in the present inquiry. Now, for a brief survey of options for the inquiring guitarist, and how those options will inform and interact with these two concepts above:


(1) Using a Capo/choosing a different register/chord shape (CAGED, etc.); (2) Adding or reducing tones;

(3) Doubling tones; (4) Using inversions;

(5) Differentiating strum patterns; (6) Playing a separate part, ostinato; (7) Playing a separate part, melodic; Etc.


Now for the “how-to” part: I. Chord Scales

Regarding chord scales, begin with root position triadic chords (root-3rd-5th), barring

chords if necessary to locate each root in the overriding scale of the song (or portion of song). In a normal major key, this won’t be that hard, since the bass notes up the neck will complete a major scale (“do-re-mi-fa-sol-la-ti-do”). If the portion is in minor, or something more exotic (like a mode), you will need to revisit how to walk up the neck to

complete the scale, and in the case of minor, double-check for options that make minor so interesting (such a raised leading tone on a major V chord; use of the melodic ascending scale, or Dorian, etc.).

Establishing a chord scale (or more than one: (1.) Taking the scale up the neck with the root located on the same string; (2.) Exploring the chord scale across the neck, letting the root move across multiple strings) will provide your hands and ears with a lexicon of


options for each chord, each option profiled by its location on the guitar, its register, and its fingering (if it has open strings or not). Doing this is crucial for beginning the search for differentiated guitar parts.

Here I mention the CAGED method for chords and scales, as searching through the neck for other chords will naturally run into the options this technique will present. Simply put, the CAGED method will supply quick landmark options for each chord, which can be accessed either through using a Capo or playing all chords by-hand. I will revisit CAGED shortly, but these two approaches compliment one another very naturally (no pun intended).

One other strong benefit to establishing chord scales becomes important in the next phase: discovering the notes of the melody within accompanimental chord shapes


Part II: Voice Leading

While this topic sprawls across all of music and music history, I want to limit our discussion of it to two main concepts any guitarist will appreciate: smoothness of chord change, and supporting the melody inside chord shapes.

Regarding smoothness of transitions between chords, two ideas become important: how close each chord is to one another; how harmonically smooth the change of each chord is one to another, that is, in terms of tension and resolution and stepwise motion between chord tones. Let’s say your chord progression involves going from an E major to a B major (I to V in the key of E), a certain amount of block-iness may be hard to overcome, but let’s try and see what happens:

Our first two options involve moving up the neck to the V chord either to the 7th fret of the low-E string (a barred E major-shape), or to the 2nd fret of the A string (a barred A major-shape). Let me say neither of these is “bad” necessarily, so no guilt here, but let’s analyze each option in terms of voice leading: by opting for the barred E major at the 7th fret, we here a transposition of every tone up a Perfect 5th; now, we have the open E string “do” resolving to “ti” in an oblique way (“ti” is on the G string here, 8th fret); again, the fact that it’s oblique is neither good or bad, just neutral, but if the music called for this motion to be heard clearly, the guitarist using this 7th fret choice of a B major could

simply strum only out to this note on the G string, and not provide the other two strings.

Now let’s compare this option to the second of these, barring an A-shape at the 2nd fret: a similar choice can be made here, taking the strum all the way out to the B string and leaving out the E string. Which of these is easier or better, I leave to you to decide, and they both have advantages and disadvantages, which we will look to presently.

The first of these is that both of these shapes reduplicates the exact same chord tones, except that the 7th fret adds one last tone, the reduplication of the B on the 7th fret of the E string; otherwise, the notes produced (assuming one strums the second option from the A string) are exactly the same (notes given by string, low-to-high):

Option 1:

B – F# – B – D# – F# – (B) Option 2:


(F#) – B – F# – B – D# – F#

So, while there is some difference in the timbre of each of these choices (notice the thicker strings resonate a darker quality than the thinner, higher ones), these two options do little to provide any profile between the guitarists. Thus, we may consider another “voicing” of the chord, or even chord shape. Beginning with chord shapes, we might decide to place the Capo on the 4th fret, and use a C-shape chord for our E major (I) and a G-shape for our B major (V). Some very nice changes occur in this scenario: we now

here the 3rd on top of the I chord, and, while we may have a reduplication of the high B on the E string (if Guitarist 1 is using the 7th fret bar for the B chord), we still have some new tones resulting from the G-shaped B major chord.

Guitar 1 (Open)                                                   Guitar 2  (Capo 4, or 4th pos.)

E-shape                                                                       C-shape

E (I):  E – B – E – G# – B – E                                   (G#) – E – G# – B – E – G#

E-shape, barred, 7th                                                                              G-shape

B (V): B – F# – B – D# – F# – (B)                              B – D# – F# – B – D# –  B

As you can see, now we have more harmonic variety, which may be what you’re going for. If it isn’t, then we need to look at our last few options, but at least we see how many more choices are possible with only exploring one other position on the neck.

In terms of the voice leading, we also see that our “do”/”ti” motion is accomplished with much greater ease in the Guitar 2 part (the 5th fret resolves to the 4th fret). Let’s assume one further possibility: the “do”/”ti” motion is actually part of the melody. In this case, the notes of the melody could be synced with Guitar 2’s voicing with much less effort than Guitar 1.

The final layer of considering voice leading in your guitar parts is considering how you can support, or directly represent the bass and melody of your particular piece. In terms of support alone, when choosing a chord voicing, you may want to lean towards voicings which contain the melody note(s) somewhere in the chord. I often try to keep the melody going continuously on the High E and B strings while providing the rest of the chord in the middle strings, and also providing a bass line in the Low E and A strings.

That may be a bit much to bite off right now, but it gives you an idea of what the guitar is capable of, as well as how different guitars can complement one another in musically practical ways, such as one guitar strumming simple chords, while the other supports or provides melodic elements.

Let’s look at a few other considerations to conclude this brief exploration in creating guitar parts.


Part III. Other Options: ostinato, counter-melody, inversions, strum patterns


An ostinato is a musical idea that obstinately stays part of a musical texture (ostinato is Italian for “obstinate”). Several musical examples come to mind: think of Ravel’s Bolero, or the high electric guitar from Jackson 5’s “I Want You Back,” the main riff to “Kashmir” from Led Zeppelin, or any Ratatat song, for that matter. A great deal of popular music, whether classical, rock, or EDM thrives on repetition (and often transformation) of small musical ideas. Depending on the context, an ostinato may be created that doesn’t conflict with the melody, or even supports it. One favorite of mine is the melodic ostinato  (or riff) that accompanies the song “Release” from Pearl Jam’s Ten record. Another beautiful, but radically different (much “heavier”) version can be heard in “Tempting Time” by Animals as Leaders, at 2:51”.


Somewhat similar to an ostinato is a counter-melody, a melody that wouldn’t be considered the primary melody, but that weaves about more independently than a simple harmonization.  In the chorus of “Sweet Child O’ Mine” we here a counter-melody in Slash’s guitar part against Axl’s vocals. Another well-known counter-melody occurs half- way through J.P. Sousa’s “The Stars and Stripes Forever,” in the high piccolo/flute part, against the main theme. Melodic descants are yet another type of counter-melody, When constructing a counter-melody, take care not to step on the main melody too much. Inversions

As you become acquainted with all of the methods above, you’ll find chord inversions lend themselves readily to voice leading, most especially for bass motion. For instance, an E/G# (in the key of E, a I6 ) goes to an A (IV) smoothly, since the bass note only has to ascend a half step (G# to A). Once you’ve mastered your chord scales, experiment with trying them again in first and second inversion (first inversion puts the

3rd in the bass; second inversion puts the 5th in the bass).

Strumming Different Patterns

Quite a lot can be gained simply by strumming similar or even the same chords in an entirely different way. For instance, consider letting one guitar strum eighth-notes in a palm-muted fashion, while another guitar fingerpicks, or strums only on strong beats (like the downbeat of each measure). This method is especially effective when one guitar is acoustic and another is electric, but is useful in almost any situation to create a new texture.

I hope you found this Blog lesson useful! Good luck fishing for guitar parts, and have fun while you’re at it!

After learning your basic chords, what’s next?

February 27, 2017

After learning your basic chords, what’s next? This is a common question that I get when teaching adult students who are self taught or have taken lessons for a few months. In this video, I describe a technique called travis picking and how it can be used to create more interesting arrangements with the basic chords you already know.



I hope you enjoy this instructional video. If you want to learn more about our program, visit and, and contact us if you’d like to sign up for in-person lessons!

Handing Mistakes

February 15, 2015
Michael Sebulsky

Michael Sebulsky













By Michael Sebulsky

Whether it be playing a memorized, classical piece in a concert hall, playing a jazz solo at a local jam, or simply sitting and learning with friends around the campfire mistakes are likely to happen. A mistake is defined as an unintentional musical moment, contrary to musical expectation. Some mistakes seem more critical than others. Whether it is a broken guitar string, a wrong note played on the piano or a vocalist’s voice not reaching the expected high point a mistake does not have to end or ruin a performance. Most good performances contain a mistake, if not more than one. Chances are that if you have seen a live music performance that you have seen many mistakes, whether you noticed or not.

Instead of being afraid of making a mistake, a practicing musician can follow the following tips to learn how to make mistakes and other “unintentional musical events” a part of a good, smooth musical performance.

1. Practice performing

One of the most important aspects of a good performance is to practice the attitude and experience of the performance. This can be done in many ways. Ask your close friends (whom you feel comfortable around) if you can perform your music for them. This is a great way to experience the sensation and nerves of performing for a group of people, albeit people who you know to be your “musical allies.” Allow the performance to go on, no matter what! This is where most of your mistakes will come to light. Allow your friends to give you honest and constructive feedback and feel free to ask them questions about the performance. Remember that your experience of your performance is not always (or ever) the same as the experience your audience has!
Practice performing can happen while learning a piece of music, even before the entire piece is ready. A musician can be well benefitted by working section by section through a piece for performing. When a certain section seems ready (even when the whole piece isn’t) the musician can enter into “practice performing” by not allowing themselves to stop while playing this section. Making notes of what went well, what felt shaky and what went not according to plan at this stage in the learning process can help to better shape the remainder of the piece.

2. Do not memorize the mistake.

So many times we let a mistake stop us in our tracks. (There will be more about not stopping in the next section.) By stopping, we are actually setting ourselves up to repeat the same activity. Muscle memory plays a huge part in this activity. One great way to remove the muscle memory is to take a break, and begin the learning process of the mistake section again. Good, successful practice sessions allow the musician to not only practice the notes and chords of a tune but also the mental strength and focus necessary for executing the performance with excellence. Mental fatigue can cause mistakes. So get up, grab a glass of water or a piece of fruit, talk to someone for a moment and distance yourself from the learning momentarily. When you return you will see what parts of the piece are memorized both mentally and muscularly. Sometimes slowing down and starting from scratch causes a musician to focus more on the music, and not the expectation of an error.

3. Don’t stop and focus.

Stopping is the most commonly repeated mistake. We stop because we are not expecting what has just happened. Stopping during the performance of a bad note negates the correct rhythm and placement of the note. Do not allow a note to be both bad melodically and rhythmically by stopping! Instead, allow yourself the opportunity to play the unexpected, incorrect note and allow it to be apart of the performance. In most cases, one wrong or bad note is not something your audience will remember or even notice. By not stopping, the performer draws less attention to the unexpected error and more attention to the overall performance.

4. Practice fixing the mistake.

The activity of fixing a mistake is not one that any musician should endeavor to work on during a performance. In fact, while practicing performing, the idea of stopping is completely frowned upon. Instead, continue playing and practice the activity of not stopping when a mistake occurs. What you will learn is akin to an entirely new skill, that of thinking on your feet as a musician. This is where mental focus on the piece is crucial. Knowing your piece can allow you to patch a mistake during a performance without stopping and smoothly guide you to the next section of your work.

5. Make the mistake a part of your playing.

The great Chet Atkins once quipped that, “The first time I do it, it is a mistake. The second time it is my own arrangement.” A performer can benefit from the idea of knowing that some errors actually help the performance to sound unique! Essentially, not all mistakes are bad or contrary to a good, solid performance. There is no such thing as the mythical “perfect performance.” Therefore, allow mistakes to be a part of the overall sound of the performance and do not let them distract from the larger picture, which is a musical, smooth performance.

Using these tips should help your practice time, your performances, and your understanding of how to handle mistakes. Taking each one of these tips and applying them to your daily study will show results quickly and benefit your overall performing, making your instrument much more enjoyable to study.

“Understanding Tempo and Rhythm”

November 9, 2014













by Casey Cormier


No matter what instrument you choose to study, there is no doubt that at some point you will struggle with the proper timing of a piece.  Of course this is the main focus of any drummer, keeping a steady beat while delivering a solid rhythmic pattern.  But singers need to have a good sense of time too; often in my career I’ve worked with incredible vocalists who would come in at the wrong place in a song, causing us backing musicians to quickly alter our position in the piece and follow our wayward leader.  The importance of understanding tempo and rhythm, and the methods of practicing to improve these skills, cannot be overstated.


Tempo is the pace of a piece of music.  In pop songs, most often, the tempo stays the same through out the piece.  In art songs, or classical music, the tempo can change as the music proceeds, in which case a conductor comes in very handy.  Tempos are determined in BPMs, or Beats Per Minute.  The easiest tempo to ascertain is 60 BPMs.  60 beats per minute…60 seconds per minute.  Think “one Mississippi, two Mississippi”, or refer to any analog clock, and you’ll here 60 bpm ticking away.  Tempo ranges can be determined from this source, such as:


Largo ~ This is the slowest tempo setting, 60 beats per minute or slower.  Think of a slow, sad ballad.  “Something” by the Beatles is 69 bpm, so even slower than that!

Andante ~ Faster than 60 beats per minute, but not twice as fast.  Think of a walking pace, a straight ahead rock song.  “Down on the Corner” by CCR is 108 bpm, on the edge of andante and…

Allegro ~ Full steam ahead!  120 bmp or higher, heard often in up-tempo dance numbers and punk rock. “Rockaway Beach” by the Ramones clocks in at 168 bpm, more than twice as fast as “Something”!


If a guitarist were to count off “Rockaway Beach” at 69 beats per minute, you can bet his or her band mates would be raising some eyebrows.  Of course that doesn’t mean that we all need to bring metronomes to every rehearsal, but it does mean that we should consider the tempo of a piece of music before we jump in.  Practicing scales or exercises with a metronome is a great way of helping to improve innate tempo precision, and using one with a piece of music that you are trying to polish for a performance or recording is guaranteed to make you stronger with it.  In fact, most of what you hear on the radio today was recorded with a click track keeping tempo in the musicians’ ears, to guarantee a steady beat throughout.


Once you understand tempo, it’s important to grasp the concept of rhythm, or playing notes in a metric pattern.  What?  Let’s break it down this way.  Most of popular music is played in 4/4 time, or four beats in a measure.  Count “1,2,3,4”, in an even fashion and you’ve got it.  What if we wanted to have those same beats but add a beat in between each.  We’d be creating what are called 8th notes, and count “1&2&3&4&” in the same amount of time.  We could mix and match these to create different patterns, such as “1 2& 3 4&” or “1 2&3& 4”.  Songs often have a signature rhythm attached either to their melody or to the supporting instruments.  For example, “1,2,3(rest)1,2&(rest)(rest)” is the rhythm to the beginning riff of Django Reinhardt’s “Minor Swing”.  If you were to take out those rests and play the same notes, it would cease to be the same song.  Rhythm is the skeletal system of melody, and tempo is its heart beat.


So when and how should you practice rhythmic concepts?  I have students break out the metronome to practice a scale they have already conquered melodically; in other words, if they aren’t able to play the pattern properly, then it’s too soon for the metronome.  But once they’re able to maneuver that scale without correction, then we start at 60 bpm, and move up from there.  Any exercise you can do at 60 bpm you’ll eventually be able to do at 120 (twice as fast); I recommend moving up in intervals of 20.  For a song, once the student can read through it accurately, then the metronome is a great polishing tool, but it’s important to take the most difficult part of the piece and determine the playable tempo from there.  If we’re playing “Good Times Bad Times” by Led Zeppelin, we’ll determine the tempo to practice from the guitar solo, the most difficult part of the song, and apply that to the whole thing.  The results for a student of any instrument will be a stronger rhythmic foundation and thus a better all-around musician in the making!

Scales & Why You Should Practice Them

August 17, 2012

By Casey Cormier, Guitar & Bass Instructor at The Lesson Studio

Casey Cormier, Guitar Instructor at The Lesson Studio

Casey Cormier

“Eat your vegetables before dessert,” says Mom.  “Stretch before taking the field,” says Coach.  “Practice your scales before playing that song,” says music instructor.  What do all of these things have in common?  Many consider them boring, or unnecessary, but all are good for you!

I’ve been asked many times before, by all ages of guitar students, “do I have to play this scale?”  I always say, “You don’t have to, but your hands will thank you for it in the long run”.  Scales help stretch your fingers, improve your picking and fretting technique, and prepare your wrist for those challenging chord switches.

Of course, the ability of the student should inform what scales he/she practices.  For beginners, the C major scale is great practice for the open position natural notes, ear training (do, re, mi can be sung along to it), and outlining the C major chord.  For intermediate players, the pentatonic scales (5 notes per octave) are great for strengthening the wrist, and provide barre chord approximation as well as lead guitar preparation.  For advanced players, playing the modes – Ionian, Dorian, Phrygian, and so on – is equal parts ear training, technique building, and hand strengthening.  Not sure what some of the terms above are?  Don’t worry, you’ll learn as you progress on your instrument of choice.

Scale practice of all types can become stale, so it’s important to mix it up with some exercises.  A metronome is always useful for pushing one’s abilities.  For guitarists, try string skipping, playing in 3rds (do, mi, re, fa, mi, sol), and alternate picking to keep it fresh.  No matter what, you’ll have that song to look forward to after a quick warm-up session, and be surprised by how much easier playing will become!

5 Resources That Will Enhance Practice Outside of Your Lesson

April 3, 2011

By Wilson Harwood, Guitar, Banjo & Bass Instructor at The Lesson Studio

Wilson Harwood, Guitar, Banjo & Bass Instructor at The Lesson Studio

Wilson Harwood


Many ambitious musicians choose to save a few dollars by teaching themselves.  I, myself, fall into this category as a banjo player. I currently take lessons for classical guitar, but cannot afford/find time for banjo lessons. As a teacher and student I am a huge advocate of learning from a teacher because it speeds up the learning process while also keeping you focused.  However, I also know that due to finances and time, many people choose to teach themselves at some point or another.  Below is a list of five resources that will enhance your lessons or help guide you if your not currently taking lessons.


1) Youtube:


At the top of the list is everyone’s best friend, Youtube. If you haven’t used it as a tool yet then do a search of your favorite song. Chances are you will find a lesson along with the recording of the song. Youtube is also a great way to get inspired.


2) UltimateGuitarTab:


Everyone has heard or experienced finding tab online only to realize something just doesn’t sound right.  I recommend this resource with a bit of caution.  I find tab to really speed up the learning process and can help you navigate the fret board when learning by ear fails you.  Use tab as an aid, but not the sole source for learning a song.  Try using the tab to help you while also learning by ear or on Youtube.


3) Books, Books, and More Books.


It feels overwhelming to step into a music shop and browse the books they have. Many seem either to easy, to hard, or simply don’t make sense.  Some guidelines when choosing a book are:

a)     Look for concise wording with out to much clutter on the pages.

b)     Look for books with CD’s or DVD’s. They really do help.

c)      Hal Leonard and Mel Bay are good beginner publishers, but may seem boring to the advancing musician.

d)     Try to stay away from books with extensive chord diagrams. I find many songbooks derive from piano parts not guitar parts.


4) Jam Sessions, Friends, Neighbors, Ensembles


Here at the lesson studio we teach ensembles to give students experience playing with others.  Private lessons are great instructional tools, but they will not give you experience playing with people.  Go to jams or open mic nights to play or simply watch.  You might meet others who would like to play on a regular basis.  If you have friends or family that also play, ask them if they would like to start a group or a regular jam session.  Mainly, until you play with others you will not feel the immense improvement it will bring to your playing.


5) Blogs and Music Subscription Services:


Hey, look, you are reading this blog and learning about some new techniques. Check out some other blogs such as,, Blogs will introduce you to new music, ideas, and musicians. They are a great way to get connected to the musical style you like.


Lastly, if time is your problem than maybe online lessons are the right choice.  More and more teachers are selling tab or full videos online.  I have come across a great site for metal guitarist at Kristofer Dahl is from Sweden and is a bit of a character, but also a great teacher.


Remember, these resources are helpful in enhancing your lessons with a teacher face to face.  I cannot emphasize enough the value in taking regular lessons.  If you have to take a break from lessons, use this advice to help keep you on track until you start lessons again.


Tips on Composing

February 6, 2011

By Mike Furry, Guitar & Bass Guitar Instructor at The Lesson Studio

Mike Furry, Guitar & Bass Guitar Instructor at The Lesson Studio

Mike Furry

Musical composition is a challenging and rewarding practice. Learning how to compose music that is engaging and interesting can be very difficult for some people to learn. Composing music doesn’t have to be like doing a math problem. Here are some helpful steps that I’ve found to assist me when composing.

1.         You Can’t Be Wrong.

Remember this while writing music. It will make you feel better and help you avoid writer’s block. Writing music is one of those things you can do and never make a mistake because it’s your song.

2.         Define Goals.

Is this composition for you, or for someone else? This will change the tone entirely. What’s the attitude? What’s the point? Having a message or theme can keep the creativity flowing. Who/what inspired the composition? Where did it originate? It’s important to convey this in the music.

3.         Change Is Good.

It’s easy to find a great arrangement and want to showcase it time and time again but change can help you grow as a composer. Try picking up an unfamiliar instrument. It may lead you to a different finish line.

4.         Learn From Others.

There is something to be learned from every single musician or band out there. Listen to how your favorite musicians construct their songs—examine the style, the tone, how different instruments work together and so on and so forth. You can implement many of the same ideas into your own music.

5.         Practice.

There is no substitute for hard work and practice. It is the only formula that will guarantee you will become a better songwriter.

6.         Have Fun!

Write music because you love music. The idea is to enjoy it. If you get frustrated, then put it down and walk away. You’ll find that after a few minutes you’re ready to start back up.

Get Your Groove On! The Importance of Practicing Rhythm Guitar

January 14, 2010

by Daniel Ondaro, Guitar Instructor at The Lesson Studio

The Lesson Studio Guitar Instructor Daniel Ondaro

Daniel Ondaro, Guitar Instructor

The craft of rhythm guitar, although not nearly practiced enough or given as much credit as its soloing counterpart, is one that plays a huge roll in the development of a guitarist’s overall musical skills. Practiced wisely, learning rhythm guitar can enhance a player’s sense of time, soloing skills and stylistic adaptability. Both the unaccustomed listener and master player can appreciate a player’s skillful time because of its inherent biological qualities and relation to the many physiological rhythms of our bodies such as the heartbeat. By adding the elements of rhythm to your musical practice you will not only be becoming a solid rhythm guitar player but will learn how to get your groove on in any situation.

There are many things you can do to fine tune your rhythm skills while practicing. Try to learn all the popular rhythmic styles and techniques used by rhythm guitarists. This includes the many strum and fingerpicking patterns used to create grooves found in folk, rock, bluegrass, reggae, blues, jazz, latin and others. Once you’ve learned the appropriate technique to create the groove in a particular style then focus your practicing on starting and maintaining the groove. Practicing with a metronome is essential in this process. Remember to always start your practice of different grooves with the metronome set to a slow tempo. As you become more comfortable with the groove, try setting the metronome to an appropriate tempo for the style. Then, once you feel comfortable playing the groove along with the metronome at this tempo, try turning it off and keeping the beat with your foot by tapping along.
A lot of practice can be done away from the guitar as well. Simply learning to count out and read music can be a great advantage for the rhythmic player. This gives you a practical and theoretical way of looking at rhythm and time and will deepen your understanding of the rhythm guitar. Experimenting with different percussion instruments is also a great way to enhance a player’s time. You could learn to play the drumkit or a host of other hand percussion instruments. Learning percussion will help you better relate to the groove in your guitar playing and will help you gain an understanding of your roll and others within it.
Much of the guitar’s good and tasteful soloing is not simply the notes or speed of the passage played but its overall rhythmic presentation. Think about some of your favorite guitar solos for a moment. How is that you could predict it and sing along to every part? It must be, in addition to the elements of melody and harmony, the way it is shaped and presented rhythmically against the overall groove of the music that has helped you retain and recite it. You can then say that is the players understanding of the groove and how to contrast or compliment it that creates a good solo. The best way to begin incorporating rhythmic ideas into your solos is to try practicing your favorite passages along with the groove. Simply try playing along with a recording of the groove or imagine it in your head as you play with or without the metronome. It’s also helpful to take segments from your favorite solos and cycle them while the groove is playing. This gets the solo under your fingers, into your memory and will give you a sense of how the solo fits with the groove.
The more you learn about rhythm guitar and the more grooves you learn the better equipped you will be to handle many diverse situations as a rhythm or lead guitar player. Take it from somebody who has learned to play a variety of different guitar grooves and percussion parts. I don’t think I could have had the variety of musical experiences I have had if it not been for my willingness to incorporate the craft of rhythm guitar into my guitar playing and musicality. In addition to practicing alone, playing in the groove with others is essential to your understanding of rhythm and its relation to the guitar. I feel lucky to have played with many different players in many different styles. Playing with friends or a trusted teacher can enhance and speed up your ability to feel and incorporate the groove into your playing.

For more information about Daniel Ondaro, please contact The Lesson Studio or call 303-543-3777.