Rhythm Strumming (Guitar Lesson)
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Rhythm Strumming
This lesson covers right hand rhythm technique. Matt introduces syncopated strumming patterns.
Taught by Matt Brown in Reading Music and Rhythm seriesLength: 25:38Difficulty: 2.5 of 5
The strumming rhythms begin with quarter notes and progress to eighth note rhythms. Towards the end of the lesson, syncopated strumming rhythms involving eighth notes and quarter notes will be introduced. In future lessons, the chord progressions as well as the rhythms applied to them will become much more complicated. For example, triplet and sixteenth note rhythms will appear. Other time signatures will be used. Also, syncopated rhythms and polyrhythms will be practiced. Chapter 2: (03:32) Chord Progression This lesson utilizes a basic diatonic progression in the key of C major. Each rhythm exercise is played with the same progression. The progression features the I, vi, IV, and V chords. Respectively, these chords are C, Em, F, and G. With the exception of F major, basic open voicings are used for these chords. A full six string barre chord is used for F major. If you have not yet mastered this chord, feel free to use the basic, four string version of F major.
Note: Fretboard diagrams to all chords discussed in the lesson can be found under the "Supplemental Content" tab. Two fingerings for G major are listed here. Spend significant time practicing both voicings. However, in the long run, use the fingering that is most comfortable for you.
Exercise 1
A. Notating Strumming Rhythms
Often, a strummed chord progression will be written above or directly on the staff using "rhythmic slash" notation. Within this notation system, standard note heads are replaced with rhythm slashes. Matt has notated the lesson exercises in this manner.
B. Exercise Guidelines
-Play all exercises with a metronome. Begin with slow tempos and gradually work your way into faster tempo ranges.
-Make sure the transition from chord to chord remains flawless.
-Right hand accuracy must remain constant at all times. Do not strum unnecessary strings!
C. Rhythm
The rhythm of this exercise is solely comprised of quarter notes. A chord is strummed on each beat. Make sure that each strum perfectly coincides the click of the metronome.
D. Strumming Pattern
The strong beats of each measure are always strummed using downward strums. Consequently, a pattern consisting solely of quarter notes should be played with all downward strums.
E. Practice Time
Play the exercise along with Matt at 02:15 in the lesson video. His metronome is set to 85 beats per minute. If you have a hard time keeping up, pause the lesson video. Set your metronome to a slower tempo and gradually work your way back up. Chapter 3: (03:46) Eighth Note Strumming Exercise 2
A. Rhythm
This exercise is comprised solely of eighth notes. Count "1+2+3+4+" along with each measure.
B. Strumming Pattern
In the last scene, you learned that the downbeats within a strumming pattern are always played with a down strum. Now, upbeats (the +'s in the counting pattern) are added to the strumming figure. Upbeats in an eighth note pattern are typically played with upward strums. As a result, a steady alternating strumming pattern occurs throughout the progression.
A rhythm pattern consisting of nothing but eighth notes can also be played using all down strums. This strumming pattern creates a much more deliberate and aggressive sound that may or may not be desirable within the context of the song you are playing. Compare the sound of both strumming patterns as Matt demonstrates them in the lesson video at 01:10.
C. Practice Time
Play the exercise using alternate picking at 02:10 in the lesson video. Matt's metronome is set to 85 beats per minute. Repeat the exercise using all downstrokes at 02:50. Chapter 4: (02:23) Exercise A. Rhythm
This exercise combines eighth notes and quarter notes. The appropriate counting pattern is listed below the exercise in "Supplemental Content." Count this rhythm out loud as you play through the exercise.
B. Strumming Pattern
Refer to the strumming guidelines discussed under the past scenes. The downbeats are played with down strums. The upbeats or "+" beats are played with upward strums.
C. Practice Time
Play the exercise along with Matt at 01:28 in the lesson video. His metronome is set to 85 beats per minute.
Chapter 5: (04:23) Syncopation Exercise 4
A. Rhythm
This exercise features some light syncopation. Remember that syncopation is defined as a shift in rhythmic accents in which a beat that is normally weak becomes stressed.
Each measure of the exercise is comprised solely of eighth notes. The fourth and fifth eighth notes are tied together. Consequently, the chord is held during the fifth eighth note but not strummed.
B. Strumming Pattern
Use an alternating strumming pattern beginning with a downstroke. For the tied chord, simply miss the strings with your strum. Many guitarists refer to this technique as a "ghost strum." The ghost strum allows you to play the proper rhythm while keeping the right hand motion fluid.
C. Practice Time
Play the exercise at 02:00 in the lesson video. The metronome is once again set to 85 beats per minute.
Exercise 5
A. Rhythm
This exercise also features some light syncopation. A quarter note occurs on the "+" of 1. This chord is held over to the downbeat of 2. Four eighth notes close the measure.
B. Strumming Pattern
Use an alternating strumming pattern beginning with a downstroke. Use a ghost strum on the downbeat of 2. Continue with the alternate picking pattern for the rest of the measure.
C. Practice Time
Play the exercise with Matt at 03:48. The metronome is once again set to 85 beats per minute. Chapter 6: (10:19) Exercise The final three exercises are heavily syncopated. Whenever you encounter a strange, syncopated measure in a piece of music, take out a pencil and write in the appropriate counting rhythm. This will help you play the rhythm correctly when the measure is encountered in a practice session or a performance. Follow along closely as Matt breaks down the strumming rhythm for Exercise 6 in the lesson video.
Exercise 6
A. Rhythm
This exercise begins with an eighth note rest. Remember not to ignore rests. Silence is often a very important component of music. Lightly mute the strings with the right hand on the downbeat of 1.
The eighth note, quarter note, eighth note sandwich that occurred in the previous exercise now occurs at the end of the measure. The quarter note lands on the "+" beat of 3. It is held over to the downbeat of 4.
B. Strumming Pattern
When a rhythm is this heavily syncopated, ghost strumming can become hard to keep track of. If you do not find it helpful in this exercise, do not use it. Instead, simply follow the strumming guidelines listed under scenes 2 and 3. When a chord is played on a downbeat, use a down strum. Use up strums for chords that occur on weak beats.
C. Practice Time
Play the exercise with Matt at 03:51. The metronome is once again set to 85 beats per minute.
Exercise 7
A. Rhythm
Exercise 7 also begins with an eighth note rest. A quarter note occurs on the "+" of 1. This chord is held over to the downbeat of 2.
The eighth note, quarter note, eighth note sandwich also occurs at the end of each measure in Exercise 7. The quarter note lands on the "+" beat of 3. It is held over to the downbeat of 4.
B. Strumming Pattern
Follow the strumming guidelines listed under scenes 2 and 3. When a chord is played on a downbeat, use a down strum. Use up strums for chords that occur on weak beats. The majority of the strums occur on the weak beats.
C. Practice Time
Count the rhythm of the exercise out loud several times before playing it on guitar. When you feel ready, play the exercise with Matt at 06:04.
Exercise 8
A. Rhythm
If you have mastered the first seven exercises, Exercise 8 should pose no new challenges. Do not ignore the rest that occurs at the beginning of the measure. Also, remember not to strum during the tied note that occurs on the downbeat of 3.
Take a look at the counting syllables for this exercise. Notice how Matt writes tied notes in parenthesis. This indicates that the chord is counted but not strummed.
B. Strumming Pattern
Follow the strumming guidelines listed under scenes 2 and 3. When a chord is played on a downbeat, use a down strum. Use up strums for chords that occur on weak beats. The majority of the strums occur on the weak beats. The only down strum occurs on the downbeat of 2.
C. Practice Time
Play the exercise with Matt at 08:47.
Preview of Next Lesson
In lesson 19, Matt explains a new time signature referred to as "cut time." A duet arrangement of "Down by the Riverside" is used to practice reading skills in this time signature.
Preview of Next Strumming Lesson
In future lessons, Matt will continue to discuss various strumming rhythms. The next time this topic is covered, he will introduce patterns involving triplet rhythms. Triplet figures involving syncopation will be explained as well.
Video Subtitles / Captions
Supplemental Learning Material
Reading Music and Rhythm
Found in our Beginner Lesson SetsMatt brings all of his years of education right to you with this fantastic series on how to read music. You will start with the very basics and work up to some very advanced concepts.
Lesson 1
Intro to Reading Music
This introductory lesson will walk you through the basics of reading music and reading rhythm.
Length: 15:07 Difficulty: 1.5 Members OnlyLesson 2
Reading Music
Learn how to identify notes, the key signature, and the staff. Implement your reading skills by playing a few simple tunes.
Length: 43:32 Difficulty: 1.5 FREE
Rhythm and Time Signatures
Learn the basics of notation and time signatures. Practice these concepts with a few timing exercises.
Length: 22:01 Difficulty: 1.5 Members Only
3/4 Time Signatures
Now that you've learned a bit about 4/4 time, it's on to 3/4 time.
Length: 22:20 Difficulty: 2.0 Members Only
Reading Music Practice
Now that you know the basics of reading music, it's time to put that knowledge to work with some exercises.
Length: 25:43 Difficulty: 2.0 Members Only
On Top of Old Smokey
Get some more practice reading music and rhythms during your rock fest rendition of "On Top of Old Smokey".
Length: 15:54 Difficulty: 2.0 Members Only
He's Got the Whole World
Matt Brown reviews the G major scale and teaches "He's Got the Whole World".
Length: 13:18 Difficulty: 2.0 Members Only
Amazing Grace
Matt Brown explains how to read music in the key of F major. He uses the song "Amazing Grace" as an example.
Length: 15:22 Difficulty: 2.0 Members Only
Shoo, Fly
Matt Brown teaches the song "Shoo, Fly" as another excellent rhythm and reading example. This song is in the key of G.
Length: 14:46 Difficulty: 2.0 Members Only
Scales and Key Signatures
Matt Brown returns with the 10th installment in his Reading and Rhythm series. In this lesson, Matt discusses key signatures.
Length: 14:09 Difficulty: 1.5 Members Only
Minor Key and Aura Lee
In this lesson Matt Brown covers the first minor key song in this series, "Aura Lee".
Length: 12:11 Difficulty: 2.0 Members Only
Scarborough Fair
In this lesson, Matt introduces the A Dorian mode. He applies it to the song "Scarborough Fair".
Length: 16:29 Difficulty: 2.5 Members Only
Second Position
In lesson 13, Matt Brown discusses and demonstrates second position.
Length: 29:52 Difficulty: 1.5 Members Only
Rhythm
Lesson 14 is all about rhythm. Matt Brown discusses its importance and provides several exercises.
Length: 20:17 Difficulty: 2.0 Members Only
On Top of Old Smokey Review
Matt Brown reviews "On Top of Old Smokey". This time around, the melody is played in second position.
Length: 7:56 Difficulty: 2.0 Members Only
Reviewing Angels We Have Heard On High
For lesson 14, Matt Brown reviews "Angels We Have Heard On High". The melody is now played in second position.
Length: 12:02 Difficulty: 2.0 Members Only
Shoo, Fly Review
Matt Brown reviews the song "Shoo, Fly" in second position.
Length: 8:56 Difficulty: 2.0 Members Only
Rhythm Strumming
This lesson covers right hand rhythm technique. Matt introduces syncopated strumming patterns.
Length: 25:38 Difficulty: 2.5 Members Only
Down by the Riverside
Matt teaches the melody to "Down by the Riverside". This tune is used as preparation for learning accompaniment techniques.
Length: 15:02 Difficulty: 1.5 Members Only
Accompaniment
Matt uses the song "Down by the Riverside" to teach accompaniment techniques for rhythm backing.
Length: 12:31 Difficulty: 1.5 Members Only
Fur Elise Pt. 1
Matt teaches the classic tune "Fur Elise" in a two part series. For Part 1, Matt demonstrates the melody section.
Length: 24:03 Difficulty: 2.5 Members Only
Fur Elise Pt. 2
In lesson 22, Matt teaches the accompaniment sections to Beethoven's "Fur Elise".
Length: 13:12 Difficulty: 1.5 Members Only
The Entertainer Pt. 1
Lesson 23 starts a 2 part series on the classic tune "The Entertainer".
Length: 16:30 Difficulty: 2.0 Members Only
The Entertainer Pt. 2
Lesson 24 completes the two part series on "The Entertainer". You will learn the accompaniment in this lesson.
Length: 14:06 Difficulty: 2.0 Members Only
Sea to Sea Pt. 1
Matt starts another 2 part lesson, this time on the tune "Sea to Sea" by William G. Leavitt.
Length: 20:36 Difficulty: 2.5 Members Only
Sea to Sea Pt. 2
Lesson 26 completes Matt's 2 part series on "Sea to Sea".
Length: 10:17 Difficulty: 2.5 Members Only
Stars and Stripes Forever Pt. 1
Matt introduces the B flat major scale and teaches the song "Stars and Stripes Forever".
Length: 21:31 Difficulty: 2.5 Members Only
Stars and Stripes Forever Pt. 2
Matt completes his two part series on "Stars and Stripes Forever" by teaching the accompaniment.
Length: 7:39 Difficulty: 2.0 Members Only
D Major in First and Second Position
Matt Brown teaches the D Major scale in both first and second positions.
Length: 17:55 Difficulty: 1.5 Members Only
Danny Boy Pt. 1
Matt Brown demonstrates "Danny Boy" in both first and second positions.
Length: 16:28 Difficulty: 2.5 Members Only
Danny Boy Pt. 2
Matt Brown teaches the accompaniment to the "Danny Boy" melody.
Length: 12:03 Difficulty: 2.5 Members Only
Silent Night Pt. 1
Matt teaches the Christmas classic "Silent Night."
Length: 18:17 Difficulty: 2.5 Members Only
Silent Night Pt. 2
Matt teaches the accompaniment to the "Silent Night" melody.
Length: 4:55 Difficulty: 1.5 Members Only
Funiculi Funicula Pt. 1
Matt Brown teaches "Funiculi Funicula" as an exercise in reading and playing in 6/8 time.
Length: 14:39 Difficulty: 2.5 Members Only
Funiculi Funicula Pt. 2
Matt Brown teaches the accompaniment to "Funiculi Funicula".
Length: 16:40 Difficulty: 1.5 Members Only
Strumming Triplets
In lesson 36, Matt provides exercises to help you strum triplet patterns.
Length: 23:30 Difficulty: 2.0 Members Only
Strumming Sixteenth Note Rhythms
In lesson 37, Matt Brown demonstrates how to strum sixteenth note rhythms.
Length: 17:28 Difficulty: 2.0 Members Only
Song of the Volga Boatmen
Matt Brown demonstrates the melody and tips for playing the Russian folk tune "Song of the Volga Boatmen".
Length: 11:33 Difficulty: 0.5 Members Only
Song of the Volga Boatmen Pt. 2
In lesson 39, Matt teaches the accompaniment to "Song of the Volga Boatmen".
Length: 8:35 Difficulty: 1.5 Members Only
Dance of the Ukraine
Matt Brown teaches and demonstrates "Dance of the Ukraine."
Length: 15:37 Difficulty: 2.0 Members Only
Dance of the Ukraine Pt. 2
Matt demonstrates the accompaniment to the "Dance of the Ukraine" melody.
Length: 13:36 Difficulty: 2.5 Members Only
Etude by Ferdinando Carulli
Matt Brown teaches an etude for classical guitar by Ferdinando Carulli.
Length: 21:20 Difficulty: 2.5 Members Only
Morning Pt. 1
Matt Brown teaches the melody section to "Morning" by Edvard Grieg.
Length: 18:44 Difficulty: 2.0 Members Only
Morning Pt. 2
Matt teaches the accompaniment for Edvard Grieg's "Morning."
Length: 8:08 Difficulty: 2.5 Members Only
Bach's Minuet Pt. 1
Matt Brown teaches Bach's classic Minuet.
Length: 14:55 Difficulty: 2.0 Members Only
Bach's Minuet Pt. 2
In lesson 46, Matt Brown covers the accompaniment section to Bach's Minuet.
Length: 5:53 Difficulty: 2.0 Members Only
Little Prelude in C Pt. 1
Matt Brown teaches Bach's "Little Prelude in C."
Length: 16:23 Difficulty: 2.0 Members Only
Little Prelude in C Pt. 2
Matt Brown teaches the accompaniment to "Little Prelude in C" by Bach.
Length: 7:49 Difficulty: 2.0 Members Only
Clementi's Sonatina
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Bach's Invention #1
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Length: 21:42 Difficulty: 2.5 Members Only
Third Position
Matt takes a look at playing in third position. This lesson will set up future reading lessons that require the third position.
Length: 7:16 Difficulty: 0.0 Members Only
Third Position Practice
Matt Brown has you working through Jean Philippe Rameau's Minuet for third position playing in lesson 52. He provides a play along and accompaniment to help your sight reading and playing.
Length: 15:11 Difficulty: 0.0 Members Only
About Matt Brown
View Full Biography
Matt Brown began playing the guitar at the age of 11. "It was a rule in my family to learn and play an instrument for at least two years. I had been introduced to a lot of great music at the time by friends and their older siblings. I was really into bands like Nirvana, Alice In Chains, and Smashing Pumpkins, so the decision to pick up the guitar came pretty easily."
Matt's musical training has always followed a very structured path. He began studying the guitar with Dayton, Ohio guitar great Danny Voris. I began learning scales, chords, and basic songs like any other guitarist. After breaking his left wrist after playing for only a year, Matt began to study music theory in great detail. I wanted to keep going with my lessons, but I obviously couldn't play at all. Danny basically gave me the equivalent of a freshman year music theory course in the span of two months. These months proved to have a huge impact on Brown's approach to the instrument.
Brown continued his music education at Capital University in Columbus, Ohio. He completed a degree in Classical Guitar Performance in 2002. While at Capital, he also studied jazz guitar and recording techniques in great detail. "I've never had any desire to perform jazz music. Its lack of relevance to modern culture has always turned me off. However, nothing will improve your chops more than studying this music."
Matt Brown currently resides in Dayton, Ohio. He teaches lessons locally as well as at Capital University's Community Music School. Matt's recent projects include writing and recording with his new, as of yet nameless band as well as the formation of a cover band called The Dirty Cunnies.
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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.Hi Matt, I am slightly confused. It sounds like you said that E is the 6th in the key of C major. Wouldn't that be A though. Am I missing something?
Good catch! In Scene 2, Matt does mis-speak and call the Em chord the "6" Em in the key of C would actually be a minor 3 chord.
Can not watch the lesson it keeps stopping.
great stuff
great lesson. really helped me, thanks!
No problem! Glad it helped you out!
Thanks Matt. Yep, I get it. Last point well made. Love the work ethic to this series of lectures.....And the variety is so well paced. I'm learning so much....joyously! It's me that's been deaf!!!!
Oophs...apologies Matt, I have gone and blinded Evelyn. She is as you probably know profoundly deaf. And what an ambassador for music...she hears the sound of silence.
Yo! I'm definitely familiar with her...She first popped up on my radar due to her work with the late great Michael Kamen. I haven't seen the Ted special, but I'll add it to my never-ending list of things to check out. On the ghost strumming, be very cautious about eliminating ghost strumming from your playing. "Ghosting" is extremely helpful when it comes to playing totally in the pocket. It helps you "frame" the rhythm...Otherwise, when you begin to learn more complex and syncopated rhythms, your rhythms may be milliseconds off, which the listener will definitely perceive on some level...It's also extremely important to subdivide rhythms in your head and with your body when playing at very slow tempos...Try playing the last two exercises at 40-50 bpm with a metronome. Try it with ghost strumming and without...I think you'll see what I'm getting at...Thanks for the comments!
Thanks Matt. V interesting. It's got to yhe point where I don't ghost strum....but feel the pause. But agree re the checking. Apropso of this....there is a wonderful development of the point you made by the blind percussionist Evelyn Glennie on the TED site. Cheers.
As the last 3 exercises got more complex it messed with my head. So I just turned away from the monitor and listened to the beat of the rhythm. I found this (for me) to be the most effective way of picking it up...as long as I took account of the ghost strum on the opening silent 8th. What you think Matt?
The five senses and the way that they work together are pretty interesting to say the least. Personally, if I close my eyes and eliminate the sense of sight, I'm able to hear things better...It's not a drastic difference. I would almost go so far as to say the difference isn't even noticeable on a surface level. It's kind of a subconscious thing. When I'm transcribing lessons here on JamPlay, I don't watch the videos. At this point, I find that my eyes deceive me more often than they help me. That wasn't always the case though...When I was much younger and didn't know so much musical vocabulary, it would probably would have been easier to have a visual reference.
However, I should mention that once you can play these rhythms, go back to the notation and make sure that you understand exactly how what you are hearing / playing corresponds to the standard notation. These rhythms are common and will pop up again and again as you continue to play, learn songs, etc.
Hi, Matt: Thanks for always making a complete "About this lesson" tab! It helps a lot or is at least nice to have.
You're welcome! I actually quit doing those in 2008-2009 though, so you probably won't see them for anything since then unfortunately. I did them for my own lessons and the other instructors' lessons too. We just got to a point as a company where I didn't have enough time to do the tablature/notation for the lessons and the "about" tab, so we let the "about" tab go. It's pretty tough to find someone that knows guitar, theory, and can write a complete sentence. ;)Chris Liepe did some of his own too, but I think he's too busy with other work on the site to continue doing them.
Hey Matt, great series. Can you explain what the difference is between using quarter notes as done in measure 9 verses two eighth notes tied together in measure 13? If I'm following everything correctly, they seem to acheive the same thing.
Hey! You're right. Two eighth notes tied together are held for the same length of time as one quarter note. Basically, in 4/4, the rule is that the measure is separated into two halves - each containing two beats. A tie is used in the measure that you're talking about, because it is technically wrong to sandwich a quarter note in the middle of the measure. It breaks the rule of having a total of two beats on each side of the measure. The tie makes the rhythm easier to read on the fly.
Thanks for the less and that is the best way for me to learn the F barre chord.
Hey! No problem! I'm guessing that you meant to ask "what is the best way to learn the F barre chord." If so, check out the following lessons: Matt Brown - Phase 2 Rock Lesson 11 Hawkeye Herman - Phase 2 Blues Lesson 82 Dennis Hodges - Phase 2 Metal Lesson 5 - The technical exercises in this lesson will build up the independence between your left hand fingers as well as the overall flexibility of the finger and hand muscles. These are all necessary skills when it comes to playing barre chords.
Matt Both you and Jim helped me out in a big way with these lessons, and with doing them with a metronome! Thank you again and Keep on Rockin'!!!
Hey Ronin! Glad to hear it! I definitely wish that I had started practicing with a metronome from day one. I think it helps more than anything else.
It does get frustrating at times but what doesnt kill you makes you stronger.
Hi! I consider the information in this series to be of a beginner level. I think these lessons and Jim's reading lessons are good to work through in conjunction with the Phase 1 stuff. I would work on reading music regardless of what level you are currently at. Try to work some of it in each week.
Nice lesson, Matt. I watched this lesson because it appeared on the homepage and I was curious. Where in one's learning should this series fall? You're explaining the most primary chords, but also theory. It definitely seems followable. But I was just curious if I should do a different series first? I know a lot of isolated things but have pretty gaping holes in my knowledge of the guitar. Thanks. Rhythm is something I definitely want to master.