I use thin picks, generally. Thick picks make guitars sound dull to me. I hold the thin picks closer to the tip on leads, often hitting the string with the pick and tip of the finger simultaneously.
Great advice.I understand that most people need a distinction between lead and rhythm playing but it all involves rhythm. Leads can involve changing the rhythm throughout and it is beneficial to be a very good rhythm player to be a good lead player. I spent years as a rhythm guitarist in various bands.And i'm thankful that it kept me grounded.
Going through music classes, I definitely learned to avoid “doubling the third” when composing four-part chorales. Hearing a third doubled will make it sound more like a first inversion of a chord. And speaking of inversion, it can potentially create both a minor sixth and major sixth at the same time if it’s not in root position, thus creating tonal ambiguity. It’s funny that what I imagined for allocating notes was: bass and the altos will get the G, tenors will get the D and the sopranos will get the B.
I'd consider myself to be a pretty much an "A level" player in both rhythm and lead. Been playing for 34yrs and played professionally for 20yrs. One thing i always struggle with is rushing the beat. But.... I've noticed this happening on my vocal performances and bass performances as well, and i'm starting to suspect i have some undiagnosed latency issues in my setup that aren't getting corrected by Pro Tools, and am going to investigate this weekend. i'm almost consistently 2-5ms on top of the downbeat. It's not alot, but enough to make it feel weird and i swear when i'm tracking, it feels perfectly in the pocket. Great video! Agree with all points. and we play the G chord the same way! I always hated the sound of the third. I do the same with C major as well.
To answer your questions, I would rate myself as a pretty solid rhythm player in general, but I would like to get better at playing rhythm parts without always resorting to typical blocky barre chords, cowboy chords and their standard inversions. Rather, more "inside" chords; what I think of as partial chords. That is, getting away from always thinking about the root of the chord. Two-note stuff.
Great stuff. Also, I could listen to that guitar all day. I consider myself a beginner rhythm guitarist and I want to focus on accuracy and a little riffing. It would help with my authenticity as a Roy Orbison tribute artist too.
All great tips. Though the omitting of notes is wholly dependent on the size of the ensemble. If you don't have a piano/keyboard player then the 3rd is more often very important (dependent on the song/genre) to give your soloist/vocalist a frame of reference on what modes/scales/notes work best over your foundation. Another thing to consider is what is the bassist playing? The busier their line, the more you need to get out of the way. That could mean anything from removing notes, to playing more sparsely. A great player (rhythm or otherwise) will listen to the musical conversion and determine what isn't being said, and whether it fits the message being conveyed.
Good advice. The only thing I'd disagree with is that the one G chord sounded "better" than the other. I would say "different" and either could be better depending on the song & other instruments. Also depends on music style - in jazz it's more common to drop the 5th, V and use shell chords i-iii-vii
I prefer a medium pick with some flexibility. (.73 Jim Dunlop with grip) If it's too thin I get blisters from the rubbing. There are some strumming techniques that can be almost impossible with a thick pick as well.
Great vid, as ever. 👍 Can you please specify what mm grade those jazz Iii picks are please? I think they may come in different thicknesses… unless of course red is the colour code as with other Dunlop picks. Many thanks. 🙏😎
I am an average guitar player... able to back myself and play rhythm in a band. Have been playing for years.... BUT!!!! I would love to move onto Stage two where I could play some riffs and transitions between chords etc...
Ironically I find rudimentary speed exercises like chromatics very helpful for my sense of rhythm because the idea is to lock on to the beat which is tougher at high speeds.
As a vocalist/keyboardist, apart from learning to hold on extremely tight to your plectrum (to avoid fishing excursions), learning to palm mute (and on certain songs, 'chord hand' mute) was the discovery that made my rhythm playing advance to a higher level.
▶︎▶︎ Ultimate Recording Checklist: www.homestudiocorner.com/checklist
I use thin picks, generally.
Thick picks make guitars sound dull to me. I hold the thin picks closer to the tip on leads, often hitting the string with the pick and tip of the finger simultaneously.
The first part of this made me think it would be great if you sometime did a video or series on basic music theory for the singer-songwriter.
Great advice.I understand that most people need a distinction between lead and rhythm playing but it all involves rhythm. Leads can involve changing the rhythm throughout and it is beneficial to be a very good rhythm player to be a good lead player. I spent years as a rhythm guitarist in various bands.And i'm thankful that it kept me grounded.
Going through music classes, I definitely learned to avoid “doubling the third” when composing four-part chorales. Hearing a third doubled will make it sound more like a first inversion of a chord. And speaking of inversion, it can potentially create both a minor sixth and major sixth at the same time if it’s not in root position, thus creating tonal ambiguity.
It’s funny that what I imagined for allocating notes was: bass and the altos will get the G, tenors will get the D and the sopranos will get the B.
Yes. Thank you Joe.
I'd consider myself to be a pretty much an "A level" player in both rhythm and lead. Been playing for 34yrs and played professionally for 20yrs. One thing i always struggle with is rushing the beat. But.... I've noticed this happening on my vocal performances and bass performances as well, and i'm starting to suspect i have some undiagnosed latency issues in my setup that aren't getting corrected by Pro Tools, and am going to investigate this weekend. i'm almost consistently 2-5ms on top of the downbeat. It's not alot, but enough to make it feel weird and i swear when i'm tracking, it feels perfectly in the pocket. Great video! Agree with all points. and we play the G chord the same way! I always hated the sound of the third. I do the same with C major as well.
To answer your questions, I would rate myself as a pretty solid rhythm player in general, but I would like to get better at playing rhythm parts without always resorting to typical blocky barre chords, cowboy chords and their standard inversions. Rather, more "inside" chords; what I think of as partial chords. That is, getting away from always thinking about the root of the chord. Two-note stuff.
I’ve always been happier being James rather than Kirk
My son asked me just an hour ago why I was leaving the thirds out of my chords!
I prefer Jazz II picks, a little more rounded at the tip.
Great stuff. Also, I could listen to that guitar all day. I consider myself a beginner rhythm guitarist and I want to focus on accuracy and a little riffing. It would help with my authenticity as a Roy Orbison tribute artist too.
All great tips. Though the omitting of notes is wholly dependent on the size of the ensemble. If you don't have a piano/keyboard player then the 3rd is more often very important (dependent on the song/genre) to give your soloist/vocalist a frame of reference on what modes/scales/notes work best over your foundation. Another thing to consider is what is the bassist playing? The busier their line, the more you need to get out of the way. That could mean anything from removing notes, to playing more sparsely. A great player (rhythm or otherwise) will listen to the musical conversion and determine what isn't being said, and whether it fits the message being conveyed.
Good advice. The only thing I'd disagree with is that the one G chord sounded "better" than the other. I would say "different" and either could be better depending on the song & other instruments. Also depends on music style - in jazz it's more common to drop the 5th, V and use shell chords i-iii-vii
Picks are super personal. I use a .6.
Thanks Joe.
Great tips!
I have played with thin picks, BUT, with a compressor on the output before the DI. I’ll try thicker ones again.
I prefer a medium pick with some flexibility. (.73 Jim Dunlop with grip) If it's too thin I get blisters from the rubbing. There are some strumming techniques that can be almost impossible with a thick pick as well.
Great vid, as ever. 👍 Can you please specify what mm grade those jazz Iii picks are please? I think they may come in different thicknesses… unless of course red is the colour code as with other Dunlop picks. Many thanks. 🙏😎
As far as I can tell, all Jazz 3's are the same thickness.
I am an average guitar player... able to back myself and play rhythm in a band. Have been playing for years.... BUT!!!! I would love to move onto Stage two where I could play some riffs and transitions between chords etc...
Ironically I find rudimentary speed exercises like chromatics very helpful for my sense of rhythm because the idea is to lock on to the beat which is tougher at high speeds.
Hey Joe. you were saying about using thick picks. The thinnest I use is a 1mm and the maximum pick I use is a 2.65mm.
also a looper can/will point out any wavering in your steadiness - repeatedly, ha!😢
Dunlop Jazz 3s!!! You me, and Joe Bonamassa!
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I switched to rather thin picks when I began doing more electric lead, but then realized they under performed for licks on acoustic guitar.
As a vocalist/keyboardist, apart from learning to hold on extremely tight to your plectrum (to avoid fishing excursions), learning to palm mute (and on certain songs, 'chord hand' mute) was the discovery that made my rhythm playing advance to a higher level.
Pretty sure I heard "Blessed be your Name" in there. 😊
A few good ideas there, thanks. I have exactly the same guitar as you but yours sounds miles better!
"A beautiful honesty"
Great line!!!
Maybe a silly question but how much ml seconds late would the guitar be in your opinion?
No clue. 😂 ten?
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Steve Lukather says exactly your opening line. The real skill for session work is play less, play great rhythm