Guitar Rhythms: basic scattering for beginners
A scrape is a pattern of pounding down and up that's repeated. Here's the basics at 4 / 4 and 3 / 4, written with arrows, and how to practice them without your rhythm being broken.
A scrape is a pattern of bottom and up (↓) and repeated (↑) hits at every bar. The secret to learn any guitar rhythm is that the right hand never stop: goes down at every time and goes up at every "and," as a pendulum, and the pattern only decides at what moments the strings play and what goes through the air.
Here are the basic scattering at 4 / 4 and 3 / 4 with arrows, in the order that a teacher usually teach them: black, clordes, pop pattern, ballast, rock, reggae and waltz or single corridor. At the end, how to practice them with a methonomer and the mistakes that most deordinate the rhythm.
To sum up
- The right hand moves as a constant pendulum: down at the number, up at the "and."
- The seattings of a scattering do not stop his hand: it passes through the air without touching his strings.
- It starts with four pounding down by compass, and the pattern "down, down, up, up, down, down, up" arrives after.
- Practice each pattern with the strings out and count out before adding chords.
- He uses his methonomer between 60 and 70 and only put him up as his master goes out without thinking.
How to read a scattering: arrows, beads and quiet
In a 4 / 4 bar there are four times and every time it's divided into two half. Thus we count: 1 and 2 and 3 and 4 andThe numbers fall as your hand goes down and the "and," as it goes up. That's the basis of all the patterns of this guide.
| Symbol | What does that mean? | How To Do It |
|---|---|---|
| ↓ | Scratching down | From serious to acute cords with a pow or an index nail |
| ↑ | Raking up | From sharp to serious, but only with 3 or 4 strings |
| · | Silence of his hand | The hand makes the move, but goes up without touching |
| X | Fold or snap | The hand goes down and goes out at the same time and sounds like a box blow. |
| B | Bass | The thumb or cuff only touches the most serious note of chord |
The bottom blows sound more full because they start at the embroidery and those above light. No need to play the six strings at every blow: that difference in weight is part of the groove. If you are still learning to step on the chords, first review the [guitar's basic chords]](/blog/acordes-basicos-de-guitarra-para-principiantes).
Basic scattering at 4 / 4
| Master | 1 | and | 2 | and | 3 | and | 4 | and |
|---|---|---|---|---|---|---|---|---|
| Black | ↓ | · | ↓ | · | ↓ | · | ↓ | · |
| Corcheas | ↓ | ↑ | ↓ | ↑ | ↓ | ↑ | ↓ | ↑ |
| Pop or folk | ↓ | · | ↓ | ↑ | · | ↑ | ↓ | ↑ |
| Balada | ↓ | · | ↓ | ↑ | ↓ | · | ↓ | ↑ |
| Pop with snap | ↓ | ↑ | X | ↑ | ↓ | ↑ | X | ↑ |
Black and clocks: the base
Four pounding down by compass is the first rhythm to be taught, and it's not a step that can be leap: it forces you to change from condo to time. When I get out, I get to clocks, eight alternates. Here's the pendulum that you're about to use in everything else.
The pop pattern: "down, down, up, up, down, up."
That's the most widely used scrape to accompany pop, soft rock and fire music songs. Check out time 3: his hand goes down without touching his strings and so his next "up" feels bad. If at 3 you stop his hand instead of passing through the air, his pattern will get out of his way. Say out loud "a-ba-jo, a-ba-ga-a-ra-ra-ba..." if it helps you, but what really works is to count "1 and 3 and 4 and" while you play.
Balada
The ballast pattern repeats twice "down, down, up" to a quiet tempo. A widely used variant replaces the first blow of every half with the lower chord (B at 1 and 3): the fundamental at time 1 and another serious note of chord at 3. Thus the accompaniment breathes and leaves space for the voice.
Pop with snap
The blow turned off at 2 and 4 mimics the box of a battery and gives them a push to any moved song. To do so, they drop the right hand's side onto the ropes just as the stick hits them, or loosen the pressure of the left hand at that moment. It starts without chords, with only the percussive sound, until the blow off sounds clear.
Rock and reggae: same bar, other character
Basic rock
The most direct rock's play in clocks but all down: ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓. It gives a compact and energetic sound. It's a little more about 2 and 4 and if you play an electrical guitar, try to support the border of the palm onto the bridge to put out the strings (pallm mute). At quick moments, this pattern tires the forearm: keep the wrist loose and move short.
Reggae
The reggae turns around all of this: the guitar does not mark the strong times. Stretching 1-2-3-4, quiet at 1 and 3 and play a short and dry chord at 2 and 4, only at 3 or 4 sharp strings. To cut it, his left hand loosens the pressure just after the hit, without leaking from the ropes. At the ska, that's faster, that same short blow goes down at every "and." Songs as "Three Little Birds," by Bob Marley, are ideal to practice.
| Tiempo | 1 | 2 | 3 | 4 |
|---|---|---|---|---|
| Guitar | · | ↓ | · | ↓ |
The typical error in reggae is to accelerate, because the silence of 1 and 3 gives anxiety. To carry those times with his foot, or to put the metronomer to sound only at 1 and 3, helps you not to advance.
3 / 4 scrag: Waltz and single corridor
At 3 / 4 there are 3 times per bar and count 1 and 2 and 3 andThe first time's the fort and most often that's where the chord changes.
| Master | 1 | and | 2 | and | 3 | and |
|---|---|---|---|---|---|---|
| Basic vouchers | ↓ | · | ↓ | · | ↓ | · |
| Fairy with low | B | · | ↓ | · | ↓ | · |
| Farms with up | B | · | ↓ | ↑ | ↓ | ↑ |
The "low waltz" (low at 1, chord at 2 and 3) is the easiest way to start accompanying a slow corridor or a song with a waltz rhythm, as "Happy Birthday." To sound more complete, it modifies the low: the fundamental of chord at a bar and another serious note of chord, usually the fifth, at the following.
Eye: The traditional corridor with guitar and tiple has accents, shutdown and movements that distinguish them from a waltz and they change according to style and region. That pattern is the entrance door, and not the complete rhythm. [Colombian rhythms]](/blog/ritmos-colombianos-bambuco-pasillo-y-cumbia-explicados) We explain how the corridor feels in front of the bamboo.
How to practice a scrape with a methonomer
- Turn off the ropes. He lays his left hand with his arms and his arms and his arms and his arms and his arms and his arms.
- Count out loud. "1 and 2 and 3 and 4 and," with his hand coming down into his number but his touch's been broken.
- Put the [methonomer]](/herramientas/metronomo) 60 to 70. Let every click be a while. Touch the pattern eight times straight and nonstop.
- Add a single chord. Mim or Lam are perfect because they step easy.
- Add up. Two chords, changing at time 1. Thick of teacher: release the chord at the last "up" of the bar, that blow can sound with chord to the air and nobody can notice it, but it gives you time to get to the next chord.
- Just get up and about. When you get out clear three times in a row, you get up the methonome four or five strokes.
For any song, start with blackies even if the recording has a more complex scrape and get it up and up as soon as the changes come out. If you want repertoire to apply these patterns, we have a list of [easy guitar songs for guitar]](/blog/canciones-faciles-para-guitarra-principiantes) sorted by number of chords.
Common errors while scattering
| Error | What's up? | Corrigendum |
|---|---|---|
| Stopped his hand in his quiet | The rhythm gets bad right after the silence | Keep the pendulum: his hand goes through the air |
| To move his arm from his shoulder | You get tired and the sound's bad. | The movement comes from the broken forearm and from a loose wrist |
| That's how bad we get. | That sounds bad and the stick's jammed into his ropes. | Hold it between his thumb and his face and let his face be padded. |
| Speed up chord changes | The beacon gets shorter when the change's difficult | Do an isolated change and use the last "up" trick |
| Touch the 6 strings at all chords | They sound low and they don't belong to chord. | At Ree, starts at 4th string, at La and Do, at 5th |
| Always look at his right hand | You lose your left hand and posture | Look at the mast at the changes and the right should go alone. |
The patterns of this guide are a starting point and a [acoustic guitar] teacher](/clases/guitarra-acustica) It helps you to hear what scrape actually carries every song and to correct your right hand before a habit becomes.
Frequently asked questions
What's the easiest guitar scrape?
That's a bad figure. That's a bad figure. That's a bad figure.
How do I know what scattering a song carries?
First counts the bar: if you have 3 / 4 and 3 / 4 with the pulse, and if they are 4, 4 / 4. Then listen to the accents and if the guitar plays and leave them empty. It starts with the nearest pattern and sharps them up and doesn't have to copies the photo with a blow by blow.
Why do I get bad with a chord shift?
Because his right hand waits for his left to come. He practises his shift independently and without his scrape and when you put them together, let his right hand stay with his pendulum even if his chord isn't at all. In time, his left learns how to get there in time.
Do these scrape serve as an electrical guitar and as a tiple?
The tiple has its own scrape for bamboo, corridor and guabine with particular shutdown techniques and so we have to learn them with an Andean music teacher.