Sound like two guitarists playing at once with a few simple—but very effective—exercises.
Chops: Intermediate/Advanced
Theory: Intermediate
Lesson Overview:
• Understand the basic concept of combining two different rhythms.
• Improve your fingerstyle technique.
• Learn how to incorporate polyrhythms into bossa nova and jazz tunes.
Click here to download a printable PDF of this lesson's notation.
In the classical world, a polyrhythm is a device that invokes two different rhythms at the same time to create tension. Polyrhythms are found in the traditional music of Africa, India, and Indonesia, and such bands as King Crimson and Meshuggah have adapted these compelling sounds to prog rock, metal, and other contemporary styles. In fact, ask any drummer you know. Chances are, he or she probably uses these rhythms.
Guitarists often focus on chops or harmony, while letting rhythmic studies take a back seat. Yet because polyrhythms are becoming more and more prevalent in cutting-edge modern music, they’re certainly worth investigating.
The best way to effectively use these polyrhythmic ideas is to learn how to simultaneously play the layered rhythms yourself and not just chunk away in a different time signature while your drummer is laying it down in groove town. You want to be able to feel both rhythms and ideally weave in and out of each while improvising, composing, or drinking coffee.
Below you will find a couple of warm-up examples that will help unlock these tricky rhythms. This lesson is all about time, and if this is your first foray into playing these types of rhythms I’d recommend using a metronome. There are many metronome apps (some are even free) that will allow you to program multiple rhythms at once. But this isn’t a necessity for this lesson—an old-fashioned wind-up metronome will certainly do the trick.
Fig. 1 is a preliminary warm-up. We start with a bass line in 3/4 and then add a comping phrase on top in 4/4. Notice where the beats land as the superimposed rhythm gets displaced. On the fourth measure, the upper rhythm will land on the one again.
A simple trick for finding where these two rhythms will line up is to find the common multiple between the two time signatures. First, make sure they have the same subdivision. In this case, 3/4 and 4/4 are both quarter-note-based, so we’re in business. The common multiple between three and four is 12. That means that it will take 12 quarter-notes, or three measures of 4/4, to meet up together on beat one (elementary school arithmetic rears its ugly head).
Try to play this phrase while counting in four aloud, and then again while counting in three. Get comfortable with thinking of either rhythm as your “base rhythm.” In a playing situation, you may want to imply three against a drummer playing in four, or imply four over a drummer grooving in three.
Fig. 2 is a comping rhythm in 4/4 with a phrase in 3/4 on top. This is essentially the rhythm from our previous warm-up flipped upside down. Again, try to count this in both three and four.
Let’s add some anticipation to the bass note in Fig. 3. This gives us a bossa nova feel with the 3/4 rhythm superimposed on the top. Adding this type of bass line anticipation to your chord melody playing is a great way to give the illusion of two independent lines. Experiment!
Let’s take the bass line from Fig. 2 and think of it as quarter-notes. In Fig. 4, the phrase on top consists of quarter-note triplets, giving you a cool 3:2 exercise. Try to count the quarter-notes aloud. Lenny Breau uses this feel quite frequently. (This is also a great way to cue a drummer to do a metric modulation in three.)
Now for an extra challenge, let’s add a third layer. Starting in the fifth measure of Fig. 5, we accent every fifth eighth-note in the melody line. This gives us a 5:3:2 rhythm. Fun! Before attempting the three-way polyrhythm, you may want to first isolate the phrase of five eighth-notes against the quarter-note triplet, and then against the quarter-note pulse. Use your right-hand pinky to pluck the high A on the 1st string. Ben Monder and Ralph Towner are among the creative guitarists who often use these types of rhythms.
Perhaps this exercise seems needlessly complex, but the idea is to get you to feel multiple meters at once. You’ll find that improvising melodic lines against a moving bass line becomes a lot easier after you master these studies. There are many advantages to practicing these types of rhythms and there are endless combinations of ideas to try.
It’s very easy to expand upon the ideas in this lesson. Pick a rhythm or two (or three) and go to town. The best thing about these rhythms is they don’t require a guitar to practice them. I often find myself tapping out various rhythms on my steering wheel while caught in some of New Jersey’s famed traffic. They have also prevented me from losing my mind in a number of painful college classes. (I might not be able to say the same about those sitting next to me, however.) When you feel confident with any of these ideas, try incorporating them into a song or jam. But make sure to save the more obscure rhythmic combinations for the right atmosphere—perhaps your weekly restaurant gig isn’t the best place for this stuff.
Limited edition Squier Stratocaster features iconic Hello Kitty design, high-quality craftsmanship, and versatile tones.
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“As a cultural ambassador, Hello Kitty has been influencing a variety of industries, including music for 50 years,” said Craig Takiguchi, Chief Operating Officer of Sanrio, Inc. “In today’s dynamic landscape, where music and entertainment are constantly merging and inspiring each other, Fender’s legacy, and deep connection to pop culture uniquely positions them to become an even bigger part of our fans’ lives. We’re excited to partner with Fender to give our community new, creative ways to express themselves through these iconic quality instruments and supercute accessories, continuing to bring our vision of ‘One World, Connecting Smiles’ to life on a global scale.
The Fender x Hello Kitty 50th Anniversary Collection includes a Limited Edition Squier Stratocaster guitar and a Fuzz Pedal, alongside eye-catching accessories such as an electric pink instrument cable, gig bag, and a collection of unisex clothing. From Hello Kitty-themed straps to pick tins, hoodies, tees and trucker hats, these items celebrate the spirit of creativity, inclusion and fun that defines both brands.
Available globally, the Squier Limited Edition Hello Kitty Stratocaster builds on the success of the original, blending substance with style. First introduced 20 years ago, this exciting update to the now iconic Hello Kitty Squier features a supercute glossy finish in pink or white with signature Hello Kitty graphics on the pickguard, headstock and body. The Fender Designed™ humbucking bridge pickup delivers powerful lead lines and smooth rhythm tones. With an ergonomic “C”-shaped neck and contoured body, this guitar ensures comfort and playability for musicians of all skill levels, making it a future cult classic for collectors and players alike. A deluxe padded gig bag with Hello Kitty stitching is also included.
The limited-edition Made in Japan Stratocaster boasts a striking Pearl White finish with Hello Kitty’s trademark ribbon, a "C"-shaped maple neck, 9.5” radius fingerboard, and 22 narrow-tall frets. The guitar is equipped with high-gain Hybrid II Custom Voiced Single Coil pickups, providing versatile tones perfect for clean or overdriven play. Comes with a white hardshell case and certificate of authenticity, celebrating Hello Kitty's cultural influence.
"This collaboration with Hello Kitty is a perfect blend of music and pop culture," said Justin Norvell EVP Fender Product. "The limited-edition Squier Stratocaster merges Hello Kitty’s playful design with Fender’s craftsmanship, offering a high-performing instrument that's as fun as it is functional. Our Made-in-Japan exclusives bring an extra level of artistry and attention to detail, making them standouts for both collectors and players. From the guitars to accessories like straps and fuzz pedals, this collection sparks creativity and celebrates individuality, while staying true to Fender’s legacy of quality and innovation."
The highly anticipated collaboration has returned! Celebrate Hello Kitty's 50th Anniversary with the Fender x Hello Kitty Collection, featuring the beloved Stratocaster. This special edition includes a “C”-shaped neck, a 9.5" maple fingerboard, 21 narrow tall frets, and red dot inlays.
Collection includes:
- Squier Limited Edition Hello Kitty Stratocaster ($499.99) blending substance with style featuring a supercute glossy pink finish with signature Hello Kitty graphics on the pickguard, headstock and body. Available globally.
- Made in Japan Fender Limited Edition Hello Kitty Stratocaster (¥330,000 JPY) available solely at Fender’s Japan Flagship Store in Tokyo, The Made in Japan Limited Hello Kitty Stratocaster is a guitar filled with the bold and vibrant charm of Sanrio’s signature character, Hello Kitty—a leading figure in global Kawaii culture. It features a Pearl White body with her iconic ribbon, a "C"-shaped maple neck, and Hybrid II Custom Voiced pickups for rich Fender tones. Includes a Hello Kitty-engraved neckplate, hardshell case, and certificate of authenticity.
- Hello Kitty Fuzz ($99.99) A fun-loving fuzz like no other – the Fender x Hello Kitty Fuzz introduces a pop of color and charm to one of the pedal world’s most formative effects. Sporting an op amp based circuit with three simple controls, this pink-clad pedal kicks your guitar into wooly, splattering gain tones with unmistakable character. Added style points come in the form of a stand-out pink finish, white Fender witch hat knobs, Japanese translated labels, and, of course, Hello Kitty herself on the front panel. Available globally.
- Additionally, a selection of Made-in-Japan exclusive items, including the Fender Made in Japan Limited Edition Hello Kitty Stratocaster, cleaning cloth, strap blocks, home accessories, custom apparel, tote bag and more, will be available solely at Fender’s Japan Flagship Store in Tokyo. These unique collectibles, featuring adorable designs of Sanrio’s signature character, Hello Kitty, a global pop culture influencer, were created to celebrate her 50th anniversary—an icon that transcends generations and reinforces Hello Kitty and Fender’s deep global cultural presence.
This limited-edition Fender x Hello Kitty collection is a celebration of creativity, inclusivity, and self-expression through music. By blending iconic design with Fender's renowned craftsmanship, this collection invites players of all levels to embrace their individuality and make bold musical statements.
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Discover the iconic Mary Ford Les Paul Standard in Goldtop finish, a tribute to the trailblazing music icon and her groundbreaking partnership with Gibson legend Les Paul.
“I am thrilled that Mom is receiving this recognition for her talents,” says Mary Colleen Wess(daughter of Mary Ford and Les Paul). “I wish she was still with us to enjoy this wonderful honor, which she so richly deserves. Thank you so much, Gibson!”
Through her successful early career in country music and her connections with Gene Autry and Eddie Dean, Mary Ford--who was born Iris Colleen Summers on July 7, 1924--developed a musical partnership with Gibson icon Les Paul that led to their marriage in 1949. In 1951 alone, the duo sold over six million records, and between 1950 and 1954, they recorded a string of 16 top-ten hits that showcased Mary’s rich, smooth voice, complex, perfectly executed harmonies that she sang along with herself through multi-track recording, and overdubbing (a groundbreaking recording technique for the time), while her versatile guitar playing seamlessly blended country, jazz, and pop.
Mary Ford Les Paul Standard Goldtop - YouTube
Gibson Mary Ford Les Paul Standard Electric Guitar - Gold Top with Cherry Back
M.Ford LP Std, Gld Top/Chry BackPRS unveils the Private Stock 40th Anniversary McCarty Dragon and PRS 40th Anniversary Custom 24. The Dragon features intricate inlay by Jeff Easley, while the Custom 24 boasts new PRS DMO pickups and classic design elements.
PRS Private Stock 40th Anniversary McCarty Dragon
The PRS Private Stock 40th Anniversary McCarty Dragon is the tenth Dragon since the first of its kind was introduced back in 1992. The Dragon art was drawn by Jeff Easley, a fantasy artist famous for many Dungeons & Dragons rulebook covers, and recreated as inlay by the team at Aulson Inlay. The Dragon comprises more than 200 pieces of inlay in an array of materials, including Blue Pacific Opal, Brown Scale Juma, and Gold, Black, White, and Brown Mother of Pearl. The inlay extends onto the truss rod cover and visually leaps off the pale moon ebony fretboard. The Private Stock Eagle inlaid on the headstock is made from Black with Gold Web and outlined in Gold Mother of Pearl. Only 165 Private Stock 40th Anniversary Dragon models will be made.
“When I was a teenager, I had a dream about a guitar with a dragon inlaid down the neck. That dream has since become an important part of our history. For our 40th anniversary, we have chosen a McCarty model as the foundation of the Dragon, which is only fitting considering the original 1992 Dragon was the beginning of what would became the McCarty model. I’m proud to bring these two, now-historic, PRS designs together,” said PRS Guitars Founder & Managing General Partner, Paul Reed Smith.
PRS 40th Anniversary Custom 24
Limited to 400 pieces worldwide, this special edition features both new appointments and traditional design features. Debuting on these guitars are the all-new PRS DMO (Dynamic, Musical, Open) Treble and Bass pickups. Paul Reed Smith and the PRS New Products Engineering Team spec’d these new pickups based on years of hands-on research into coveted vintage pickup models and advancements in signal analyzation and “tuning” technology. PRS DMO pickups have a “wide open” sound with vocal character, meaning they deliver clear, pleasant-sounding tones across a wide range of frequencies (bass to treble) in each pickup.
PRS 40th Anniversary Custom 24 design specifications include an artist grade maple top with a retro violin top carve, PRS “Old School” birds with outlines and PRS “Pre-Factory” headstock eagle, all of which pay homage to early PRS guitars. Other classic Custom 24 appointments include the PRS Gen III patented tremolo, PRS Phase III locking tuners with wing buttons, and PRS Signature 10-46 strings. This limited edition also features a ziricote fretboard and headstock veneer and comes with a hand-signed 40th Anniversary certificate.
Beyond these initial announcements, PRS Guitars is planning a year full of new product introductions starting in January. Stay tuned to see new gear and 40th Anniversary limited-edition guitars throughout the year.
For more information, please visit prsguitars.com.
PRS Private Stock 40th Anniversary Dragon Electric Guitar - Burnt Chestnut
PS 40th Anni McCarty Dragon, Brnt ChsntAdd a splash of motion and mystery to a flat amp with this simple, streamlined, vintage-flavored tremolo and reverb stomp.
Simplicity and utility. Lively spring reverb simulation. Smart, spacious control layout. Nicely dovetailed modulation and reverb tones.
Can’t use harmonic tremolo or vibrato with spring reverb simulation.
$229
Keeley Zoma Stereo Reverb And Tremolo
keeley.com
There are days I plug into myFender Vibrolux, play an E minor chord with a little vibrato arm flourish, and ask, “What more could I ever need?” The simple, elegant perfection of Fender’s reverb and tremolo formula is so foundational, essential, and flat-out delicious to the senses that it gave rise to a class of pedals that consolidate the essence of that recipe.
The most famous of these is probably theStrymon Flint, a tool widely adopted by touring players that deal with changing backlines and players that make do with simpler amplifiers. While the Flint is an industry standard of sorts, at almost 350 bucks it’s also a serious investment. Less expensive alternatives include Fender’s own Tre-Verb (which uses a design and layout strikingly similar to the Flint) as well as Keeley’s excellent U.S.-made Hydra Stereo Tremolo and Reverb and their simpler, less-expensive Verb o Trem, which lacks independent switches for the two effects. But for players that like a more spacious control layout and independent reverb and tremolo switches—and are willing to sacrifice a few options to save about $120—Keeley’s new Zoma might be the most enticing Flint alternative out there.
Form Leads to Function
The Zoma is built into the same enclosure and uses the same control layout as theI Get Around rotary simulator and California Girls 12-string simulator Keeley built in collaboration with JHS Pedals and Benson Amps to honor the Beach Boys. Though destined to annoy space-economy fetishists, the Zoma’s dimensions should be little problem for those who keep their pedal effects to a minimum. The larger enclosure also offers lots of upside in the form of the spacious control layout, which facilitates fast adjustments on the fly. The sizable RCA-style knobs, particularly the big reverb level control, make adjustments with your toe easy. The blue Fender-style jewel lamp—which also blinks at the tremolo’s rate—is situated between the already well-spaced reverb and tremolo bypass switches to ensure that even the klutziest performer can avoid pressing one or both accidentally.
“The plate reverb leaves more space for the beautiful, liquid modulations from the harmonic tremolo and vibrato.”
A small 3-way toggle nestled safely among the three knobs moves between the Zoma’s three basic modes and voices: spring reverb with sine wave tremolo (the black-panel Fender formula), a plate-style reverb with brown-panel Fender-style harmonic tremolo, and plate-style reverb with more Magnatone-like pitch vibrato. The single toggle means you can’t combine different tremolo types with different reverb types as you can with the Flint. But by pressing and holding the reverb/alt switch, you can orient the tremolo after the reverb in black-panel Fender style or place the tremolo before the reverb for a thicker, blurrier tone. You can also change the reverb decay level, reverb tone, or the tremolo output level in alt mode.
Pipelines and Sines
You’d have to be pretty nitpicky to take issue with Zoma’s likeness to real spring reverb. The pings and clicks that follow transients in the Zoma’s spring simulation are particularly authentic compared to the Vibrolux and Fender Reverb tank I used for comparison. And given the possible variation that exists among vintage Fender reverb units, thanks to age, wear, and component value drift, the Zoma’s output falls well within the realm of “accurate.” The primary difference I heard in the Fenders was a little extra harmonic thickness and ghostliness in the decay at the highest reverb levels—but that was at pretty high volume and in isolation. Would you hear it with a bass and drums filling out that harmonic picture? Maybe. Would it spoil the evening of paying customers out to stomp to your instrumental surf combo? I kinda doubt it. And if the Zoma spring is ever-so-slightly less thick than the real deal, it’s still easy to excite and add splash to those harmonics—or make them more subdued—with the Zoma’s alt-mode reverb tone control, which you’re only going to find elsewhere on an outboard Fender Reverb unit. The plate reverb settings are a little more vaporous, diffuse, and lack the post-transient attack you hear at advanced spring settings. But they leave more space for dynamics—most importantly the beautiful, liquid modulations from the harmonic tremolo and vibrato that accompany them.
The harmonic tremolo is especially pretty and adds lovely dimension to lazy chord melodies. The vibrato is excellent, too—throbbing and wobbly without being overpowering at its most intense levels and capable of adding dreamy drift at subdued settings. The sine wave tremolo, by the way, is a great match for the spring reverb. There are bolder, bossier tremolos out there, but it’s a close match for the optical tremolo in most mid-1960s Fender combos, which are not always wildly forceful themselves.
The Verdict
The Zoma can be a very transformative pedal—adding splashes of surfy energy to a Marshall or big-amp presence to a Fender Champ. In terms of utility and approachability, about the only thing that rivals the Zoma is an amp with onboard tremolo and reverb. But even with the real thing you’ll probably lack the pretty harmonic tremolo, the vibrato, and the plate reverb options that extend the Zoma’s color palette. Do I wish I could mix the vibrato and harmonic tremolo with the spring reverb? After a few hours of getting used to the characteristics of each, I do. But it wouldn’t be a deal breaker if I was going to use this pedal in performance or in a recording session where I could also take advantage of the stereo capabilities. The Zoma is a mood machine par excellence that’s also a breeze to use.