
Get rid of those rock cliches by cutting your hair, dressing conservatively, picking some 12-string arpeggios, and letting those open strings ring!
Intermediate
Intermediate
- Arpeggiate the uncommon chord
- Work open strings into your hooks and melodies
- Find the right tone for your college-rock experience
College rock started as a generic term meant to cover the bands or genres that were neglected by mainstream radio in the 1980s—bands like Hüsker Dü (punk), Bauhaus (goth), P.I.L. (post-punk), Violent Femmes (folk-punk), and countless other nonconformists—but who dominated college radio. Eventually, and ironically, the term came to define a genre of its own. In this lesson, we’ll highlight a few of college rock’s guitar hallmarks, explain the theory behind the harmony, and point out the necessities of tone.
One could easily argue that there are two college rock bands—one from America and one from England—who set the tone for all others: R.E.M. and the Smiths, featuring, respectively, guitarists Peter Buck and Johnny Marr. So, what better place to start than with some variations on their open-string hooks and unique chord voicings, both of which helped create the college rock sound.
It should also be noted that both Buck and Marr made extensive use of 12-string guitars, giving college rock a reputation for being “jangly.” Regrettably, this is by far the most cost-prohibitive aspect of the college rock sound. Never fear, some not-so-subtle use of a chorus pedal can get you … well, if not close, closer.
College Rock Figureheads
Ex. 1 is reminiscent of R.E.M.’s “Harborcoat” (and various other songs from their first four albums). While the chord progression implied by the bass is relatively simple (most of the examples in this lesson follow suit), the voicings of the arpeggios help to create unusual chords, most notably in measure two, where the major 7th (D#) and the root (E) ring against each other creating a tension that resolves into the next measure.
In the second half of Ex. 1, chords are strummed with the top two open strings ringing throughout (excepting during the C#m chord), once again creating uncommon harmonies. Note, in particular, the last measure, which includes an A(add9, add#11) chord!
Ex. 2, inspired by R.E.M.’s “Orange Crush,” finds a common college-rock technique: taking a simple open-chord shape, in this case C, and moving it around the neck, even if just up two frets. This simple move creates a D(add4, add9) chord. These “add” chords—wherein you add the intervals 2 or 4 (or 9 and 11, depending on your point of view) to a triad—are heard frequently in this style of guitar playing. In measure three, the shape is moved down, into “normal” C position, but without the first finger, thus creating a melancholic Cmaj7. If you’re going to play college rock, 50 percent of it better be bittersweet.
With R.E.M. accounted for, let’s move on to Johnny Marr and the Smiths. Leaving the open-string moves aside for a few measures, Ex. 3 pays homage to “This Charming Man,” which will challenge almost any player with its unique use of dyads, or double-stops. This example moves down and up the fretboard, implying a myriad of exceptional harmonies while the bass pounds out the root notes. Is it a solo or a chord progression? Why not both?
Ex. 4 adds a swing feel to the college-rock sound and includes an unexpected syncopation by starting on the “and” of 1 instead of the downbeat. The unique rhythm recurs at the repeat, with the open D note tying itself over the bar on the “and” of 4. The Smith’s “What Difference Does It Make?” serves as a point of reference here.
Quintessentially American
With the college-rock figureheads accounted for, at this point we could move in any direction. So, let’s look at a couple of the heavier American bands—Pixies and the Replacements.
Ex. 5 comes to us via Pixies’ “Brick Is Red.” While this example sounds markedly different from the first four, you’ll notice that, once again, open strings play a central role in this quirky etude. Also, pay attention to the use of starts and stops, as well as dynamics. These two characteristics went on to inspire not only other college-rock bands but the alternative-rock scene that was to follow shortly thereafter. Frequently, as in this example, Pixies guitarists Black Francis (aka Frank Black) and Joey Santiago would double such an idea on acoustic guitar and electric respectively.
More open strings are heard in Ex. 6, which imitates the Replacements’ “Bastards of Young,” featuring Paul Westerberg and Bob Stinson on guitars. What makes this hook distinctive is how it is played over four different bass, root notes, implying four different chords, which are essentially Badd9–C#m9–Emaj7–F#6. Speaking of the Replacements, have a listen to their song “Color Me Impressed” and compare the opening riff to “Chartered Trips” by fellow Minnesotans Hüsker Dü. Coincidence?
Characteristically British
Our final three examples were all inspired by British bands and lead us into a brief discussion on college-rock tone.
Ex. 7 plays off Siouxsie and the Banshees’ “Israel” (featuring John McGeoch on guitar), which is an ideal song for beginners working on fingering barres. As you’ll see, the chords are made by lying one finger flat across the top four strings (I suggest the index). The simplicity of this idea is belied by the complexity of the harmonies created, in this case Em7–C#m7–G#m7–B6. In the second part of the example, natural harmonics are employed, once again with one finger lightly placed on the strings. Regarding the obvious change in tone, compared to all the other examples, this part was recorded through a chorus pedal with the level at 100 percent, the rate at 50 percent, and the depth at 25 percent. Yes, the effect is doing much of the work here! That is not uncommon in the world of college rock, where sound is every bit as important as technique.
Be sure to check out more great guitar playing on Siouxsie and the Banshees records (Siouxsie featured several guitar players over the years), in particular John McGeoch’s playing on “Eve White, Eve Black,” which uses the whole-tone scale in a way more reminiscent of King Crimson than you’d expect.
The seemingly mundane E–A–B chord progression (I–IV–V) of Ex. 8 is enhanced considerably with both sus and add chords. Unlike add chords, sus chords replace the third in a triad with a second or fourth. Thanks to the inversions in this example, the chords never remain static. Look to Ian McCulloch and Will Sergeant of Echo & the Bunnymen for use of such chords, “Crystal Days” in particular. The 12-string guitar makes another appearance here.
Our last example was inspired by one of the numerous crossover hits that came out of the college rock genre, in this case, the Cure’s “Just Like Heaven.” Ex. 9’s open-string chords (reminiscent of Ex. 1) create a lush foundation over which the open-string hook is played. Both guitars are heavily chorused, though Robert Smith and Porl Thompson of the Cure frequently do play 12-string guitars.
I’d be remiss if I didn’t mention another iconic college rock group, Dinosaur Jr., and their fantastic cover version of “Just Like Heaven.” Here we get the best of both worlds, the Cure’s romantic atmosphere and J Mascis’ brutal yet playful guitar playing.
Who Did We Skip? Almost Everyone!
Like most genres, college-rock has a seemingly endless number of bands to draw from. Thus, this lesson could have easily filled a book. And there is no doubt, thanks to the rabid nature of legions of college rock fans, that many will claim I overlooked an incalculable number of bands and guitarists. They are correct. So, let this lesson serve as a primer. Take it upon yourself to seek out other inventive musicians in this genre, no degree required!
Lutefish, the real-time music collaboration device and platform, is excited to announce a suite of new features designed to simplify setup, streamline collaboration, and offer more flexible subscription options for Lutefish Stream users. These latest updates, Audio Presets, Automatic Session Recall, Improved Scheduling with Contact Visibility, and a new Yearly Subscription Plan, are all about making it easier than ever for musicians to jam together, no matter where they’re based.
Save Time and Stay in the Flow with Audio Presets & Session Recall
Musicians can now save and reuse their exact audio settings, reducing setup time and ensuring every session sounds exactly as they want.
- Automatic Session Recall: When users leave a session, their current audio levels are automatically saved and restored when they rejoin.
- User-Defined Audio Presets: Each user can create and name up to five custom presets, like “Band Practice,” “Studio Mic Setup,” or “Quick Jam,” making it effortless to jump back in with the perfect sound.
“These tools are all about saving time and hassle,” said Patrick Finn, Business Manager at Lutefish. “Musicians want to make music, not spend time rebalancing levels every session. With presets and recall, we’re giving them time back and helping them sound their best, every time.”
Smarter Scheduling and Contact Visibility
The latest update to Lutefish also made it easier to find collaborators and book sessions. Users can now:- View all their contacts at a glance when scheduling a session.
- Instantly identify which contacts own a Lutefish Stream device—so they will always know who’s ready to jam.
Go Yearly and Save 20%
Lutefish now offers a Yearly Subscription Plan, providing users with the same great access as the monthly plan at a 20% discount.
This option is now available within the Lutefish app and web platform, and current monthly users are eligible for a discount with an upgrade to a yearly subscription.
Lutefish’s mission has always been to empower musicians to connect and collaborate without boundaries. With these new updates, Lutefish Stream continues to break down barriers—whether you’re jamming with a friend across town or collaborating with a bandmate 500 miles away.
For more information and to start jamming today, visitlutefish.com.
Empress Effects is proud to announce the release of the Bass ParaEq, a bass-specific parametric EQ pedal.
Building on the success of their acclaimed ParaEq MKII series, which has already gained popularity with bassists, the Bass ParaEq offers the same studio-grade precision but with features tailored for bass instruments.
Basses of all types – including electric and upright basses with active and passive electronics – can benefit from the Bass ParaEq’s tone-sculpting capabilities.
The new pedal follows the success of the Empress Bass Compressor and ParaEq MKII Deluxe, which have become some of the company’s best-reviewed and top-selling products. The Bass Compressor’s popularity confirmed what Empress had long suspected: bassists are eager for tools built with their needs in mind, not just adaptations of guitar gear.
The Bass ParaEq retains the line’s powerful 3-band parametric EQ and studio-style features while introducing a bass-optimized frequency layout, a selectable 10MΩ Hi-Z input for piezo-equipped instruments, a dynamically-adjusted low shelf, and automatic balanced output detection—perfect for live and studio use alike.
The Bass ParaEq also offers an output boost, adjustable by a dedicated top-mounted knob and activated by its own footswitch, capable of delivering up to 30dB of boost. It’s perfect for helping your bass punch through during key moments in live performance.
Whether dialing in clarity for a dense mix or compensating for an unfamiliar venue, the Bass ParaEq offers precise tonal control in a compact, road-ready form. With 27V of internal headroom to prevent clipping from even the hottest active pickups, the Bass ParaEq is the ultimate studio-style EQ designed to travel.
Key features of the Bass ParaEq include:
- Adjustable frequency bands tailored for bass instruments
- Selectable 10MΩ Hi-Z input for upright basses and piezo pickups
- Auto-detecting balanced output for long cable runs and direct recording
- Three sweepable parametric bands with variable Q
- High-pass, low-pass, low shelf, and high shelf filters
- Transparent analog signal path with 27V of internal headroom
- Buffered bypass switching
- Powered by standard 9V external supply, 300mA (no battery compartment)
The Bass ParaEq is now shipping worldwide. It can be purchased from the Empress Effects website for $374 USD and through authorized Empress dealers globally.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kiesel’s new Kyber model at kieselguitars.com
PG contributor Tom Butwin reveals his favorite songwriting secret weapon: the partial capo. Watch how the Shubb C7 and C8 can simulate alternate tunings without retuning your guitar—and spark fresh creative ideas instantly.
Shubb C8b Partial Capo for Drop-D Tuning - Brass
The C8 covers five of the six strings, leaving either the low E or high E string open, depending on how it's positioned.
- Standard setup: Placed on the 2nd fret while leaving the low E string open, it simulates Drop D-style sounds—except you're still in standard tuning (key of E). You get that big, droning bass feel without retuning.
- Reverse setup: Flipping the capo allows the high E string to ring, giving you shimmering drones and new melodic options across familiar chord shapes.
- A flexible tool that lets you simulate alternate tunings and create rich sonic textures—all while keeping your guitar in standard tuning.
Shubb C7b Partial Capo for DADGAD Tuning - Brass
The C7 covers three of the six strings—either D, G, and B or A, D, and G—depending on how it's flipped.
- Typical setup (D, G, B): Creates an open A chord shape at the 2nd fret without needing your fingers. This frees you up for new voicings and droning notes in the key of A.
- Reversed setup (A, D, G): Gets you close to a DADGAD-style tuning vibe, but still keeps you in standard tuning—great for modal, spacious textures often found in folk or cinematic guitar parts.
Use it alone or stack it with the C8 for wild, layered effects and truly out-of-the-box inspiration.