Another typical factor of funky rhythm is certainly the use of the chords, not as "wide" fingerings (five or six strings, for example), but rather with voicing of three or four strings. In this way the chord is played with the essential notes to show its own nature (way, embellishments, alterations...). Doing this the chord integrates perfectly with the harmonies and melodies from the other instruments, contributing to the harmonic base of the song. In many cases two string fingerings can also be used, which are usually defined as fragments, because they use only a part of that chord, making room for a sometimes ambiguous, but interesting sound.
The position of the right hand is very important in playing well. In fact, it is best to hold the pick in the standard position (between thumb and index finger), and closing the other fingers in a fist. In this manner the right hand can pass over the strings during the wrist movements, giving the palm of the hand the possibility to stop the vibration of the strings when they accidentally resonate or when using the stop technique.
The rhythm is used like the single note system, working on the strings related to the same fingering. Lets look at some examples to help build confidence with these rhythms. Always remember to initially set the metronome at a low speed (about 70 bpm), and to play as clean a sound as possible, trying to play every single note with the same volume, then increase the speed of play when you have reached a good rhythm.
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We will start with a simple example, based on a sixteenth note rhythm. The chord to be played will also be used in the following exercises, and was also borrowed from previous single note examples. Play only the indicated strings in the fingering (5th, 4th, 3rd and 2nd). |
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Ex. 2
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Use of the rest in beat on the second and fourth movements. As usual, stop the vibration of the strings at the correct moment, releasing the pressure of the fingers on the strings without being detached from the strings themselves, so that you interrupt the sound for the indicated time (in this case, 1/4 rest). |
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Ex. 3
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A little more complicated. In fact, just after playing the sixteenth in beat of the second movement we must stop the sound for the eighth note and a half. The same also for the fourth movement. On the third movement, instead, the rest is made on the third sixteenth: remember to make the down stroke movement but without playing, to maintain the frequency of the rhythm. |
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Ex. 4
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Another rest. This time we use the eighth note that, as you see, is played with down picking. Remember that alternate picking is always used on the smaller rhythmic divisions, which in this case are the sixteenth notes. |
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Ex. 5
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We will conclude this series of introductory examples on chords with a more complex rhythm. Follow closely the indicated picking, and stopping the vibration of the strings at the correct moment. |
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