How to play 6 guitar rhythms for songwriters and guitarists #2 | Christopher Richter | Skillshare

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How to play 6 guitar rhythms for songwriters and guitarists #2

teacher avatar Christopher Richter, Learn to create music the way you want!

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (29m)
    • 1. Introduction

      1:32
    • 2. Pattern 4/4 G Am C D

      4:02
    • 3. Pattern in 6/8 G C D G

      3:25
    • 4. Pattern in 4/4 D A Bm G using 16th notes

      5:25
    • 5. Pattern in 4/4 A E F#m D

      4:24
    • 6. Pattern in 4/4 Em D G C

      4:21
    • 7. Pattern in 4/4 G C using 16th notes

      5:35
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About This Class

In this class you will learn 6 guitar rhythms form a basic beginner rhythm to a 6/8 rhythm pattern and a much more complex 16th note rhythm. 

Learning these patterns will assist in improving your guitar technique and providing a basis for some of your new songs. 

The guitar rhythms are ideal for any guitarist that would like to improve their playing technique but also for songwriters that need to become more versatile. 

Meet Your Teacher

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Christopher Richter

Learn to create music the way you want!

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Related Skills

Music Creative Guitar Songwriting

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Transcripts

1. Introduction: Hello and welcome to Learn six guitar rhythms for songwriters and guitarist. My name is Chris Richter and it's great to have you in this class. What you will learn is six different guitar rhythms and each of them are quite different. We will start off fairly simple and work towards more complex rhythms. Towards the last view, the guitar rhythms are in 44. We also have A6, A8 guitar rhythm and a couple of Italian rhythms that use 16th notes as well. We use basic codes for much of the guitar rhythm. So in g i minus c, d, e, and I, you may also need to do B minor and a C-sharp one or the other, to slightly more complex chords that you'll cover as we're going through this guitar rhythms. Your project for this class is to create your own pattern. And you can make it based on probably rhythm number four, number five, and make up your own pattern based on that and see if you can write out how that is written as well. And I'll show you how the chords or how the rhythms are written so that you can create your own. And that will be your project for this class is to create your own rhythm based on number four and number five. I hope you enjoy the class. I'm sure you'll learn heaps out of it. And I'm also sure it will help you with your songwriting and with your guitar playing. I look forward to seeing you in the first lesson. 2. Pattern 4/4 G Am C D: Hey, welcome back again. We're going to look at a guitar rhythm that is very basic. Very basic. It's a simple guitar rhythm, but it's something that you can use a lot. So this guitar rhythm uses the chords G, i minus c and d. You can play all of this with open chords. You don't need to use backwards for this. You can try it with backwards as well, but we use open quotes for the moment. So the cords are again G, I'm Ana, C, and D. Now, the important part with this one is it's in full force or a counting 123 for one. But for you again to Canada a little bit differently, we're going to count 1234. And doing that divides our bar into eight quivers instead of just four crotchet. So that way we can count 12341 technique we've often done is to strum Dan and keeps drumming, sorry, strummed em. And it's from backup again. So strumming and keeping that motion going up, down, up, down, up, down. For this one, we're actually going to strum all of the rhythm, Dan only. And doing this actually gives it a different feel, even though it can be strummed up, down, up, down, up, down, up, strumming it just Dan only gives it a slightly different sound to it and makes it feel different. So the rhythm is, we're gonna take this out first, 2341234, end. So I'll do that again. 3412 and rest band for end. But that we should see that up there. And you can actually be up over here. And you can have a gap that again with a G chord. And what we're gonna do a strum all of these down only. So 1234 N Dan, Dan, Dan, compressed down, down, down. That was rhythm. We're gonna try it one more time. And then we'll have a guy right through the whole cord pattern with G, a minus c and d. You bigger one. I'll do a little bit slower. 1234 and d, n two and rest, and 412 and rest. And for end. Notice it's obeying dance drums all the way through. Let's try it with G, a minus c and e, j 34 and Dan, Dan, Dan, Dan arrest Dan, Dan and I wanna Dan, Dan rest and Dan, Dan see rest and Dan, Dan, De Dan and 234 and then back to G, gh in. So that's a nice, easy rhythm for you. Or with dense drums. Philip, straightforward. One more time through all got through the court button twice is talk a little bit faster and see if you can keep along for you go 123412, then three in my model, they J, C before and the big guy, that's how and slightly more advanced, but still beginner guitar rhythm. We're going to keep getting more complex and much more interesting rhythms as we go through this series on guitar rhythms. 3. Pattern in 6/8 G C D G: For this guitar rhythm, we're going to use just three chords. The courts will be g, c, d. Back to g again. Now, the difference between this rhythm and previous ones we looked at is this will be in 68. And what 68 actually means is we have six notes, or six beats in the bar, and the top of beta, that will be an eighth note, or in our case an eighth note or quaver. So that means we count, instead of 1234, we count 123456123456. Now, the unusual part though, is about how we Strom this. We're going to take it very slightly to start with an a G chord. And we're going to strum dam up, down, down, up, down. So we're dividing it into two groups of 3123456. And the rhythm will be down, up, down, down, up, down or down, up, down, down, up, Dan, Dan, Dan, Dan, Dan. Let's try this by counting in six. I would just stay on the G chord for now. 123456 Dan, Dan, Dan, dan. That's in dam. Dam, 123456123456. What you'll notice is we accenting the first so the 123 and the four, 4-5-6. And that's the right place or the right position to accent a 68 pattern. When I say write, it works for a lot of songs to be ADA accent on the first and the fourth bait. So let's try this with all the chords G, C, D, and back to j again, your ego, 123456, Dan, Dan, Dan, Dan C. Then up De, Dan, Dan, up data vector g. So that was down, up dam, dam, dam. We're gonna try it again a little bit faster this time. Same chords, G, C and D. One, 23456 Dan Dan, Dan, Dan, Dan, Dan, Dan De Ji Dan, Dan, Dan, Dan, Dan, Dan. I'm gonna do that last little bit again. Let's try that a bit faster. Let's try that a little bit faster. Dan, up down here. Let's try that a little bit faster. Or canteen, 1-2-3, 4-5-6 Dan Dan Dan Dan, Dan, Dan. De Dan, Dan, Dan, Dan, Dan, Dan, Dan. C. D. There we go. That was our 68 rhythm using the pattern down, up, down, up, down. 4. Pattern in 4/4 D A Bm G using 16th notes : For this guitar rhythm, we're going to look at the Cohen's d i by mana. So we'll need to put a backward in here and a G. And back to being in. The cold beta_1 follows. It's in full for the rhythm again to use, uses 16th maps. In this case, I was still counting 1234, but we're going to break each of those beats up into four parts. And to do that we can't 182340 and up. Let's tap the rhythm out as we can't eat consider with him up there now. So I've got a quiver. We've got two semiquavers. We have another two quavers together than we have acquired. Arrest them ever quadrant sine two semiquavers and acquirer to finish it off. So when we count this, we count. So if it's four 0s and 1234 and up, and do that again, try not to do it too fast. So if you can follow along and we counting One and studying with 40 NDA to cantered infinitely. So for E and one e and a, two e and wrist. And for a And I, got that bit cipher, right? We're gonna move on to the actual strumming part, which is down, down, up, down, down, rest Dan, down, up, down. But that one more time slide. Dan, Dan, Dan, Dan wrist down, dan, up, dam. As you'd like, faster becomes easier. He began to three can't 4n for a and 182 he and wrist and for the and one rest down, down, down. And I just lost count with get-togethers 1e under 40. So we'll do that again for a and 1828 and wrist and for a and down and down. Damn damn wrist. Down dam, dam. Alright, we'll try it with all the courts. Try not to go too fast. With D, i, and j. We go one for D and Dan. Dan. Dan. Then rest. Dam, dam, dam. Now I damn wrist. Dan, Dan, Dan be mana, Dan, Dan, Dan, Dan wrist, Dan, Dan, Dan. And g. Wrist. Dan, down, up, down and back. Today. Say at that tempo, it doesn't feel as comfortable as if he planted a faster tempo. So I'm gonna play it faster for you and see if you can form. I will go through the corporate unto us. So that's 40. And then do that begin. I'm gonna play this a little bit faster for you. It sounds better at a faster tempo. And I'll go through the code patent twice four 0s or D, a B minor G, UB game for a endow 1234. And why a four and a and B Minor rest. G. Rest. Then down, up, down dam, dam, dam, dam. Rest. Dan, Dan, Dan, Dan, Dan, Dan, Dan, rest and Dan are damn. They minor rest. Dam, dam up, del G. Rest the dam up, down. And then one thing you may have noticed when I say rest, strumming down as though I'm going to hit the strings but don't touch them. So that just helps me keep that tympani, keep that pattern moving nice and smooth as you're streaming through. So one more time at an even faster tempo, he began for me and the guy that was our pet and using a, D, a, B minor G, And Planck's him 16th notes. 5. Pattern in 4/4 A E F#m D: This guitar rhythm. We're going to look at playing an a and a and F sharp minor. So we do have one barcode and this and a deep with those chords. Instead of just doing normal strumming, we're going to mute the guitar and give it a more of a driving sand. It would be all dance, drumming. And if you have a peak, you can grab a pick and use of pick for this as well if you like. And feel free to use or pick for any of these rhythms to, because mostly we're still streaming down and up. But this one sort of works well for a peak. In fact, acronym. We have a good topic. And we're going to play this rhythm strumming down. So we'll all be dance drums and muted. And the way we meet it is to put a palm of their hand, this part of your hand against the strings. And as we strumming. And it gives that sort of music sound, which is the sand we want for this particular strumming pattern. The pattern will be as I sitting for four and will count it as 1234. And if we're going to set the tempo would be 12341234. And we're gonna strum it through just on a chord. First, we'll play to browse through and see if you can get the idea of meeting while you're playing in the only need to play the three strings. For a chord would just play the fifth string. The fourth and the third string. Only. Like that. He began 123412341234. And on its own doesn't sound all that exciting, but we'll just play it through all the chords. First, a F-sharp minor D, alphabet that tempo, and then we'll speed it up. See Hagar with a faster tempo. He began 34 and the D and E, and 2341234. And so I remember looking at the music there. We've got two quavers, the one end, then arrest than we play on the end after two. And then we play on the big three and number four. Let's try this a little bit faster. 1234. And so you can see there starting to sound like a rhythm that you would actually use in a song. One more time, a little bit faster again, see if you can keep up. He began with do you agree or being the one, just one last reminder. We that is when I'm playing a chord and playing the fifth, fourth, third strings. When applying the ii chord, I'm playing the sixth, the fifth fourth springs. When I'm playing F-sharp minor, I'm playing the 65th four strings. When applying the D chord, I'm actually playing the 432. So that's denied. And that's why we playing the fourth string because it's a dinitrogen. So that means the name of the chord is the lowest note that we're applying. And we only playing three strings at a time. 6. Pattern in 4/4 Em D G C: And this particular rhythm, we're going to look at the chords, a minor, G, D, and C, or email at GDC, yes, in that order. And the difference with this rhythm is that we're not so much worried about the Dan upstroke, but we're looking at accents. And the way accents work is how you, how hard you actually strongly guitar on certain beats. And the way this works in music width, if you playing with the band or with a group or other musicians, is the accent will give a different feel to the song depending on where those accents happen. And typically those accidents will happen. If you have a drama or a best plan. The beat that they play, the kick drum, or that the bass player plays the bass notes will often change the feel of the song. And that's where you can accent certain beats in a rhythm that will fit in really well with the rest of the band or with the rest of the musician. So to explain that, we're going to look at a rhythm in 44. It will have eight quavers and 44. And we're going to accent one. Then we have end to end after two is where our next accent will be. Then we don't accent on the 33 end, but we'll accent on beat four and not on the end after that. So if I was going to play this through with at the accents using an a minor chord. And that's just going to strongly through just nice and simple. I will meet this a bit too, so it's not quite as noisy. And you can tell the difference between the accents then. But if I go 1234 and that's playing it with accents. If unguided accent it, I will go 1234. And so you can see that as x ends on one, the end after two, and on beat four. I'll try that again. Little bit slot 3412341234. And so let's try that through with all of the chords, a minor, G, d, and c. We'll keep it fairly slightest doubt with, so you can get used to that accenting part. If you need to meet the guitar with the palm of your hand, you can see your palm just on the strings lifted up when you don't want to accent. And then for the rest of the rhythms, keep that planned dram. So let's go studying on a minor. And he began 341234123412341234 and sends a bit strange that slowed us know. Let's pick the tip up a little bit and it will start to make a bit more sense and make it easy if you'd apply here we go to N3 and thought and 12341234123423412234 vector C two. So you can see that it makes more sense. We're going to pick the tempo up just a little bit and have another listen at a faster tempo here. Yeah, 123 and thought, and 1231234. So you can see how putting those extra accents or particular axions into a song or into a rhythm can make that rhythm quite useful and work really well with very specific songs. 7. Pattern in 4/4 G C using 16th notes: For this guitar rhythm, this one's quite complicated, so I'll take it slowly through step-by-step and teach you how the rhythm works. And then we'll look at adding some chords to that and then see if we can play it up to tempo. It's in full, full. But we're using 16th notes for some of this rhythm. So what we've got is we have a crotchet, and the crotchet will go for one hobbit. So that's not an easy book. One is down, but two is down as well. And it will be a dotted quaver, which means it's a quiver that goes for 1.5 quaver Bates. Then we have a semiquaver, which will be an upstroke. Then we have a semiquaver rest, which is like a it'll be a 16th note rest. Then we have an up strum on the end after three, and that will be a semiquaver again. Then we have a quaver down on the end after three, and then I'm bake for strummed and again. Then on the, the end, we'll have another dance drum and back up again with our last 2 16th notes, which will be our last semiquavers At the end. Sender complicated saying it that way. Let's canter through as one E and, and tap the rhythm. Here we go. We'll start from Fourier NDA so we can get back to the staff for E and R, one and R on an account that again because 10x and there is actually just a four crotchet, four 0s and 12341. More time for e and 1234. The end. Good. Let's try that in a G chord is G and C for this. So a G, C, it's actually a C at nine. If you want to add that DNA to sands mass. Ok, let's go for E and R, one E and to B. And at 3.5 for a and the sky through again with the strumming and telling you where you're spamming Dan and up four and down. Down, up, up, down dam, dam, up, down, down, up, Dan, Dan, Dan, up. The guy. Once you get the feel of this, it'll make a lot more sense and feel more comfortable for you. We're going to try it with G and C. And I went spit the temp up yet, but we will start to spin it up so it becomes more comfortable sprung. Here we go. 48123412 a and up up dam, dam, dam, dam, dam. Up up dam, dam, dam, dam. Dam. Dam, then dam. There. Yea. That was when I was going China Sea was not constraining the magnitude or the rhythm was ripe for you. Let's pick up the tempo a bit. And we're going to count it as Fourier Enda, and go through G, one by G, one by fc. And repeat that again. Every guy for the end. And to me and say, gee, which is a really nice sanding guitar rhythm. Pick the ten Bella, and we'll try it again and just play through GC, GC, and see if you can keep up with the template here. Eager for Pete and blindly and TV. And that was our extremely complicated guitar rhythm. But as you can see, once you start to get the feel of that tempo and the feel of the rhythm. It becomes much easier and even easier when you start playing along with a song that, that, that particular rhythm fits into it, it'll become even more comfortable and easier for you to play. Then obviously you can start doing variations on that. So you don't need to be doing the down, down, up, up, down, down. You can change it. So we're still using them basic rhythm we started with, but then just adding in a few extra Dan ups in different spots that feel comfortable and work really well with the song.