Nothing is more visceral than standing in front of a cranked amp and ripping out power chords. Famed string masher Ben Eller shows you the trade secrets behind getting your power chords in shape.
I recently published my book Creative Rhythms for Melodic Instruments or Think Like a Drummer, and I’m delighted to say it has been met with great enthusiasm by players and educators. The premise is simple: Take some of the most iconic drummers—from all genres—and use “in-the-style-of” drum fills as source material for melodic phrases, all in a variety of scale and arpeggio patterns, as well as multiple keys.
In addition to the notation, I also released audio examples in a call-and-response manner, allowing musicians to play along with the melodic phrases, with the isolated drums, or respond to the phrases with their own ideas. (Note: The audio for the book features drums and piano, as the book is available in several versions: guitar tab, bass tab, treble clef, bass clef, Bb instruments, and Eb instruments. Nevertheless, for this lesson I have specifically recorded electric guitar.) I also want to point out that the examples in this lesson are not duplicates from the book, but rather, as the book encourages, creative variations.
Icons of the Drum Kit
As I wrote in my book’s introduction, there are countless phenomenal drummers absent from my examples. I can name at least two dozen more drummers I wish were included (in fact … I’m working on Vol. 2). So let’s not nitpick as to who’s the best drummer, let’s just start playing: In the style of …
Ex. 1
Ringo Starr
It is unnecessary to rehash how underrated Ringo is. Instead, listen to the third verse of “Hello, Goodbye,” “A Day in the Life,” or any of the Live at the BBC recordings. Ringo has style! Ex. 1 is a Ringo-style fill, with lots of space (drummers, it’s okay to rest), and features both descending D Dorian and C major scales. (Remember, D Dorian is just C major starting on D.) Emphasize those rests, people!
Ex. 2
Bill Ward (Black Sabbath)
Of all the drummers in my book, I think Bill Ward’s fills are the most recognizable. Bill has distinct flair and an overlooked swing feel. To honor Black Sabbath in general, Ex. 2 features E minor pentatonic and E harmonic minor, played in descending groups of three. That’s down three notes, back one, and down three from there. Groups of three is a rather cliché move, still, when you add a unique rhythm—as demonstrated here—the pattern takes on new life.
Ex. 3
Neil Peart
What more needs to be written about Peart? Or Rush in general? Nothing. Legends. The end. Ex. 3 is based on one of Peart’s most iconic fills (you’ll guess it.) and uses A Phrygian dominant, in two octaves, in homage to Alex Lifeson’s solo on “YYZ.”
Ex. 4
Richard Bailey
Bailey is arguably the least well-known drummer in my book, but I guarantee, if you love guitar music, you know his playing. Bailey is the drummer on Jeff Beck’s Blow by Blow (and many other albums and singles). Ex. 4 is the first to showcase arpeggios, in this instance, F#7 to Emaj7, implying an F# Mixolydian sound, from the home key of B, emphasizing the V chord. Think “Freeway Jam.” One thing that makes these rhythms unique are the ties from the “and” of 1 to the 2, as well as the tie from the “a” of 2 to the 3. This is tricky!
Ex. 5
Stewart Copeland
One of my favorite things about Copeland is that he rarely played the same thing two nights in a row. I highly recommend listening to live recordings from the 1979–1980 Reggatta de Blanc tour, particularly the breakdown section (after the guitar solo) of “So Lonely.” Consistently brilliant and incomparable. They might have been the best band in the world on that tour. Ex. 5 provides us with a Copeland-esque fill (note that grace note on beat 4) and a C#m pentatonic lick with bends and pull-offs, à la “Message in a Bottle.” If you’ve never paid attention to Andy Summers’ fills in that song, do so. He’s more B.B. King than “King of Pain” on that one.
Ex. 6
Chester Thompson
It’s difficult to know who Thompson is most famous for playing with, Weather Report, Santana, Genesis, or, for my money, Frank Zappa. Thompson’s tenure with Zappa allowed him to truly experiment with rhythm. Listen to “Approximate” on You Can’t Do That on Stage Anymore, Vol. 2 The Helsinki Concert. Ex. 6, in keeping with Zappa’s penchant for two-chord jams, demonstrates more arpeggios, F7 to Gm7, in the home key of Bb major. In this one-measure phrase, we have eighth-notes, dotted-eighths, 16th-notes, and 32nd-notes. This should test your rhythmic abilities.
The final two examples feature drummers who are not in my book, so I’m happy to share them here: John Bonham (of Led Zeppelin) and Carlton Barrett (of Bob Marley and the Wailers).
Ex. 7
John Bonham
No, I’m not highlightingBonhamkick drum triplets. Rather, Ex. 7 features a Bonham snare/floor tom/kick drum combination. And the phrase I created also pays homage to his bandmate Jimmy Page, with an A blues riff, modulating to C blues (name that tune!) that includes more guitaristic phrasing.
Carlton Barrett
While Bob Marley might be the face of reggae, Carlton Barrett, along with his brother, Aston, on bass, may be the defining sound of reggae, as the brother duo played on countless Marley recordings and live performances. While Ex. 8 does not include a “one drop” (look it up, or just listen to “One Drop” by the Wailers), it is still quintessential Barrett. The melodic phrase is built with ascending arpeggios, Dmaj7 and Gmaj7, the I to IV chords, in two different patterns and positions.
Infinite Rhythmic Combinations
Besides the fact that I enjoy playing the examples myself, one of the reasons I wrote my book is because I believe rhythm is the most important feature in music, and yet it is underutilized. While these examples demonstrate quite a bit of variety, the fact of the matter is, rhythmic combinations are infinite. I encourage you to studiously experiment with uncommon phrasing. Intuition is great, but eventually, in my experience, it becomes unconsciously repetitive. So sit down and really work on distinctive rhythmic phrases. I promise you, you will never run out of new ones.
Suspended chords have a unique sound and play an important role in a variety of styles of music. A quick internet search will give you the basic theory, but few articles help you actually apply these ambiguous sounds. You see, these chords are neither major nor minor, so where do they fit in? Let’s find out.
What Is a Sus Chord?
Suspended chords are notated in shorthand with “sus,” and there are two types: a sus4, and a sus2. If you see a chord symbol that just says “Csus,” the implication is that the chord is a sus4. Starting with a basic C major triad (C–E–G) we simply move the 3 up a half step to the 4 of the scale (in this case, F). You end up with C–F–G, which is shown in Ex. 1. A word to the wise: Break down your major chord shapes and locate the 3. That is the note you need to move up one fret to turn it into a sus4 shape.
Suspended chords are typically the dominant chord in a key, also called the V chord. A Vsus4 chord creates musical tension and a sense of ambiguity. It will typically resolve back to the V chord and then resolve to the I chord. Look at Ex. 2 to see how this tension-release resolution sounds, and how it works on the guitar.
Dominant 7 chords can also be suspended as well. The process is the same, so your dominant 7 chord goes from 1–3–5–b7 to a 7sus4, which is spelled 1–4–5–b7. Ex. 3 shows some common C7sus4 to C7 voicings. You can find these dominant 7 suspended sounds in multiple styles and sub-styles of jazz, funk, and disco. Take a look at Ex. 4 to see some three-note voicings that are found in those styles.
Let’s continue with the C7sus4 sound, building it in a couple of different ways. The first is what is called a “polychord” (or sometimes a “change-bass” chord). If you play a Bb major triad over a C bass note, you have effectively built a chord that functions as C7sus4. It could be labeled as Bb/C and spelled C–Bb–D–F. This voicing is a very common sub for a traditional 7sus4 chord and has three of the four notes needed to create that sound. There’s no 5, but that’s ok. The 5 is a throwaway note when it’s not altered. The second way is to play a voicing that keeps the 3 and 4 but still sacrifices the 5, providing some interesting musical tension. Each of these voicings are seen in Ex. 5.
So, how do you play over a suspended chord?
Since a suspended chord functions as the V chord in a key, you would use the Mixolydian mode to play over that sound. Be careful to stay away from really bluesy guitar licks or running up and down the scale. Stick to sequences, patterns, or other structures, and listen to Ex. 6 for some possibilities.
The next couple of approaches use the Bb/C chord structure as inspiration. Remember that C7sus4 is the V chord in the key of F, and Bb is the IV chord in that key. Use that pair of triads to create your melodies since you have Bb–D–F and C–E–G at your disposal. If you line those notes up as a scale, you get C–D–E–F–G–Bb, which is just one note shy of the C Mixolydian mode. The difference is that you are organizing the notes in triads as opposed to a scale. Take a listen to Ex. 7 as one possibility on how to break up the triads while creating a solo.
Next, focus your solo on just the sound of the IV chord, or Bbmaj7. Experiment with limiting yourself to just the notes of the chord, Bb–D–F–A, and hear how they sound like the b7, 9, 11, and 13 of C7sus4. You can also loosen it up a bit, emphasizing those four notes while using some other scale tones, as heard in Ex. 8.
Last, but definitely not least, is to use the minor pentatonic that is a fifth above the root of your suspended chord. For C7sus4, you would play the G minor pentatonic scale, where G–Bb–C–D–F become the 5–b7–1–9–11 of the C7sus4 chord. This approach works really well since you have all the notes of your suspended chord, and the 9th for some added flavor. Again, blues licks probably won’t sound like you think. Try them out anyway just to hear that they don’t fit very well over a suspended sound. Take a listen to Ex. 9 for some non-blues pentatonic ideas.
Suspended chords have an open, undefined sound to them. They are neither major nor minor and need a slightly different approach when soloing to make it sound right. There are plenty of resources on triad pairs, pentatonic patterns, and hexatonic scales to keep you busy. Start with one approach and keep it simple.
There’s so much to explore when you decide to dip your toes into altered tunings.
There’s so much to explore when you decide to dip your toes into altered tunings. The jangly beauty of DADGAD and the new shapes found in open E and open C offers new inspiration. Caitlin Caggiano teaches you not only the easiest way to get into these tunings, but also a few handy shapes that will kickstart your playing today.
Don’t settle for those vanilla open-string shapes. Here’s a way to unlock new sounds without difficult barre chords.
Once you have the “Cowboy” chords together there are thousands of songs that are suddenly under you hands. But what if you want to make those chords a bit more interesting? Barre chords cat be stretchy and difficult, but there are ways to create new sounds out of old chords.
Improving time feel is crucial for any guitarist, as it forms the backbone of musical groove and rhythm.An effective method is to practice with drum loops or backing tracks, which can add a more musical context than a metronome. Focus on locking in with the groove and internalizing the pulse. Playing along with recordings of skilled musicians also helps absorb their sense of time and groove. Check out a few tips from Tom Butwin that will undoubtedly get your time together.