Mother Maybelle Carter was an innovator who reinvented rhythm guitar—here's how she did it.
Intermediate to Advanced
Beginner
- Learn how to strum chords and pick melodies at the same time.
- Combine the various elements to create your own songs and arrangements.
- Explore guitar-friendly keys using open strings.
Strum chords and pick melodies at the same time! While Carter-style picking is most closely associated with country legend Maybelle Carter, the technique, and variations thereof, can be heard in the music of the Beatles, the Rolling Stones, Neil Young, and even progressive pioneers Yes.
What Is Carter Picking?
Carter-style picking—aka the Carter Family Style, the Carter Scratch, the Maybelle Carter Strum, and the thumb brush, among others—is a style of guitar playing popularized by Maybelle Carter. Simply put, while holding down a chord, the higher strings are strummed while a melody is picked out on the lower strings. It's been debated as to whether strumming the lower strings and putting the melody on the high strings is considered Carter picking. Since we're going beyond the traditional, I'll allow it.
Boom-Chuck Basics
Before we get into more challenging melodies, it's important to be able to play a basic "boom-chuck" strum (Ex. 1), which alternates the root and 5 of any given chord, with minimal movement from the left hand.
Ex. 1
Once you have the boom-chuck mastered, strive to add scale movement or walking bass lines, as seen in Ex. 2.
Ex. 2
When you're comfortable with scales, try adding chromatic movement to your bass lines. This will spice up your playing considerably (Ex. 3).
Ex. 3
Adding Melodies
Now that you possess a solid bass-strum foundation, it's time to add melodies, and we might as well start with the most well-known song from Maybelle Carter's repertoire: "Wildwood Flower" (Ex. 4). As you can see and hear, only the top three notes of both the C and G chords are strummed, usually on beat 2, while the single-note melody is picked out on the lower strings. This is quintessential Carter picking, but the variations are endless.
Ex. 4
Mother Maybelle Carter - Wildwood Flower LIVE!
Ex. 5 was inspired by the Beatles' "Norwegian Wood," which is not only in 3/4 time but is also in the Mixolydian mode, as it emphasizes the V chord, D, in the key of G. Note that the first time through the chords are only strummed as a quarter-notes, the second time the chords get eighth-note strums.
Ex. 5
Norwegian Wood (This Bird Has Flown)
Intriguingly, Donovan's "Catch the Wind" predates "Norwegian Wood" by a few months, conceivably providing Lennon with the stylistic inspiration, as it has for Ex. 6. Pay attention to the fact that the pinky stays consistently on the 3rd fret of the 1st string.
Ex. 6
Donovan - Catch the wind
Ex. 7 comes to us from Joan Baez's version of "The Lily of the West." In this example, an Em chord is strummed throughout, while the melody moves all the way up to the 3rd string, thinning out the strum a bit, yet still implying Em. You may need to spend extra time practicing the hammer-ons and the slide to keep them as robust as the picked notes.
Ex. 7
JOAN BAEZ ~ The Lily Of The West ~
Ex. 8 is an usual variation that can be heard on the Rolling Stones' "Country Honk." A boom-chuck strum alternates with a thick, three-note melody/bass line of sorts. I recommend isolating and repeating the D chord measures, as your pinky is sure to get a workout there.
Ex. 8
Country Honk (Remastered 2019)
As I mentioned earlier, traditional Carter picking emphasizes melodies in the bass while strumming the higher strings. Still, that doesn't stop Neil Young from reversing the technique—putting melodies on top while keeping fat, full chords on the bottom. You'll need to fret the F chord with your left-hand thumb on the low string to maintain the bass while picking out the melody. Check out Young's live version of "Cowgirl in the Sand" for such a sound, which Ex. 9 emulates.
Ex. 9
Neil Young - Cowgirl In The Sand - Carnegie Hall / Official Bootleg (Official Music Video)
Our final specimen, Ex. 10, emerges from an unexpected source, Steve Howe of Yes. Listen to Yes' "And You and I" for a progressive variation of Carter Picking. Once again, your pinky will get a workout. It is Steve Howe-esque after all.
Ex. 10
And You and I (2003 Remaster)
Pick Your Own
While in theory, Carter picking will work in any key, I find it best to stick with the guitar friendly keys of G, C, D, A, and E as the abundance of open strings allow you to easily fret chords, as well as play melodies, freeing yourself from being anchored to barre chords.
If this style is new to you, I suggest learning all the songs I mentioned, and then make an arrangement of one of your favorite melodies. Lastly attempt to compose your own, original Carter-style piece as the possibilities are infinite. Good luck!
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We’re giving away pedals all month long! Enter Stompboxtober Day 11 for your chance to win today’s pedal from Hotone Audio!
Hotone Wong Press
Cory Wong Signature Volume/Wah/Expression Pedal
Renowned international funk guitar maestro and 63rd Grammy nominee Cory Wong is celebrated for his unique playing style and unmistakable crisp tone. Known for his expressive technique, he’s been acclaimed across the globe by all audiences for his unique blend of energy and soul. In 2022, Cory discovered the multi-functional Soul Press II pedal from Hotone and instantly fell in love. Since then, it has become his go-to pedal for live performances.
Now, two years later, the Hotone team has meticulously crafted the Wong Press, a pedal tailored specifically for Cory Wong. Building on the multi-functional design philosophy of the Soul Press series, this new pedal includes Cory’s custom requests: a signature blue and white color scheme, a customized volume pedal curve, an adjustable wah Q value range, and travel lights that indicate both pedal position and working mode.
Cory’s near-perfect pursuit of tone and pedal feel presented a significant challenge for our development team. After countless adjustments to the Q value range, Hotone engineers achieved the precise WAH tone Cory desired while minimizing the risk of accidental Q value changes affecting the sound. Additionally, based on Cory’s feedback, the volume control was fine-tuned for a smoother, more musical transition, enhancing the overall feel of volume swells. The team also upgraded the iconic travel lights of the Soul Press II to dual-color travel lights—blue for Wah mode and green for Volume mode—making live performances more intuitive and visually striking!
In line with the Hotone Design Inspiration philosophy, the Wong Press represents the perfect blend of design and inspiration. Now, musicians can channel their inner Cory Wong and enjoy the freedom and joy of playing with the Wong Press!
A more affordable path to satisfying your 1176 lust.
An affordable alternative to Cali76 and 1176 comps that sounds brilliant. Effective, satisfying controls.
Big!
$269
Warm Audio Pedal76
warmaudio.com
Though compressors are often used to add excitement to flat tones, pedal compressors for guitar are often … boring. Not so theWarm Audio Pedal76. The FET-driven, CineMag transformer-equipped Pedal76 is fun to look at, fun to operate, and fun to experiment with. Well, maybe it’s not fun fitting it on a pedalboard—at a little less than 6.5” wide and about 3.25” tall, it’s big. But its potential to enliven your guitar sounds is also pretty huge.
Warm Audio already builds a very authentic and inexpensive clone of the Urei 1176, theWA76. But the font used for the model’s name, its control layout, and its dimensions all suggest a clone of Origin Effects’ much-admired first-generation Cali76, which makes this a sort of clone of an homage. Much of the 1176’s essence is retained in that evolution, however. The Pedal76 also approximates the 1176’s operational feel. The generous control spacing and the satisfying resistance in the knobs means fast, precise adjustments, which, in turn, invite fine-tuning and experimentation.
Well-worn 1176 formulas deliver very satisfying results from the Pedal76. The 10–2–4 recipe (the numbers correspond to compression ratio and “clock” positions on the ratio, attack, and release controls, respectively) illuminates lifeless tones—adding body without flab, and an effervescent, sparkly color that preserves dynamics and overtones. Less subtle compression tricks sound fantastic, too. Drive from aggressive input levels is growling and thick but retains brightness and nuance. Heavy-duty compression ratios combined with fast attack and slow release times lend otherworldly sustain to jangly parts. Impractically large? Maybe. But I’d happily consider bumping the rest of my gain devices for the Pedal76.
Check out our demo of the Reverend Vernon Reid Totem Series Shaman Model! John Bohlinger walks you through the guitar's standout features, tones, and signature style.
Reverend Vernon Reid Totem Series Electric Guitar - Shaman
Vernon Reid Totem Series, ShamanWith three voices, tap tempo, and six presets, EQD’s newest echo is an affordable, approachable master of utility.
A highly desirable combination of features and quality at a very fair price. Nice distinctions among delay voices. Controls are clear, easy to use, and can be effectively manipulated on the fly.
Analog voices may lack complexity to some ears.
$149
EarthQuaker Silos
earthquakerdevices.com
There is something satisfying, even comforting, about encountering a product of any kind that is greater than the sum of its parts—things that embody a convergence of good design decisions, solid engineering, and empathy for users that considers their budgets and real-world needs. You feel some of that spirit inEarthQuaker’s new Silos digital delay. It’s easy to use, its tone variations are practical and can provoke very different creative reactions, and at $149 it’s very inexpensive, particularly when you consider its utility.
Silos features six presets, tap tempo, one full second of delay time, and three voices—two of which are styled after bucket-brigade and tape-delay sounds. In the $150 price category, it’s not unusual for a digital delay to leave some number of those functions out. And spending the same money on a true-analog alternative usually means warm, enveloping sounds but limited functionality and delay time. Silos, improbably perhaps, offers a very elegant solution to this can’t-have-it-all dilemma in a U.S.-made effect.
A More Complete Cobbling Together
Silos’ utility is bolstered by a very unintimidating control set, which is streamlined and approachable. Three of those controls are dedicated to the same mix, time, and repeats controls you see on any delay. But saving a preset to one of the six spots on the rotary preset dial is as easy as holding the green/red illuminated button just below the mix and preset knobs. And you certainly won’t get lost in the weeds if you move to the 3-position toggle, which switches between a clear “digital” voice, darker “analog” voice, and a “tape” voice which is darker still.
“The three voices offer discernibly different response to gain devices.”
One might suspect that a tone control for the repeats offers similar functionality as the voice toggle switch. But while it’s true that the most obvious audible differences between digital, BBD, and tape delays are apparent in the relative fidelity and darkness of their echoes, the Silos’ three voices behave differently in ways that are more complex than lighter or duskier tonality. For instance, the digital voice will never exhibit runaway oscillation, even at maximum mix and repeat settings. Instead, repeats fade out after about six seconds (at the fastest time settings) or create sleepy layers of slow-decaying repeats that enhance detail in complex, sprawling, loop-like melodic phrases. The analog voice and tape voice, on the other hand, will happily feed back to psychotic extremes. Both also offer satisfying sensitivity to real-time, on-the-fly adjustments. For example, I was tickled with how I could generate Apocalypse Now helicopter-chop effects and fade them in and out of prominence as if they were approaching or receding in proximity—an effect made easier still if you assign an expression pedal to the mix control. This kind of interactivity is what makes analog machines like the Echoplex, Space Echo, and Memory Man transcend mere delay status, and the sensitivity and just-right resistance make the process of manipulating repeats endlessly engaging.
Doesn't Flinch at Filth
EarthQuaker makes a point of highlighting the Silos’ affinity for dirty and distorted sounds. I did not notice that it behaved light-years better than other delays in this regard. But the three voices most definitely offer discernibly different responses to gain devices. The super-clear first repeat in the digital mode lends clarity and melodic focus, even to hectic, unpredictable, fractured fuzzes. The analog voice, which EQD says is inspired by the tone makeup of a 1980s-vintage, Japan-made KMD bucket brigade echo, handles fuzz forgivingly inasmuch as its repeats fade warmly and evenly, but the strong midrange also keeps many overtones present as the echoes fade. The tape voice, which uses aMaestro Echoplex as its sonic inspiration, is distinctly dirtier and creates more nebulous undercurrents in the repeats. If you want to retain clarity in more melodic settings, it will create a warm glow around repeats at conservative levels. Push it, and it will summon thick, sometimes droning haze that makes a great backdrop for slower, simpler, and hooky psychedelic riffs.
In clean applications, this decay and tone profile lend the tape setting a spooky, foggy aura that suggests the cold vastness of outer space. The analog voice often displays an authentic BBD clickiness in clean repeats that’s sweet for underscoring rhythmic patterns, while the digital voice’s pronounced regularity adds a clockwork quality that supports more up-tempo, driving, electronic rhythms.
The Verdict
Silos’ combination of features seems like a very obvious and appealing one. But bringing it all together at just less than 150 bucks represents a smart, adept threading of the cost/feature needle.