
Focusing on different forms of picking and playing can steal your chops away from your rhythm playing. Brendan Burns offers up a 6 week coarse on rebuilding your rhythm chops that focuses on training necessary muscle groups and getting back into tempo.
Lesson 1
Brendan Burns offers up the first exorcise of a six week program dedicated to rebuilding rhythm technique.
Length: 7:54 Difficulty: 1.0 Members OnlyLesson 2
In week two of his six week rhythm building program, Brendan goes over an exercise that covers treble and bass strumming.
Length: 6:53 Difficulty: 1.0 Members OnlyLesson 3
Brendan is back with the 3rd and 4th week exercise to workout your rhythm playing.
Length: 11:25 Difficulty: 1.0 Members OnlyLesson 4
In week five of his six week rhythm workout, Brendan provides an exercise that breaks the guitar up into five distinct sections.
Length: 6:48 Difficulty: 1.5 Members OnlyLesson 5
Brendan Burns offers up the final exercise of his six week rhythm workout.
Length: 7:12 Difficulty: 1.0 Members OnlyLesson 6
Brendan Burns starts off a short lesson set on how to count compound meters. He starts with the 5/8 time signature.
Length: 13:07 Difficulty: 1.5 Members OnlyLesson 7
Now that you've mastered 5/8 time, Brendan provides a lesson on counting 7/8.
Length: 6:42 Difficulty: 1.5 Members OnlyLesson 8
Brendan Burns demonstrates how to count 11/8 time.
Length: 6:24 Difficulty: 1.5 Members OnlyLesson 9
Now that you have counting under your belt, it's time to actually play some compound meters.
Length: 9:38 Difficulty: 1.5 Members OnlyLesson 10
In lesson 10 of his rhythm series, Brendan teaches playing examples of the previous time signatures he has covered.
Length: 18:01 Difficulty: 2.0 Members OnlyLesson 11
Brendan discusses how using bass lines can enhance your playing and allow for more creative expression in a band style situation. He starts you off by discussing bass lines created from major and minor...
Length: 15:20 Difficulty: 2.0 Members OnlyLesson 12
In the second bass lines lesson, Brendan discusses arpeggios and bass lines for all types of 7th chords.
Length: 29:58 Difficulty: 2.0 Members Only
About Brendan Burns
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Brendan has been passionate about music since childhood. He began his studies on trumpet, in elementary school, and then moved to guitar as a teenager. He holds a Bachelor's Degree from Berklee College of Music, and has studied with Norm Zocher, Joe Stump, Bret Willmott, Bob Pilkington, Jay Weik, Tim Miller, & Charlie Banacos.
While at Berklee, Brendan was a member of the Music Mentoring Program, teaching private lessons to gifted high school students. He is currently teaches, and is chair of the guitar department at Brookline Music School. Brendan also teaches guitar for Tune Foolery & privately at his home in Cambridge, MA.
Along with educating, Brendan plays out often as a Solo Guitarist, performing standards, pop, and classical repertoire. He has recorded and played with the chamber-fusion band Ra Quintent, and as well as Vessela Stoyanova's Eastern Stories Under Western Skies Project. Brendan also performs as a leader, director and sideman for various Boston art-rock projects, and is former member of MIT's Gamelan Galak Tika.
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Member Comments about this Lesson
Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.This is super useful!
Brendan, this was a very simple but very useful lesson. I've taken a quite a few lessons in strumming and none of them said so much in so little time as you did in this lesson.
Glad to hear it. Keep it going!
Ok, This is my problem, it has plagued me forever; my pick goes all over the place, if I hold on to it tightly, I strum way to hard. Help!
It might also help to use a lighter gauge (more flexible) pick. If find very heavy picks difficult to play with as there is less flexibility when it strikes the string. That resistance produces more resistance and also a louder sound.
Aaron, This is a very common problem. The thing to remember is that your pick is experiencing resistance from the strings. If you attack at an angle, it will bounce back at an angle. As an exercise, try letting go of your hold on the pick when strumming. You should be able to get it to a point where it just floats in your hand: you're pushing the pick into the strings, but the strings are also pushing back. It's a delicate balance, and easier said than done, but it will allow you to have a lot of flexibility in your dynamics.
I am a little confused about the technique here. Should I stop the pick on the G string and go back up without plucking it (easier, more accurate), or should I lift the pick up right after the D string, making a fuller motion (hard not to pluck the D string, but it seems you're doing this in the video). Thanks for the answer.
For the Bass & Treble areas you can hit anywhere between one and four strings to get this effect. Rather than dividing the guitar by 3 strings, you can overlap four strings at a time and have the D & G can be part of both. The Bass & Treble areas are a great place for strumming, but as you move forward, you'll find you'll be able to articulate smaller and smaller groupings.