Let's talk about six, eight.
Now as we talked about earlier the eighth note now is going to get the count.
That means sixteenth notes are not going to be counted one, ee, and, uh anymore.
They are just going to be counted one and.
Hopefully that makes sense.
In four, four since the quarter note gets one beat we count sixteenth notes as one, ee, and, uh
but in eighth notes all the counting is shifted because we're assigning the eighth note to getting one count.
So six, eight would be counted like this. One, Two, Three, Four, Five, Six (x 3).
Eighth notes would be like this. One and Two and Three and Four and Five and Six and One (x 2).
Accents are typically are placed in a six, eight groove on one and four.
So really riff on one and four when you're doing it to get into the pocket. One and Two and Three and Four and Five and Six and One (x 2).
Here are a couple of ideas. (Listen as Chris play examples)
What I was doing was basically taking out sixteenth note groupings or taking out a sixteenth note every once in a while
to give a little bit of a pause as long as my accents are in the right place we're in good shape.
One very common thing to do in six, eight is to have the very first note of each grouping a little bit longer.
So you're going to be doing instead of just One and Two and Three and Four and Five and Six and.
It would just be One, Two and Three, Four, Five and Six and One, Two and Three, Four, Five and Six.
So you've got eighth notes at the beginning of each grouping as opposed to sixteenth notes all the way through.
That tends to groove really well.
If you play chord progression with it let's just do a G, C, D chord progression there chords you've already learned.
Sometimes when you are first getting into strumming it's kind of hard to look at a strum pattern
or try to feel a strum pattern and play it all at the same time.
A lot of what I've had to do if I'm trying to figure out a hard rhythm etcetera is simply tap whatever I am doing out on my leg.
Or on my chest or where ever and get that kind of groove in my hand without having to worry about the guitar.
Let's go back to one of the other strum patterns we were working on
which was the sixteenth note, four, four, strum pattern where we were deleting the ee.
Sometimes that's hard for people to get in a strum pattern so if you simply count it first while tapping on your leg you are in good shape.
I'm going to tap this out and then I'm going to strum it so you can see the drill going back and forth here to get these things ingrained
in your body as well as in your mind.
You're able to do that able to count it without having to necessarily think about strumming.
Sometimes this is really helpful when getting triplets to.
All the strum patterns I covered today are in the supplemental content.
I encourage you to slow them down and look over them.
A quarter note we are talking about the notation now. A quarter note is going to be a stand alone slash.
An eighth note is going to have a bar between two different notes connected as an eighth note grouping.
A sixteenth note grouping is going to have two bars at the top and is generally going to be in groups of four.
Especially when your talking about four, four.
Also there are going to be three backing tracks associated with this lesson.
Each in different time signatures.
What we are going to be doing with them is going through our caged chords our major chords for a number of different measures.
You'll have the opportunity to play with drums, bass, synths, etcetera and exercise some of these strum patterns.
They are also going to be at a variety of different tempos so instead of just practicing to a click track
you can practice to an actual groove in six/eight or an actual groove in four/four.
Also look over the supplemental materials to find different chord progression suggestions that you can use when practicing these to a click.
The backing tracks are going to be going through our caged system in order which we covered in our first couple of lessons
when you were learning your basic chords.
You're going to be starting with C and then moving to A then G then E and D.
The focus when practicing through these chords is not necessarily switching your chords quickly.
Obviously you want to play the chords cleanly but the focus here is we're going to be dwelling on say a C chord for a number of measures
to give you a chance to really focus on your strumming hand.
Then we're going to be moving on to the different chords in the caged system.
Once you've got that down we can start applying different chord progressions and it starts to become a little bit easier.
Hopefully you'll enjoy this lesson on strum patterns.
Keep going with the rest of this series and hopefully you'll continue learning.
See you next time.