Prince’s rhythm guitarist shares her approach to layering chord stabs, single-note lines, and “chicken grease.”
Chops: Intermediate
Theory: Beginner
Lesson Overview:
• Create interlocking guitar parts that work over a funk groove.
• Learn how to use partial chords to imply harmony.
• Develop a better sense of rhythm by using space.
Click here to download a printable PDF of this lesson's notation.
Funk. It’s the kind of music that makes your face snarl uncontrollably. It makes your head bob, your shoulders shake, your feet tap. As James Brown sang, it makes you “Get Up Offa That Thing.”
Over the past few years, I’ve had the incredible honor to learn the nuances of funk from a true master: Prince. Performing as a member of 3RDEYEGIRL and the New Power Generation was the experience of a lifetime. I was schooled at the “university” of Paisley Park and spent hours grooving with my fellow musicians on the most disgusting—in the best way possible—jams. Sometimes we’d play songs for over 20 minutes at a time with our heads shaking “no” and faces contorted. That’s when you know the music is truly funky. When it’s locked in, the groove can go on for days.
In this lesson, I’ll demonstrate how I approach tone, attack, rhythm, melody, and harmony in funk guitar. The examples below are inspired by my “funklopedia,” which is a collection of riffs and grooves I’ve compiled over the past few years from live recordings and jam sessions. It’s the musical vocabulary of the genre. The audio examples fit together like pieces of a puzzle to create a mini funk orchestra—a “funkestra” if you will—of interlocking parts. In the end, it’s all about playing in the pocket, complementing other lines, and sticking to a groove delivered with attitude and conviction.
I’d suggest dialing in the most crystal-clear clean tone you can find on your amp. Try cranking the master and then adjust the preamp to a comfortable volume. Next, roll down the bass, make sure the treble is cutting through, and adjust mids to taste. In terms of attack, imagine sounding each note for the shortest length of time possible, as if it has no value, unless obviously heard otherwise.
Let’s start with a simple E7 riff that emphasizes the chord’s root, 5, and b7 (Ex. 1). Creating space for the other parts is important. Keep the notes low and the rhythm straight. Have a listen to “Cold Sweat” by James Brown for a similar vibe. The pentatonic fill in the last measure breaks up the phrase just enough to outline a structure to the jam.
Click here for Ex. 1
Harmonically, funk is usually played over a I7 chord (which you can color by including the 9 and/or the 13). Ex. 2 illustrates two examples of 9th chords. Slide into the first voicing (E9) from a half-step below. No need for a root. Most of the time, you can stick to only strumming the top two or three strings. The intent is for the chord to sound extremely percussive, not bulky. The second E9 voicing can be found in measure 8. Check out “Thank You (Falettinme Be Mice Elf Agin)” by Sly & The Family Stone below as a reference for the sound and rhythmic placement of this chord.
Also included in Ex. 2, is a super funky technique, where you imply a 13#9 chord while bending the #9 (written here enharmonically as G) almost up to the 3 (G#). A good example of this technique can be heard in Prince’s classic “Kiss.”
Click here for Ex. 2
Ex. 3 starts off with a crunchy voicing of a root and b7. These two notes fit great over a dominant chord and playing them staccato on the first two strings adds a percussive element. The 13#9 voicing is one of my favorites. Hammering-on and pulling-off between the 5 (B) and 6 (C#) is so funky!
Click here for Ex. 3
Next up: single notes. The funky qualities in Ex. 4 include heavily syncopated 16th-note rhythms, percussive fret-hand muting, and using the E Mixolydian (E–F#–G#–A–B–C#–D) scale. The rhythmic placement of the double-stop fill is in response to the space heard in the previous examples. When you’re coming up with funk lines of your own, always listen for the pocket and complement your bandmates’ parts with lines that sing in the spaces.
Click here for Ex. 4
Ex. 5 adds a melody to the groove. Notice the call-and-response quality of two measures of rest and two measures of melody. When playing in a group, especially one the size of most early funk bands, this kind of interplay is key. Listen to how the horns and group vocals are perfectly arranged by bigger bands like George Clinton and Parliament Funkadelic, Tower of Power, and Earth, Wind & Fire.
Click here for Ex. 5
Get a few friends together and have each person play one of the previous five lines. (This would also be a perfect time to break out your looper too.) Once the music is really cookin’, you can take things up a notch by including “chicken grease.” This technique adds another level of intensity to the groove. As shown in Ex. 6, continuously strum a chord with a syncopated rhythm while letting the notes ring out. This is usually done for two or four measures at a time, followed by an equal amount of rest. Typically, either 7sus or 7#9 chords are used and this particular voicing uses the #9 (written as G) and 4. Each player can jump in and out of the arrangement in eight-measure sections. Now it’s time to build your own funkestra, create your own funklopedia, and keep the groove alive!
Click here for Ex. 6
Linkin Park introduce new vocalist Emily Armstrong (of Dead Sara), new drummer Colin Brittain, and share their first brand new music in seven years.
Linkin Park share a new single (HERE) and video (premiering HERE at 4pm PT/7pm ET), for “The Emptiness Machine,” plus a global livestream performance (happening now HERE and available only for 24 hours), and the launch of 6 upcoming arena shows in Los Angeles, New York, Hamburg, London, Seoul, and Bogota as part of the From Zero World Tour. LP Underground fan club exclusive pre-sales start September 6 and general on-sales September 7. Go to LinkinPark.com for more info.
These surprises herald the arrival of LINKIN PARK’s first album since 2017, FROM ZERO, on November 15.
Tomorrow, Friday September 6th, the band joins long-time friend and Apple Music host Zane Lowe for an in-depth candid conversation about the incredible legacy of Linkin Park, the 7-year long journey to new music and their excitement for the future.
Without expectations, Shinoda, Delson, Farrell, and Hahn quietly began meeting up again in recent years. Rather than “trying to restart the band,” their instinct was to simply spend more time together, and reconnect with the creativity and camaraderie that has been at the core of their friendship since college. During this time, they invited various friends and cohorts to join them in the studio; among the guests, they found a special kinship with Armstong and Brittain. A natural chemistry drew these musicians back into its gravitational pull as they logged more and more hours in the studio. It was the sound of lifelong musicians rediscovering the uncontainable energy of a new beginning once again. Over this season, FROM ZERO was born.
FROM ZERO
FROM ZERO TRACKLIST
- From Zero (Intro)
- The Emptiness Machine
- Cut The Bridge
- Heavy Is The Crown
- Over Each Other
- Casualty
- Overflow
- Two Faced
- Stained
- IGYEIH
- Good Things Go
About the new era, Shinoda stated, “Before LINKIN PARK, our first band name was Xero. This album title refers to both this humble beginning and the journey we’re currently undertaking. Sonically and emotionally, it is about past, present, and future—embracing our signature sound, but new and full of life. It was made with a deep appreciation for our new and longtime bandmates, our friends, our family, and our fans. We are proud of what LINKIN PARK has become over the years, and excited about the journey ahead.”
Right out of the gate, “The Emptiness Machine” channels the DNA of LINKIN PARK, harnessing the band’s explosive energy and retaining the hallmarks of their instantly identifiable and inimitable sound. A chameleonic and catchy anthem, Shinoda’s hypnotic melodies hand off to Armstrong’s blistering chorus, over distorted riffs and head-nodding drums.
Shinoda elaborated, “The more we worked with Emily and Colin, the more we enjoyed their world-class talents, their company, and the things we created. We feel really empowered with this new lineup and the vibrant and energized new music we’ve made together. We’re weaving together the sonic touchpoints we’ve been known for and still exploring new ones.”
FROM ZERO WORLD TOUR 2024
September 11, 2024 | Kia Forum - Los Angeles, CA
September 16, 2024 | Barclays Center - New York, NY
September 22, 2024 | Barclays Arena - Hamburg, Germany
September 24, 2024 | The O2 - London, UK
September 28, 2024 | INSPIRE Arena - Seoul, South Korea
November 11, 2024 | Coliseo Medplus - Bogota, Colombia
Voltage Cable Company's new Voltage Vintage Coil 30-foot guitar cable is now protected with ISO-COAT technology to provide unsurpassed reliability.
The new coiled cables are available in four eye-grabbing retro colors – Surf Green, Electric Blue, Orange and Caramel – as well as three standard colors: Black, White and Red. There is also a CME exclusive “Chicago Cream” color on the way.
Guitarists can choose between three different connector configurations: straight/straight plugs, right angle/straight and right angle/right angle options.
The Voltage Vintage Coil offers superior sound quality and durability thanks to ISO-COAT treatment, a patent-pending hermetic seal applied to solder terminations. This first-of-its-kind airtight seal prevents corrosion and oxidization, a known factor in cable failure and degradation. ISO-COAT protected cables are for guitarists who value genuine lifetime durability and consistent tone throughout their career on stage and in the studio.
Voltage cables are hand made by qualified technical engineers using the finest components available and come with a lifetime warranty.
Voltage Vintage Coil features include:
- Lifetime guarantee, 1000+ gig durability
- ISO-COAT treatment - corrosion & oxidization resistant cable internals
- Strengthened structural integrity of solder terminations
Voltage Vintage Coils carry $89.00 USD pricing each and are available online at voltagecableco.com, as well as in select guitar stores in North America, Australia, Thailand, UK, Belgium and China.
About Voltage Cable: Established in 2021, Voltage Cable Co. is a family owned and operated guitar cable company based in Sydney, Australia. All their cables are designed to be played, and built for a lifetime. The company’s ISO-COAT is a patent pending hermetic seal applied to solder terminations.
Featuring dual-engine processing, dynamic room modeling, and classic mic/speaker pairings, this pedal delivers complete album-ready tones for rock and metal players.
Built on powerful dual‑engine processing and world‑class UAD modeling, ANTI 1992 High Gain Amp gives guitarists the unmistakable sound of an original "block letter" Peavey 5150 amplifier* – the notorious 120‑watt tube amp monster that fueled more than three decades of modern metal music, from Thrash and Death Metal, to Grunge, Black Metal, and more.
"With UAFX Dream, Ruby, Woodrow, and Lion amp emulators, we recreated four of the most famous guitar amps ever made," says UA Sr. Product Manager Tore Mogensen. "Now with ANTI, we're giving rock and metal players an authentic emulation of this punishing high gain amp – with the exact mic/speaker pairings and boost/noise gate effects that were responsible for some of the most groundbreaking modern metal tones ever captured."
Key Features:
- A complete emulation of the early '90s 120‑watt tone monster that defined new genres of modern metal
- Powerful UAFX dual-engine delivers the most authentic emulation of the amp ever placed in a stompbox
- Complete album‑ready sounds with built‑in noise gate, TS‑style overdrive, and TC‑style preamp boost
- Groundbreaking Dynamic Room Modeling derived from UA's award-winning OX Amp Top Box
- Six classic mic/speaker pairings used on decades of iconic metal and hard rock records
- Professional presets designed by the guitarists of Tetrarch, Jeff Loomis, and The Black Dahlia Murder
- UAFX mobile app lets you access hidden amp tweaks and mods, choose overdrive/boost, tweak noise gate, recall and archive your presets, download artist presets, and more
- Timeless UA design and craftsmanship, built to last decades
For more information, please visit uaudio.com.
- YouTube
The Memphis-born avant-funk bassist keeps it simple on the road with a signature 5-string, a tried-and-true stack, and just four stomps.
MonoNeon, aka Dywane Thomas Jr., came up learning the bass from his father in Memphis, Tennessee, but for some reason, he decided to flip his dad’s 4-string bass around and play it with the string order inverted—E string closest to the ground and the G on top. That’s how MonoNeon still plays today, coming up through a rich, inspiring gauntlet of family and community traditions. “I guess my whole style came from just being around my grandma at an early age,” says Thomas.His path has led him to collaborate with dozens of artists, including Nas, Ne-Yo, Mac Miller, and even Prince, and MonoNeon’s solo output is dizzying—trying to count up his solo releases isn’t an easy feat. Premier Guitar’s Chris Kies caught up with the bassist before his show at Nashville’s Exit/In, where he got the scoop on his signature 5-string, Ampeg rig, and simple stomp layout, as well as some choice stories about influences, his brain-melting playing style, and how Prince changed his rig.
Brought to you by D’Addario.
Orange You Glad to See Me?
This Fender MonoNeon Jazz Bass V was created after a rep messaged Thomas on Instagram to set up the signature model, over which Thomas had complete creative control. Naturally, the bass is finished in neon yellow urethane with a neon orange headstock and pickguard, and the roasted maple neck has a 10"–14" compound radius. It’s loaded with custom-wound Fireball 5-string Bass humbuckers and an active, 18V preamp complete with 3-band EQ controls. Thomas’ own has been spruced up with some custom tape jobs, too. All of MonoNeon's connections are handled by Sorry Cables.
Fade to Black
MonoNeon’s Ampeg SVT stack isn’t a choice of passion. “That’s what they had for me, so I just plugged in,” he says. “That’s what I have on my rider. As long as it has good headroom and the cones don’t break up, I’m cool.”
Box Art
MonoNeon’s bass isn’t the only piece of kit treated to custom color jobs. Almost all of his stomps have been zhuzhed up with his eye-popping palette.
Thomas had used a pitch-shifting DigiTech Whammy for a while, but after working with Paisley Park royalty, the pedal became a bigger part of his playing. “When I started playing with Prince, he put the Whammy on my pedalboard,” Thomas explains. “After he passed, I realized how special that moment was.”
Alongside the Whammy, MonoNeon runs a Fairfield Circuitry Randy’s Revenge (for any time he wants to “feel weird”), a literal Fart Pedal (in case the ring mod isn’t weird enough, we guess), and a JAM Pedals Red Muck covers fuzz and dirt needs. A CIOKS SOL powers the whole affair.
Shop MonoNeon's Rig
Fender MonoNeon Jazz Bass V
Ampeg SVT
DigiTech Whammy
CIOKS SOL