
Its roots are from Britain, but it came to prominence thanks to '80s college rock.
Intermediate
Intermediate
- Demonstrate genre-defining elements of jangle guitar.
- Show how to use common chord shapes to create uncommon harmonies.
- Add rhythmic variation to your right-hand with syncopated strums, arpeggios, and combinations of the two.
Although the term "jangly guitar" is commonly associated with 1980s college rock bands such as the Smiths and R.E.M., the jangle sound has its roots in the British invasion of the 1960s (the Beatles), found a place in 1970s hard rock and '80s progressive rock (Led Zeppelin and Rush), and is starting to resurface in the contemporary indie-rock scene (Mac DeMarco, Plums, and Vacations). No matter your genre preference, this lesson will show you how to add some jangle–and lots of new chords–to your guitar playing.
Open Strings and Moveable Shapes
The formula for creating the jangle sound includes two main ingredients: open strings and moveable shapes. Thus, this lesson will focus on moving common, first-position, "cowboy chords" (with variations) up, down, and across the fretboard.
Let's start with a simple Dsus2 shape–that's a D chord with an open 1st string–moving up and down the top four strings (Ex. 1). Notice that this basic shape yields some surprising harmonic results, including two sus chords–a ubiquitous jangle sound that replaces the 3 in a triad with either a 2 or 4, thus sus2 or sus4. Also pay attention to the syncopation in the strum, with the chord changes in measures 1 and 3 occurring on the upbeat. Although this progression was inspired by R.E.M.'s Peter Buck, it came out sounding more like Neil Young.
Ex. 1
We continue with the idea of moveable chord shapes in Ex. 2, this time with a C chord. Using the third finger on your fretting hand as a guide, simple move the shape to the 10th, 8th, and 5th positions to create harmonically rich sonorities a la the Smiths' Johnny Marr. Don't worry about being too exact with the right-hand combination of arpeggios and strums. More important than uniformity is the idea that you are not merely strumming or arpeggiating but mixing it up and creating variations.
Ex. 2
Ex. 3, with its swinging 6/4 strum, employs an "E" shape barre chord, but leaves the top two strings ringing throughout to create some unusual harmonies. You'll find this specific shape in U2 songs, among others.
Ex. 3
Alex Lifeson is our point of reference for Ex. 4 and Ex. 5, as these chords can be heard on several Rush songs. In Ex. 4, your emphasis is on a two-note power chord shape on the 5th and 4th strings while occasionally accenting this shape with top three strings ringing open.
Ex. 4
Ex. 5 is the same idea with a three-note power chord shape (here you'll also fret the 3rd string), which alters the harmonies just enough to provide some variation. One could perhaps use these two for a verse and a chorus.
Ex. 5
Ex. 6 combines the shapes found in Ex. 3 and Ex. 5, which, at the risk of stating the obvious, is something you can do with all these shapes–mix and match!
Ex. 6
Arguably, Ex. 7 is where jangle guitar started, with the Beatles. Reminiscent of the intro to "Eight Days a Week," this relatively simple shape allows you to drone both the 1st and 5th strings. After one time through the progression, the entire pattern moves up a full octave, adding even more jangle. This rhythmic figure can be tricky for some players. I would recommend using a down, down, down-up-down, up pattern.
Ex. 7
Ex. 8 was inspired by early recordings of the Pretenders. Using a combination of two different shapes, this sequence also involves movement with the pinky. Once again, this example employs both strumming and arpeggiating with the right hand.
Ex. 8
Our final exampleis an homage to one of the riffs in Led Zeppelin "Ten Years Gone." Ex. 9 introduces unfamiliar shapes that are relatively easy to play. The first measure starts with an Asus2 chord but you'll have to fret it with your first and second fingers so you can quickly add the pinky for the subsequent chord shape. Tip: If you fret the Asus2 with your 2nd finger on the 4th string and your 1st finger on the 3rd string, you can play the whole pattern without ever lifting those fingers off the strings.
Ex. 9
I hope this lesson has demonstrated how to get new sounds out of old shapes inspires you to mix and match, move around, and make up your own figures and patterns. The harmonic, melodic, and rhythmic possibilities are endless, thus I entreat you to imitate and innovate far beyond what has been presented here.
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Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Mason’s hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Mason’s solos every day for 85 or so days. Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing. Levi shares the insight he gleaned from digging deep, and he tells us what it was like when they shared a stage last year. Plus, Levi plays us some great examples of Mason’s playing.
For the first time ever, two guitar greats, John 5 and Richie Kotzen will be heading out on the road this year. The tour will launch October 16 and run through November, hitting markets across the U.S.
Find the full tour itinerary right plus a link for tickets & VIP, including additional dates featuring John 5 only. Reserved seating tickets will go on sale Friday May 16 though a fan presale will begin today at noon local time and fans are strongly encouraged to buy early to get the best seats.
Meet and Greets for both artists will be available. For John 5 please go to: https://john5store.com/collections/vip.
Today, John 5 also announces more details of his anticipated new album. Called The Ghost, it will be released October 10 and is led by the new track “Fiend,” featuring Kenny Aronoff.
John 5 continues running public tours this month for his Knights In Satan’s Service Museum of KISS Memorabilia in Los Angeles, California. Guided tours are open to the public for one month only (with a possible expansion). Current dates available are May 12-16, May 19-23 and May 27-30. Each will be led by John 5 himself who will provide tons of rich detail and answer any questions. Secure your place HERE.
JOHN 5 continues to tour with Mötley Crüe including an upcoming residency in Las Vegas in 2025.RICHIE KOTZEN &
JOHN 5 FALL 2025 TOUR
October 16 El Cajon, CA @ Magnolia
October 17 Riverside, CA @ Fox Performing Arts
October 18 Roseville, CA @ Goldfield Trading Post
October 19 San Jose, CA @ The Ritz
October 21 Phoenix, AZ @ Celebrity Theatre
October 22 Albuquerque, NM @ KiMo Theatre
October 24 Dallas, TX @ Granada Theater
October 25 Leander, TX @ The Haute Spot
October 27 New Orleans, LA @ House of Blues
October 28 Memphis, TN @ Minglewood Hall
October 29 Nashville, TN @ Fogg Street Lawn Club
October 30 Atlanta, GA @ Variety Playhouse
October 31 Orlando, FL @ House of Blues
November 1 Fort Lauderdale, FL @ Culture Room
November 2 Clearwater, FL @ Capitol Theatre
November 4 Richmond, VA @ The National
November 5 Leesburg, VA @ Tally Ho Theater
November 6 Patchogue, NY @ Patchogue Theatre
November 11 Glenside, PA @ Keswick Theatre
November 12 Derry, NH @ Tupelo Music Hall
November 13 Foxborough, MA @ Six String Grill & Stage
November 14 Stroudsburg, PA @ Sherman Theater
November 15 Lorain, OH @ Lorain Palace Theatre
November 16 Columbus, OH @ The King Of Clubs
November 17 Warrendale, PA @ Jergels
November 19 Wyandotte, MI @ District 142
November 20 Flint, MI @ The Machine Shop
November 21 Fort Wayne, IN @ Piere’s
November 22 St. Charles, IL @ Arcada Theatre
November 23 Belvidere, IL @ Apollo Theatre
November 25 Denver, CO @ Oriental Theater
November 29 Pioneertown, CA @ Pappy & Harriet's*
*John 5 only
AEROSMITH guitarist and songwriter JOE PERRY is set to return to the road for a series of August performances with THE JOE PERRY PROJECT. The 8-date run kicks off August 13 in Tampa, FL and wraps August 23 in Port Chester, New York, with an August 19 performance in PERRY’s Boston hometown (see the itinerary below). For the North American trek—which marks the first solo shows for PERRY this year—the legendary guitarist will be joined by his Aerosmith bandmates Brad Whitford (guitar) and Buck Johnson (keys), along with The Black Crowes’ Chris Robinson (vocals), and Stone Temple Pilots’ Robert DeLeo (bass), and Eric Kretz (drums).
“Well…it’s time to let the music do the talkin again,” PERRY says. “I’m really excited about the JPP line up this year!!!! Most of these guys played with me at The Roxy in L.A. at the debut event for my latest solo album [Sweetzerland Manifesto] in January 2018. They’re all busy as hell but thankfully they’re able to carve out some time for this run. And I’m not only lucky enough to have Brad Whitford onstage with me but Chris Robinson of The Black Crowes! [who sang ‘Fortunate One’ on Sweetzerland Manifesto MKII], Robert DeLeo and Eric Kretz from STP!!! and Buck Johnson who plays keys and sings with Aerosmith, the Hollywood Vampires, and is also a solo artist in his own right.”
For the shows, the Rock and Roll Hall of Fame inductee says “the set list is gonna include my fav JPP cuts, STP, Black Crowes, and with Brad we’ll be hitting the Aero hits and some deep cuts and then ya never know!!!! Gonna be a BLAST, and if you’ve ever been to one of my shows you know the words GARAGE BAND on STEROIDS come to mind! See you there!!!!”
DATE | LOCATION | VENUE |
Wednesday, August 13 | Tampa, FL | Seminole Hard Rock - Tampa |
Thursday, August 14 | Hollywood, FL | Seminole Hard Rock - Hollywood |
Saturday, August 16 | Toronto, ON | HISTORY |
Sunday, August 17 | Muskoka, ON | Kee to Bala |
Tuesday, August 19 | Boston, MA | Wang Theatre |
Wednesday, August 20 | Hampton Beach, NH | Hampton Beach Casino Ballroom |
Friday, August 22 | Mashantucket, CT | The Premier Theater at Foxwoods Resort Casino |
Saturday, August 23 | Port Chester, NY | Capitol Theatre |
A sample page from the author’s analog log.
Seasonal changes are tough on your acoustic. Here’s how you can take better care of your prized instrument.
As you read this, spring is in bloom in most of the US, or maybe it has been for some time. I’m timing this column specifically to ask acoustic guitarists, in this season of increasing humidity and comfortable conditions, to prepare for what’s coming. It’s never too soon, and time flies. Before you know it, we’ll be back to the maintenance phase and you might be blowing up the phones of your local guitar shops, luthiers, and techs. I’m here to encourage a decidedly old-school approach to preventative guitar maintenance, and yes, it starts now.
Why, you ask? Well, as the lead luthier at Acoustic Music Works, I can tell you that in my nearly 15 years in this position, this was the worst winter ever for preventable repairs on acoustic guitars. Fret sprout, bridge lifts, top sink, soundboard cracks, back cracks, loose binding, general malaise… These hit us very hard in the winter that spanned 2024 and 2025. Am I complaining? On the one hand, no. This is part of how we make our money. On the other hand, yes! Repair schedules related to dryness and humidity issues can stretch into weeks and even months, and nobody wants to be without their favorite instruments for that amount of time. With a little thoughtfulness, however, you might get through next winter (and every one thereafter) without hefty repair bills or time apart from your musical companion.
Our preparation is going to start with an unlikely but very important guitar accessory: the humble notebook. Plain, lined, grid, day planner… it doesn’t matter. We all need to actively participate in our instrument maintenance, and in my experience, fancy apps that track humidity via Bluetooth breed a kind of laziness, a feeling of safety that might prevent us from actually physically looking in on conditions. Better we keep an analog, well, log, so that we know where things stand, and I suggest checking in daily.
“This was the worst winter ever for preventable repairs on acoustic guitars.”
Track your relative humidity, both in the case and in the room where your instruments mostly reside, but also take notes on your action height, top deflection (StewMac has some great tips for measuring this) and anything related to playability that you believe you can observe empirically.
Dryness is the root cause of most guitar issues that manifest in the fall and winter months. Symptoms of dryness include sharp fret ends, falling action and dead frets, sunken top around the sound hole, and cracks and bridge lifts. With your trusty notebook, you’ll get a feel for the sensitivity level of your instrument, and that knowledge is power!
A few other basic implements will not only assist you in your observations, but may also satisfy your need to buy guitar-related things (at least for a minute). Getting quick and comfortable with a fret rocker is a great skill to have, and is invaluable in diagnosing buzzes due to high frets or frets that have come unseated due to dryness. A well-calibrated relief gauge might seem luxurious, but it can prevent you from making unnecessary or extreme truss rod adjustments. A string action gauge, or even a simple machinist’s rule or set of feeler gauges, will help you keep track of your action. Get a three-pack of hygrometers so you can average their readings, rather than depending on one.
Lest we forget: A guitar can not only be too dry, it can also be too wet. By beginning your maintenance diligence in the spring/summer, you’ll also be able to tell if your instrument is the victim of a too-humid environment. The signs of over-humidification are subtle: Your action may rise from a puffed-up top, and in extreme cases, glue joints could begin to fail. In my experience, an over-humidified guitar will suffer from dulled tone, almost like a sock in the sound hole. If you’re sensing a lack of clarity in your guitar all of a sudden, start with new strings. If it persists, it might be due to over-humidification, and you may want to introduce a desiccant to the case for a time. The more lightly built your guitar is, the more sensitive it will be to seasonal changes.
By getting into these habits early, you’ll be empowered by knowing your instrument more intimately. You’ll understand when and why changes in tone and playability might have occurred, and you’ll hopefully save on repair bills year-round. Feel free to reach out with any questions. Who knows? I might just send you a notebook with an AMW sticker on the cover!