In keeping with the same “less is more” philosophy, today’s example is about creating a pattern that is powerful, yet simplistic. I’m playing simple straight eighth notes, and accenting beats 2 and 4. Even though this isn’t the most complex of ideas, I’m still able to create a pretty impactful idea.
In this week’s example, I demonstrate a pattern aimed at creating space. Sometimes less is more, and by creating a gap between chord changes, a more dramatic effect can be achieved. Feel free to experiment with this simple idea to really change up what may otherwise be too straight ahead.
This week, I go over an all-downstroke 16th note strumming pattern. By adding a measure of 2/4 at the end, I create a little hiccup or stutter. That, in conjunction with adding a fair amount of rests, gives the pattern a punctuated feel. This is a simple way to break up your strumming and explore a simple time signature change without getting overly complicated.
In today’s episode, I go over how to swing eighth notes. Swung (as opposed to straight) eighth note pairs contain one long and one short eighth note. This literally translates to the first and third hits of an eighth note triplet figure. The strumming pattern I play in the examples can be applied to different types of music and can create different distinct feels depending on how you approach it.
In this week’s episode of Sunday Strum, I demonstrate an example using eighth note triplets. This is a basic way of practicing them, but if you are more comfortable with the rhythm, feel free to switch it up and apply triplets any way you like. The eighth note triplet rhythm translates to three eighth notes in the space of two eighth notes.
In this episode I go over a basic strumming pattern stressing the downs in the first measure and the ups in the second measure of each chord. This can help to create a powerful feel without being abrupt. The key is to be fluid in the right hand. Experiment with this concept using various chord progressions.
In today’s episode, I demonstrate a chord progression using mixed meters. I achieve this by simply switching time signatures each measure or two, depending on how you want to count it. I give the first three chords 3 beats each and the last chord 2 beats. This can be also thought of as 6/8 then 5/8.
In this episode of Sunday Strum, I take you through an all-quarter note strum pattern using downstrokes. I’m making each hit staccato – which means short. In addition, I’m palm muting to create a certain detached, rhythmic feel.
Here in episode 10 of Sunday Strum, I introduce rhythmic displacement. Rhythmic displacement is taking a rhythm or pattern and starting it on a different part of the measure. In the example, I begin the original rhythm on beat 1. Then, by placing the first hit after the first 1/8 note (the AND of 1), I am able to create a completely different feel.