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01-rhythms-and-arpeggios-on-single-string.html
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<!doctype html>
<head>
<meta charset="UTF-8">
<meta name="viewport" content="width=device-width, initial-scale=1.0">
<title>Unpacked - 01 - Rhythms and arpeggios on single string</title>
</head>
<body>
<h2>01 - Rhythms and arpeggios on single string</h2>
<p>Why rhythms first, you may ask? It's simple - any combination of notes articulated whichever way you'd like to makes no sense without time, without a rhythm. Actually rhythm is implied in just about everything and anything we play and is no less of an importance, as the notes that come with it are a vibration, thus a rhythm themselves.</p>
<h3>Stretching</h3>
<p>That's quite a jump, isn't it? It's for a good reason - the guitar, unless you practice it both ways (left- and right-handed) is an instrument that strains your body unequally, thus is good to relax your body before and after the practice. If you do look up "office stretching guidelines" images, that should give you enough exercises for good stretching.</p>
<h3>How to practice rhythms</h3>
<p>As with any pattern, it's best to start without a metronome, or time constraint in general. First, try to understand the pattern in your head and then try to clap or tap it with your hands, counting the beats aloud. Clapping will also warm up your hands, which is good for playing on your instrument. Once you have that down without any mistakes, take your instrument and transfer the pattern to it. I recommend you to record each part of the process. Work slowly and when you feel confident with the pattern at your own tempo, practice along with metronome set at low BPM and work in small increments towards the target tempo and actually even like 30% beyond it to have some headroom during live performance, which may cause you to under-perform due to circumstances like stress or technical difficulties. You should be able to play any rhythmic figure for 1 to 5 minutes with zero mistakes at any given BPM. Listen or watch the recording, find, analyze, isolate and correct the problematic part.</p>
<h3>What is a measure, rhythm and note?</h3>
<h4>Measure</h4>
<p>A measure, or perhaps more commonly called a bar, is a segment of time corresponding to specific number of beats. You can also think of it a as line segment divided into equal parts.</p>
<h4>Rhythm</h4>
<p>Rhythm is a regular, repeating pattern of notes of particular lengths. It is also the specific instance of a measure.</p>
<h4>Note</h4>
<p>Note is a rhythmic and melodic notation that says how long and what should be played.</p>
<h4>Note lengths</h4>
<p>Notes not only say what should be played, but also for how long. There're notes of different lengths:</p>
<ul>
<li>whole note - lasting for all the beats in a measure</li>
<li>𝄻 whole rest</li>
<li>𝅗𝅥 half note - lasting for half of beats in a measure</li>
<li>𝄼 half rest</li>
<li>♩ quarter note - lasting one beat in a measure</li>
<li>𝄽 quarter rest</li>
<li>♪ eighth note - lasting half of a beat</li>
<li>𝄾 eighth rest</li>
<li>triplet note - lasting one third of a beat</li>
<li>𝅘𝅥𝅯 sixteenth note - lasting one fourth of a beat</li>
<li>𝄿 sixteenth rest</li>
<li>𝅘𝅥𝅰 thirtysecond note - lasting one fifth of a beat</li>
<li>𝅀 thirtysecond rest</li>
<li>. dot behind a note - prolongs length of the actual note by half of its duration</li>
<li>. dot above/under a note - shortens length of the actual note roughly by a half of its duration. It's called staccato.</li>
</ul>
<p>For each of the note lengths, there's a corresponding silent note called a rest, where no actual note is produced. Silence. Silence is sometimes called the thirteenth note in music.</p>
<h4>Time signature</h4>
<p>Time signature has two components, numerator and denominator. Numerator says how many beats there're in a measure, while denominator says how long each of the beats lasts, thus their actual duration. The time signature can be found before the note staff in the musical sheet notation. Perhaps the most common time signature is 4/4 - four beats in a measure. Each beat can be represented by one or more notes in 4/4 time signature and their sum is equal to 1.</p>
<h4>How to count rhythm</h4>
<p>Counting of a rhythm is dictated by the actual note duration value and the tempo, therefore we often count like this:</p>
<ul>
<li>whole note - one-e-and-a, which is good for low BPMs</li>
<li>𝄻 whole rest</li>
<li>𝅗𝅥 half note - one-and-two-and, as if it were two quarter notes</li>
<li>𝄼 half rest</li>
<li>♩ quarter note - one, two, three, four...</li>
<li>𝄽 quarter rest</li>
<li>♪ eighth note - one-and, two-and, three-and, four-and...</li>
<li>𝄾 eighth rest</li>
<li>triplet note - one-trip-let, two-trip-let...</li>
<li>𝅘𝅥𝅯 sixteenth note - one-e-and-a, two-e-and-a...</li>
<li>𝄿 sixteenth rest</li>
<li>𝅘𝅥𝅰 thirtysecond note - one-e-and-a-two, two-e-and-a-three...</li>
<li>𝅀 thirtysecond rest</li>
<li>. dot - depends on the actual position and note length</li>
</ul>
<h3>Most common rhythms</h3>
<p>There are many genres of music, mostly identified by the rhythms they use. Rhythms and tempos often reflect the pace of life in a given culture. Following is a list of the most common and recognizable rhythms per country, or rather to say, a culture. This list is far from exhaustive, rather it is just illustrative.</p>
<h4>Sikhyi - Ashanti 4/4</h4>
<p>|♪.♪ 𝄾 ♪ 𝄾 ♪ 𝄾 ♪| sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_.v v v v|_.v v v v| _ is downstroke, v is upstroke, . prolongs note duration by half
E|5.5-p-5-p-5-p-5|3.3-p-3-p-3-p-3| the actual string and fret, p is rest
E|a.a-p-a-p-a-p-a|g.g-p-g-p-g-p-g| string and notes produced
E|5.9-p-0-p-5-p-9|3.7-p-10-p-3-p-7| A (a-c#-e) and G major (g-b-d) arpeggios
E|a.c#-p-e-p-a-p-c#|g.b-p-d-p-g-p-b| A (a-c#-e) and G major (g-b-d) arpeggios' notes
</pre>
<h4>Adowa - Ashanti 12/8</h4>
<p>|♩. ♪ ♪ ♪ ♪ ♪ 𝄾 ♪ 𝄾 ♪ | sheet music notation</p>
<pre>
|1-e-&-2-e-&-3-e-&-4-e-&|1-e-&-2-e-&-3-e-&-4-e-&| how to count
|_. _ _ _ _ _ _ _|_. _ _ _ _ _ _ _| _ is downstroke, v is upstroke, . prolongs note duration by half
E|5.----x-x-5-5-x-p-x-p-5|3.----x-x-3-3-x-p-x-p-3| the actual string and fret, p is rest, x is left-hand muting while strumming
E|a.----x-x-a-a-x-p-x-p-a|g.----x-x-g-g-x-p-x-p-g| string and notes produced
E|5.----x-x-9-0-x-p-x-p-5|3.----x-x-7-10-x-p-x-p-3| A (a-c#-e) and G major (g-b-d) arpeggios
E|a.----x-x-c#-e-x-p-x-p-a|g.----x-x-b-d-x-p-x-p-g| A (a-c#-e) and G major (g-b-d) arpeggios' notes
</pre>
<h4>Akom - Ashanti 3/4</h4>
<p>|♪ ♪ ♪ ♪ ♩ | sheet music notation</p>
<pre>
|1-&-2-&-3-&|1-&-2-&-3-&| how to count
|_ v _ v _ |_ v _ v _ | _ is downstroke, v is upstroke, . prolongs note duration by half
E|5-5-x-5-5--|3-3-x-3-3--| the actual string and fret, p is rest, x is left-hand muting while strumming
E|a-a-x-a-a--|g-g-x-g-g--| string and notes produced
E|5-9-x-0-5--|3-7-x-10-3--| A (a-c#-e) and G major (g-b-d) arpeggios
E|a-c#-x-e-a--|g-b-x-d-g--| A (a-c#-e) and G major (g-b-d) arpeggios' notes
</pre>
<h4>Gahu - Ewe 4/4</h4>
<p>|♪ .𝅘𝅥𝅯 𝄾 ♪ 𝄾 𝅘𝅥𝅯 𝅘𝅥𝅯 𝄾 ♪ | sheet music notation</p>
<pre>
|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a| how to count
|_. v v _ v v |_. v v _ v v | _ is downstroke, v is upstroke, . prolongs note duration by half
E|5.----5-p---5---p---5-5-p---5--|3.----3-p---3---p---3-3-p---3--| the actual string and fret, p is rest, x is left-hand muting while strumming
E|a.----a-p---a---p---a-a-p---a--|g.----g-p---g---p---g-g-p---g--| string and notes produced
E|5.----9-p---0---p---5-9-p---0--|3.----7-p---10---p---3-7-p---10--| A (a-c#-e) and G (g-b-d) major arpeggios
E|a.----c#-p---e---p---a-c#-p---e--|g.----b-p---d---p---g-b-p---d--| A (a-c#-e) and G major (g-b-d) arpeggios' notes
</pre>
<h4>Blues shuffle 4/4</h4>
<p>|♪ .𝅘𝅥𝅯 ♪ .𝅘𝅥𝅯 ♪ .𝅘𝅥𝅯 ♪ .𝅘𝅥𝅯 | sheet music notation</p>
<pre>
|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a| how to count
|_. v _. v _. v _. v|_. v _. v _. v _. v| _ is downstroke, v is upstroke, . is prolonged duration by half
|> > > > |> > > > | accents
E|5.----5-5.----5-5.----5-5.----5|10.--10-10.--10-10.--10-10.--10| the actual string and fret
E|a.----a-a.----a-a.----a-a.----a|d.----d-d.----d-d.----d-d.----d| string and notes produced
E|5.----9-0.----5-9.----0-5.----9|10.----2-8.----0-10.----2-8.----0| A major (a-c#-e) and D9 (d-f#-c-e) arpeggios
E|a.----c#-e.----a-c#.----e-a.----c#|d.----f#-c.----e-d.----f#-c.----e| A major (a-c#-e) and D9 (d-f#-c-e) arpeggios' notes
</pre>
<h4>Blues pinky patterns 4/4</h4>
<p>|♪.𝅘𝅥𝅯 ♪.𝅘𝅥𝅯 ♪.𝅘𝅥𝅯 ♪.𝅘𝅥𝅯 | sheet music notation</p>
<pre>
|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a| how to count
|_. v _. v _. v _. v|_. v _. v _. v _. v| _ is downstroke, v is upstroke, . is prolonged duration by half
A|5.----5-7.----7-5.----5-7.----7|5.----5-7.----7-5.----5-7.----7|
E|3.----3-3.----3-3.----3-3.----3|3.----3-3.----3-3.----3-3.----3| the actual string and fret, G5 dyad (g-d) with G6 dyad (g-e)
A|d.----d-e.----e-d.----d-e.----e|d.----d-e.----e-d.----d-e.----e|
E|g.----g-g.----g-g.----g-g.----g|g.----g-g.----g-g.----g-g.----g| string and notes produced, G5 dyad (g-d) with G6 dyad (g-e)
</pre>
<h4>Blues slow (down home) 4/4</h4>
<p>|♩ ♩ ♩ ♩ | sheet music notation</p>
<pre>
|1-2-3-4|1-2-3-4| how to count
|_ _ _ _|_ _ _ _| _ is downstroke, v is upstroke, . is prolonged duration by half
|> |> | accents
E|3-3-3-3|8-8-8-8| the actual string and fret
E|g-g-g-g|c-c-c-c| string and notes produced
E|3-7-10-1|8-0-6-10| G7 (g-b-d-f) and C9 (c-e-bb-d) arpeggios
E|g-b-d-f|c-e-bb-d| G7 (g-b-d-f) and C9 (c-e-bb-d) arpeggios' notes
</pre>
<h4>Blues feels 12/8</h4>
<p>|𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 ♪ ♪ ♪ 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 ♪ ♪ ♪| sheet music notation</p>
<pre>
|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a| how to count
|_ _ v _ _ _ _ _ _ v _ _ _ _|_ _ v _ _ _ _ _ _ v _ _ _ _| _ is downstroke, v is upstroke, . is prolonged duration by half
|> > > > |> > > > | accents
A|0-0-0-0-0--0--0-0-0-0-0-0--0--0|5-5-5-5-5--5--5-5-5-5-5-5--5--5| the actual string and fret
A|a-a-a-a-a--a--a-a-a-a-a-a--a--a|d-d-d-d-d--d--d-d-d-d-d-d--d--d| string and notes produced
A|0-3-7-0-3--7--0-3-7-0-3-7--0--3|5-8-0-5-8--0--5-8-0-5-8-0--5--8| A (a-c-e) and D minor (d-f-a) arpeggios
A|a-c-e-a-c--e--a-c-e-a-c-e--a--c|d-f-a-d-f--a--d-f-a-d-f-a--d--f| A (a-c-e) and D minor (d-f-a) arpeggios' notes
</pre>
<h4>Country 4/4</h4>
<p>Rhythmic patterns in country are often song-specific.</p>
<p>|♩ ♩ ♩ ♩ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|> > |> > | is accent - the note is played stronger
|_ _ v _ _ v|_ _ v _ _ v| _ is downstroke, v is upstroke
E|8---8-8-8---8-8|3---3-3-3---3-3| the actual string and fret
E|c---c-c-c---c-c|g---g-g-g---g-g| string and notes produced
E|8---0-3-8---0-3|3---7-1-3---7-1| C major (c-e-g) and G7 (g-b-f) arpeggios
E|c---e-g-c---e-g|g---b-f-g---b-f| C major (c-e-g) and G7 (g-b-f) arpeggios' notes
</pre>
<h4>Disco 4/4</h4>
<p>Yes, you read it right - disco.</p>
<p>|𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 | sheet music notation</p>
<pre>
|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a| how to count
|_ v _ v _ v _ v _ v _ v _ v _ v|_ v _ v _ v _ v _ v _ v _ v _ v| _ is downstroke, v is upstroke
D|0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0|5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5| the actual string and fret
D|d-d-d-d-d-d-d-d-d-d-d-d-d-d-d-d|g-g-g-g-g-g-g-g-g-g-g-g-g-g-g-g| string and notes produced
D|0-4-7-11-4-7-11-0-7-11-0-4-11-0-4-7|5-9-0-4-9-0-4-5-0-4-5-9-4-5-9-0| Dmaj7 (d-f#-a-c#) and Gmaj7 (g-b-d-f#) arpeggios
D|d-f#-a-c#-f#-a-c#-d-a-c#-d-f#-c#-d-f#-a|g-b-d-f#-b-d-f#-g-d-f#-g-b-f#-g-b-d| Dmaj7 (d-f#-a-c#) and Gmaj7 (g-b-d-f#) arpeggios
</pre>
<h4>Folk 4/4</h4>
<p>Folk rhythm is often accustomed to the way lyrics are phrased.</p>
<p>|♩ ♪ ♪ ♪ ♪ ♪ ♪ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_ _ v _ v _ v|_ _ v _ v _ v| _ is downstroke, v is upstroke
A|5---5-5-5-5-5-5|3---3-3-3-3-3-3| the actual string and fret
A|d---d-d-d-d-d-d|c---c-c-c-c-c-c| string and notes produced
A|5---9-0-5-9-0-5|3---7-10-3-7-10-3| D (d-f#-a) and C major (c-e-g) arpeggios
A|d---f#-a-d-f#-a-d|c---e-g-c-e-g-c| D (d-f#-a) and C major (c-e-g) arpeggios' notes
</pre>
<h4>Funk 4/4</h4>
<p>Funk rhythms are usually laid out in sixteenths notes</p>
<p>|♩ ♩ 𝄽 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 | sheet music notation</p>
<pre>
|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a| how to count
|_ _ _ v _ v|_ _ _ v _ v| _ is downstroke, v is upstroke
| > | > | accents
A|7-------7-------p-------7-7-7-7|7-------7-------p-------7-7-7-7| the actual string and fret
A|e-------e-------p-------e-e-e-e|e-------e-------p-------e-e-e-e| string and notes produced
A|0-------4-------p-------7-2-0-4|0-------4-------p-------7-2-0-4| E9 (e-g#-b-f#) arpeggio
A|e-------g#-------p-------b-f#-e-g#|e-------g#-------p-------b-f#-e-g#| E9 (e-g#-b-f#) arpeggio notes
</pre>
<h4>Jazz swing 4/4</h4>
<p>The signature feature of jazz rhythm is often the use of eighth note triplets.</p>
<p>|♩ 𝄾 ♪ 𝄼 | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_ v |_ v v | _ is downstroke, v is upstroke
E|3---p-3-p---p--|3---p-3-p-3-p--| the actual string and fret, p for pause/rest
E|g---p-g-p---p--|g---p-g-p-g-p--| string and notes produced
E|3---p-6-p---p--|10---p-1-p-g-p--| G minor 7 (g-bb-d-f) arpeggio
E|g---p-bb-p---p--|d---p-f-p-g-p--| G minor 7 (g-bb-d-f) arpeggio notes
</pre>
<h4>Jazz four-bar phrases 4/4</h4>
<p>With longer phrases like this one, learn the longest possible chunk you can remember, then learn another and connect them. Continue in this fashion until you are able to play the whole phrase.</p>
<p>|𝄾 ♪ ♪ ♪ ♪ ♪ ♪ 𝄾 |♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ |♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ |𝄾 ♪ ♪ ♪ ♪ ♪ ♪ ♪ 𝄾 | sheet music notation</p>
<pre>
|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a| how to count
| v _ v _ v v |_ v _ v _ v _ v |_ v _ _ v _ _ v _ v | v _ v _ _ v v | _ is downstroke, v is upstroke
A|p---0---0---0---0---0---p---0--|0---0---0---0---0---0---0---0--|5--5--5-5--5--5-5---5---5---5--|p---5---5--5--5-5---5---p---5--| the actual string and fret, p for pause/rest
A|p---a---a---a---a---a---p---a--|a---a---a---a---a---a---a---a--|d--d--d-d--d--d-d---d---d---d--|p---d---d--d--d-d---d---p---d--| string and notes produced
A|p---0---3---7---2---a---p---3--|0---3---7---2---0---3---7---2--|5--9--0-7--5--9-0---7---5---9--|p---5---9--0--7-5---9---p---5--| A minor 9 (a-c-e-b) and D9 (d-f#-a-e) arpeggios
A|p---a---c---e---b---a---p---c--|a---c---e---b---a---c---e---b--|d--f#--a-e--d--f#-a-e---d---f#--|p---d---f#--a--e-d---f#---p---a--| A minor 9 (a-c-e-b) and D9 (d-f#-a-e) arpeggios' notes
</pre>
<h4>Jazz waltz 3/4</h4>
<p>Please avoid that oomp-pa-pa feel.</p>
<p>|♪ ♪ 𝄾 ♪ ♪ ♪ |♪ ♪ 𝄾 ♪ ♪ ♪ |♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ | sheet music notation</p>
<pre>
|1-e-&-a-2-e-&-a-3-e-&-a|1-e-&-a-2-e-&-a-3-e-&-a|1-e-&-a-2-e-&-a-3-e-&-a|1-e-&-a-2-e-&-a-3-e-&-a| how to count
|_ v v _ v |_ v v _ v |_ v _ _ v _ _ v _|_ | _ is downstroke, v is upstroke
E|8---8---p---8---8---8--|8---8---p---8---8---8--|8--8--8-8--8--8-8--8--8|8~~~~~~~~~~~~~~~~~~~~~~| the actual string and fret, p for pause/rest, ~ for sustaining the note
E|c---c---p---c---c---c--|c---c---p---c---c---c--|c--c--c-c--c--c-c--c--c|c~~~~~~~~~~~~~~~~~~~~~~| string and notes produced
E|8---0---p---3---7---0--|3---7---p---8---3---7--|8--0--7-8--0--3-8--0--3|8~~~~~~~~~~~~~~~~~~~~~~| C major 7 (c-e-g-b) arpeggio
E|c---e---p---g---b---e--|g---b---p---c---g---b--|c--e--b-c--e--g-c--e--g|c~~~~~~~~~~~~~~~~~~~~~~| C major 7 (c-e-g-b) arpeggio notes
</pre>
<h4>Ballads 4/4</h4>
<p>Ballad requires you to listen what is going on around you to create appropriate atmosphere.</p>
<p>|♩ ♩ ♩ ♩ | sheet music notation</p>
<pre>
|1-2-3-4|1-2-3-4|1-2-3-4|1-2-3-4| how to count
|_ _ _ _|_ _ _ _|_ _ _ _|_ _ _ _| _ is downstroke, v is upstroke
A|5-5-5-5|5-5-5-5|5-5-5-5|5-5-5-5| the actual string and fret, p for pause/rest
A|d-d-d-d|d-d-d-d|d-d-d-d|d-d-d-d| string and notes produced
A|5-9-0-4|9-0-4-5|0-4-5-9|4-5-9-0| D major 7 (d-f#-a-c#) arpeggio
A|d-f#-a-c#|f#-a-c#-d|a-c#-d-f#|c#-d-f#-a| D major 7 (d-f#-a-c#) arpeggio notes
</pre>
<h4>Dixie 2/4</h4>
<p>Try to create that banjo vibe typical for dixieland.</p>
<p>|𝄽 ♩ 𝄽 ♩ |𝄽 ♩ 𝄽 ♩ | sheet music notation</p>
<pre>
|1-&-2-&|1-&-2-&| how to count
| v v| v v| _ is downstroke, v is upstroke
E|p-3-p-3|p-3-p-3| the actual string and fret, p for pause/rest
E|p-g-p-g|p-g-p-g| string and notes produced
E|p-3-p-7|p-10-p-3| G major (g-b-d) arpeggio
E|p-g-p-b|p-d-p-g| G major (g-b-d) arpeggio notes
</pre>
<h4>Afoxe - Brazil 4/4</h4>
<p>|♩ ♪ ♪ ♩ ♩ |♩ ♪ ♪ ♪ ♪ ♩ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_ _ v _ _ |_ _ v _ v _ | _ is downstroke, v is upstroke
A|5---x-5-x---x--|5---x-5-x-x-5--| the actual string and fret, p for pause/rest, x left-hand muting while strumming
A|d---x-d-x---x--|d---x-d-x-x-d--| string and notes produced
A|5---x-9-x---x--|0---x-5-x-x-9--| D major (d-f#-a) arpeggio
A|d---x-f#-x---x--|a---x-d-x-x-f#--| D major (d-f#-a) arpeggio notes
</pre>
<h4>Afro - Cuban 4/4</h4>
<p>|♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_ v _ v _ v _ v|_ v _ v _ v _ v| _ is downstroke, v is upstroke
| > > > > | > > > > | accents
A|5-5-5-5-5-5-5-5|5-5-5-5-5-5-5-5| the actual string and fret, p for pause/rest
A|d-d-d-d-d-d-d-d|d-d-d-d-d-d-d-d| string and notes produced
A|5-9-0-5-9-0-5-9|0-5-9-0-5-9-0-5| D major (d-f#-a) arpeggio
A|d-f#-a-d-f#-a-d-f#|a-d-f#-a-d-f#-a-d| D major (d-f#-a) arpeggio notes
</pre>
<h4>Afro - Cuban 6/8</h4>
<p>Afro - Cuban 6/8 feels are often written in 4/4, which produces 6 against 4 feel which is common in this style.</p>
<p>|♪ 𝄾 ♪ 𝄾 𝄾 ♪ 𝄾 ♪ 𝄾 ♪ 𝄾 𝄾 | sheet music notation</p>
<pre>
|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a| how to count
|_ v _ v _ |_ v _ v _ | _ is downstroke, v is upstroke
E|5--p--5-p--p--5-p--5--p-5--p--p|5--p--5-p--p--5-p--5--p-5--p--p| the actual string and fret, p for pause/rest
E|a--p--a-p--p--a-p--a--p-a--p--p|a--p--a-p--p--a-p--a--p-a--p--p| string and notes produced
E|5--p--9-p--p--0-p--5--p-9--p--p|0--p--5-p--p--9-p--0--p-5--p--p| A major (a-c#-e) arpeggio
E|a--p--c#-p--p--e-p--a--p-c#--p--p|e--p--a-p--p--c#-p--e--p-a--p--p| A major (a-c#-e) arpeggio notes
</pre>
<h4>Baion - Brazil 4/4</h4>
<p>|♩ ♪ ♪ ♩ ♪ ♪ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_ _ v _ _ v|_ _ v _ _ v| _ is downstroke, v is upstroke
E|3---3-3-3---3-3|3---3-3-3---3-3| the actual string and fret, p for pause/rest
E|g---g-g-g---g-g|g---g-g-g---g-g| string and notes produced
E|3---7-10-7---10-3|10---3-7-3---7-10| G major (g-b-d) arpeggio
E|g---b-d-b---d-g|d---g-b-g---b-d| G major (g-b-d) arpeggio notes
</pre>
<h4>Beguine 4/4</h4>
<p>|♪ ♩ ♪ ♪ ♪ ♪ ♪ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_ v v _ v _ v|_ v v _ v _ v| _ is downstroke, v is upstroke
A|3-3---3-3-3-3-3|3-3---3-3-3-3-3| the actual string and fret, p for pause/rest
A|c-c---c-c-c-c-c|c-c---c-c-c-c-c| string and notes produced
A|3-6---10-1-3-6-10|6-3---6-10-1-3-6| C minor 7 (c-eb-g-bb) arpeggio
A|c-eb---g-bb-c-eb-g|bb-c---eb-g-bb-c-eb| C minor 7 (c-eb-g-bb) arpeggio notes
</pre>
<h4>Bolero 4/4</h4>
<p>|♪ 𝅘𝅥𝅯 𝅘𝅥𝅯 ♪ ♪ ♪ ♪ ♪ ♪ | sheet music notation</p>
<pre>
|1-e-&-a-2-e-&-a-3-e-&-a-4-e&-a|1-e-&-a-2-e-&-a-3-e-&-a-4-e&-a| how to count
|_ _ v _ v _ v _ v |_ _ v _ v _ v _ v | _ is downstroke, v is upstroke
A|3---3-3-3---3---3---3---3--3--|3---3-3-3---3---3---3---3--3--| the actual string and fret, p for pause/rest
A|c---c-c-c---c---c---c---c--c--|c---c-c-c---c---c---c---c--c--| string and notes produced
A|3---7-10-10---3---7---7---3--10|3---7-10-3---7---10---3---7--10--| C major (c-e-g) arpeggio
A|c---e-g-g---c---e---e---c--g--|c---e-g-c---e---g---c---e--g--| C major (c-e-g) arpeggio notes
</pre>
<h4>Bossa nova - Brazil 4/4</h4>
<p>|♪ 𝄾 𝄾 ♪ 𝄽 ♪ 𝄾 | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_ v _ | _ v | _ is downstroke, v is upstroke
E|1-p-p-1-p---1-p|p---1-p-p-1-p--| the actual string and fret, p for pause/rest
E|f-p-p-f-p---f-p|p---f-p-p-f-p--| string and notes produced
E|1-p-p-5-p---8-p|p---0-p-p-1-p--| F major 7 (f-a-c-e) arpeggio
E|f-p-p-a-p---c-p|p---e-p-p-f-p--| F major 7 (f-a-c-e) arpeggio notes
</pre>
<h4>Bossa nova 5/4</h4>
<p>|♩ ♩ 𝄾 ♪ 𝄽 ♩ | sheet music notation</p>
<p>This is first odd-time signature rhythm, where we count to five instead of four.</p>
<pre>
|1-&-2-&-3-&-4-&-5-&|1-&-2-&-3-&-4-&-5-&| how to count
|_ _ v _ |_ _ v _ | _ is downstroke, v is upstroke
A|5---5---p-5-p---5--|5---5---p-5-p---5--| the actual string and fret, p for pause/rest
A|d---d---p-d-p---d--|d---d---p-d-p---d--| string and notes produced
A|5---8---p-3-p---7--|d---f---p-c-p---e--| D minor 9 (d-f-c-e) arpeggio
A|d---f---p-c-p---e--|d---f---p-c-p---e--| D minor 9 (d-f-c-e) arpeggio notes
</pre>
<h4>Bossa nova 6/4</h4>
<p>Make sure you count to six, or count to three twice if you want to break down the rhythm.</p>
<p>|♩ ♩ 𝄾 ♪ ♪ ♪ 𝄾 ♪ 𝄾 ♪ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&-5-&-6-&|1-&-2-&-3-&-4-&-5-&-6-&| how to count
|_ _ v _ v v v|_ _ v _ v v v| _ is downstroke, v is upstroke
E|5---5---p-5-5-5-p-5-p-5|5---5---p-5-5-5-p-5-p-5| the actual string and fret, p for pause/rest
E|a---a---p-a-a-a-p-a-p-a|a---a---p-a-a-a-p-a-p-a| string and notes produced
E|5---8---p-0-3-5-p-8-p-0|5---8---p-0-3-5-p-8-p-0| A minor 7 (a-c-e-g) arpeggio
E|a---c---p-e-g-a-p-c-p-e|a---c---p-e-g-a-p-c-p-e| A minor 7 (a-c-e-g) arpeggio notes
</pre>
<h4>Bossa nova 7/4</h4>
<p>Make sure you count to seven. This kind of time signature is often broken down to 3 + 4, or 4 + 3.</p>
<p>|♩ ♪ ♪ 𝄾 ♪ ♩ 𝄾 ♪ ♪ ♪ 𝄾 ♪ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&-5-&-6-&-7-&|1-&-2-&-3-&-4-&-5-&-6-&-7-&| how to count
|_ _ v v _ v _ v v|_ _ v v _ v _ v v| _ is downstroke, v is upstroke
E|0---0-0-p-0-0---p-0-0-0-p-0|0---0-0-p-0-0---p-0-0-0-p-0| the actual string and fret, p for pause/rest
E|e---e-e-p-e-e---p-e-e-e-p-e|e---e-e-p-e-e---p-e-e-e-p-e| string and notes produced
E|0---4-10-p-3-0---p-4-10-3-p-0|0---4-10-p-3-0---p-4-10-3-p-0| E7#9 (e-g#-d-g) arpeggio
E|e---g#-d-p-g-e---p-g#-d-g-p-e|e---g#-d-p-g-e---p-g#-d-g-p-e| E7#9 (e-g#-d-g) arpeggio notes
</pre>
<h4>Calypso - Trinidad 4/4</h4>
<p>|♩ 𝄾 ♪ ♩ ♩ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_ v _ _ |_ v _ v _ _ | _ is downstroke, v is upstroke
A|3---p-3-3---3--|3-3-3-3-3---3--| the actual string and fret, p for pause/rest
A|c---p-c-c---c--|c-c-c-c-c---c--| string and notes produced
A|3---p-7-10---3--|3-7-10-3-7---10--| C major (c-e-g) arpeggio
A|c---p-e-g---c--|c-e-g-c-e---g--| C major (c-e-g) arpeggio notes
</pre>
<h4>Cataret - Brazil 4/4</h4>
<p>|♪ ♪ ♩ ♩ ♪ ♪ |♪ ♪ ♩ ♩ ♩ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_ v _ _ _ v|_ v _ _ _ | _ is downstroke, v is upstroke
E|5-5-5---5---5-5|5-5-5---5---5--| the actual string and fret, p for pause/rest
E|a-a-a---a---a-a|a-a-a---a---a--| string and notes produced
E|5-9-0---5---9-0|5-9-0---5---9--| A major (a-c#-e) arpeggio
E|a-c#-e---a---c#-e|a-c#-e---a---c#--| A major (a-c#-e) arpeggio notes
</pre>
<h4>Cha cha - Cuba 4/4</h4>
<p>|♩ ♩ 𝄽 ♪ ♪ |𝄽 ♪ ♪ 𝄽 ♪ ♪ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_ _ _ v| _ v _ v| _ is downstroke, v is upstroke
A|5---5---p---5-5|p---5-5-p---5-5| the actual string and fret, p for pause/rest
A|d---d---p---d-d|p---d-d-p---d-d| string and notes produced
A|5---9---p---0-4|p---5-9-p---0-4| D major 7 (d-f#-a-c#) arpeggio
A|d---f#---p---a-c#|p---d-f#-p---a-c#| D major 7 (d-f#-a-c#) arpeggio notes
</pre>
<h4>Charanga (Pachanga) 4/4</h4>
<p>|♩ ♩ ♩ ♪ ♪ |♩ ♪ ♪ ♩ ♪ ♪ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_ _ _ _ v|_ _ v _ _ v| _ is downstroke, v is upstroke
A|5---5---5---5-5|5---5-5-5---5-5| the actual string and fret, p for pause/rest
A|d---d---d---d-d|d---d-d-d---d-d| string and notes produced
A|5---8---0---5-8|0---5-8-0---5-8| D minor (d-f-a) arpeggio
A|d---f---a---d-f|a---d-f-a---d-f| D minor (d-f-a) arpeggio notes
</pre>
<h4>Choro - Rio 4/4</h4>
<p>|𝄽 .♪ 𝄽 .♪ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_. v _. v|_. v _. v| _ is downstroke, v is upstroke, . is prolonged duration by half
E|0.----0-0.----0|0.----0-0.----0| the actual string and fret, p for pause/rest
E|e.----e-e.----e|e.----e-e.----e| string and notes produced
E|0.----3-7.----0|0.----3-7.----0| E minor (e-g-b) arpeggio
E|e.----g-b.----e|e.----g-b.----e| E minor (e-g-b) arpeggio notes
</pre>
<h4>Comparsa - Cuba 4/4</h4>
<p>|♪ .𝅘𝅥𝅯 ♪ ♪ ♪ .𝅘𝅥𝅯 ♪ ♪ | sheet music notation</p>
<pre>
|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a| how to count
|_. v _ v _. v _ v |_. v _ v _. v _ v | _ is downstroke, v is upstroke, . is prolonged duration by half
E|1.----1-1---1---1.----1-1---1--|1.----1-1---1---1.----1-1---1--| the actual string and fret, p for pause/rest
E|f.----f-f---f---f.----f-f---f--|f.----f-f---f---f.----f-f---f--| string and notes produced
E|1.----5-8---1---5.----8-1---5--|8.----1-5---8---1.----5-8---1--| F major (f-a-c) arpeggio
E|f.----a-c---f---a.----c-f---a--|c.----f-a---c---f.----a-c---f--| F major (f-a-c) arpeggio notes
</pre>
<h4>Conga - Cuba 4/4</h4>
<p>|♩ ♩ ♩ ♩ |♩ 𝄾 ♪ ♩ 𝄽 | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_ _ _ _ |_ v | _ is downstroke, v is upstroke, . is prolonged duration by half
A|3---3---3---3--|3---p-3-3---p--| the actual string and fret, p for pause/rest
A|c---c---c---c--|c---p-c-c---p--| string and notes produced
A|3---6---10---3--|6---p-10-3---p--| C minor (c-eb-g) arpeggio
A|c---eb---g---c--|eb---p-g-c---p--| C minor (c-eb-g) arpeggio notes
</pre>
<h4>Frevo - Brazil 4/4</h4>
<p>The accents are important in the row of eighth notes.</p>
<p>|♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_ v _ v _ v _ v|_ v _ v _ v _ v| _ is downstroke, v is upstroke, . is prolonged duration by half
|> > > |> > > | accents
E|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0| the actual string and fret, p for pause/rest
E|e-e-e-e-e-e-e-e|e-e-e-e-e-e-e-e| string and notes produced
E|0-4-10-2-0-4-10-2|0-10-4-2-0-10-4-2| E9 (e-g#-d-f#) arpeggio
E|e-g#-d-f#-e-g#-d-f#|e-d-g#-f#-e-d-g#-f#| E9 (e-g#-d-f#) arpeggio notes
</pre>
<h4>Guaguanco - Cuba 4/4</h4>
<p>|♩ 𝄾 ♪ 𝄽 𝄾 ♪ |𝄽 ♩ ♩ 𝄽 | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_ v v| _ _ | _ is downstroke, v is upstroke, . is prolonged duration by half
A|5---p-5-p---p-5|p---5---5---p--| the actual string and fret, p for pause/rest
A|d---p-d-p---p-d|p---d---d---p--| string and notes produced
A|5---p-9-p---p-3|p---7---5---p--| D9 (d-f#-c-e) arpeggio
A|d---p-f#-p---p-c|p---e---d---p--| D9 (d-f#-c-e) arpeggio notes
</pre>
<h4>Guajira - Cuba 4/4</h4>
<p>|♩ ♩ ♪ ♪ ♪ ♪ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_ _ _ v _ v|_ _ _ v _ v| _ is downstroke, v is upstroke, . is prolonged duration by half
A|3---3---3-3-3-3|3---3---3-3-3-3| the actual string and fret, p for pause/rest
A|c---c---c-c-c-c|c---c---c-c-c-c| string and notes produced
A|3---7---10-2-3-7|10---2---3-7-10-2| C major 7 (c-e-g-b) arpeggio
A|c---e---g-b-c-e|g---b---c-e-g-b| C major 7 (c-e-g-b) arpeggio notes
</pre>
<h4>Guaracha 4/4</h4>
<p>|♩ ♩ ♪ ♪ ♪ ♪ |♪ ♪ ♪ ♪ ♩ ♪ ♪ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_ _ _ v _ v|_ v _ v _ _ v| _ is downstroke, v is upstroke, . is prolonged duration by half
A|2---2---2-2-2-2|2-2-2-2-2---2-2| the actual string and fret, p for pause/rest
A|b---b---b-b-b-b|b-b-b-b-b---b-b| string and notes produced
A|2---5---9-2-5-9|2-5-9-2-5---9-2| B minor (b-d-f#) arpeggio
A|b---d---f#-b-d-f#|b-d-f#-b-d---f#-b| B minor (b-d-f#) arpeggio notes
</pre>
<h4>Jaropa 3/4</h4>
<p>|𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 ♪ ♪ ♪ ♪ | sheet music notation</p>
<pre>
|1-e-&-a-2-e-&-a-3-e-&-a|1-e-&-a-2-e-&-a-3-e-&-a| D6 (d-f#-b) arpeggiohow to count
|_ v _ v _ v _ v |_ v _ v _ v _ v | _ is downstroke, v is upstroke, . is prolonged duration by half
A|5-5-5-5-5---5---5---5--|5-5-5-5-5---5---5---5--| the actual string and fret, p for pause/rest
A|d-d-d-d-d---d---d---d--|d-d-d-d-d---d---d---d--| string and notes produced
A|5-9-2-5-9---2---5---9--|2-5-9-2-5---9---2---5--| D6 (d-f#-b) arpeggio
A|d-f#-b-d-f#---b---d---f#--|b-d-f#-b-d---f#---b---d--| D6 (d-f#-b) arpeggio notes
</pre>
<h4>Mambo - Cuba 4/4</h4>
<p>|𝄽 ♩ ♩ 𝄽 |♩ 𝄾 ♪ 𝄽 ♩ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
| _ _ |_ v _ | _ is downstroke, v is upstroke, . is prolonged duration by half
E|p---3---3---p--|3---p-3-p---3--| the actual string and fret, p for pause/rest
E|p---g---g---p--|g---p-g-p---g--| string and notes produced
E|p---3---7---p--|10---p-3-p---7--| G major (g-b-d) arpeggio
E|p---g---b---p--|d---p-g-p---b--| G major (g-b-d) arpeggio notes
</pre>
<h4>Maracatu - Brazil 4/4</h4>
<p>|♩ .♪ ♪ ♩ ♪ |♪ ♩ ♪ ♪ ♩ ♪ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_. v _ v v|_ v v _ v v| _ is downstroke, v is upstroke, . is prolonged duration by half
E|5.----5-5-5---5|5-5---5-5-5---5| the actual string and fret, p for pause/rest
E|a.----a-a-a---a|a-a---a-a-a---a| string and notes produced
E|5.----8-0-3---5|8-0---3-5-5---8| A minor 7 (a-c-e-g) arpeggio
E|a.----c-e-g---a|c-e---g-a-a---c| A minor 7 (a-c-e-g) arpeggio notes
</pre>
<h4>Marcha - Brazil 4/4</h4>
<p>|♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ |♪ ♪ ♩ 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 | sheet music notation</p>
<pre>
|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a| how to count
|_ v _ v _ v _ v |_ v _ _ v _ v _ v _ v| _ is downstroke, v is upstroke, . is prolonged duration by half
|> > > |> > > | accents
E|3---3---3---3---3---3---3---3--|3---3---3-------3-3-3-3-3-3-3-3| the actual string and fret, p for pause/rest
E|g---g---g---g---g---g---g---g--|g---g---g-------g-g-g-g-g-g-g-g| string and notes produced
E|3---7---10---7---10---3---3---7--|10---3---7-------10-3-7-10-3-7-10-3| G major (g-b-d) arpeggio
E|g---b---d---b---d---g---g---b--|d---g---b-------d-g-b-d-g-b-d-g| G major (g-b-d) arpeggio notes
</pre>
<h4>Merengue - Haiti 4/4</h4>
<p>|♩ 𝄾 ♪ ♩ ♪ ♪ |♩ ♪ ♪ ♪ ♪ ♩ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_ v _ _ v|_ _ v _ v _ | _ is downstroke, v is upstroke, . is prolonged duration by half
E|5---p-5-5---5-5|5---5-5-5-5-5--| the actual string and fret, p for pause/rest
E|a---p-a-a---a-a|a---a-a-a-a-a--| string and notes produced
E|5---p-9-0---9-0|5---0-9-5-9-5--| A major (a-c#-e) arpeggio
E|a---p-c#-e---c#-e|a---e-c#-a-c#-a--| A major (a-c#-e) arpeggio notes
</pre>
<h4>Montuno 4/4</h4>
<p>|♩ ♩ ♪ ♪ ♪ ♪ |♩ ♪ ♪ ♪ ♪ ♪ ♪ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_ _ _ v _ v|_ _ v v _ v| _ is downstroke, v is upstroke, . is prolonged duration by half
A|3---3---3-3-3-3|3---3-3-3-3-3-3| the actual string and fret, p for pause/rest
A|c---c---c-c-c-c|c---c-c-c-c-c-c| string and notes produced
A|3---7---10-7-10-3|10---3-7-3-7-10-7| C major (c-e-g) arpeggio
A|c---e---g-e-g-c|g---c-e-c-e-g-e| C major (c-e-g) arpeggio notes
</pre>
<h4>Mozambique - Cuba 4/4</h4>
<p>|𝄽 ♩ ♩ 𝄽 |♩ 𝄾 ♪ 𝄽 𝄾 ♪ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
| _ _ |_ v v| _ is downstroke, v is upstroke, . is prolonged duration by half
E|p---5---5---p--|5---p-5-p---p-5| the actual string and fret, p for pause/rest
E|p---a---a---p--|a---p-a-p---p-a| string and notes produced
E|p---5---8---p--|3---p-5-p---p-3| A minor 7 (a-c-e-g) arpeggio
E|p---a---c---p--|g---p-a-p---p-g| A minor 7 (a-c-e-g) arpeggio notes
</pre>
<h4>Pasa doble 2/4</h4>
<p>This a first rhythm in 2/4 time signature.</p>
<p>|♪ 𝅘𝅥𝅯 𝅘𝅥𝅯 ♪ ♪ |𝄾 ♪ 𝄾 ♪ | sheet music notation</p>
<pre>
|1-e-&-a-2-e-&-a|1-e-&-a-2-e-&-a| how to count
|_ _ v v v | v v | _ is downstroke, v is upstroke, . is prolonged duration by half
E|1---1-1-1---1--|p---1---p---1--| the actual string and fret, p for pause/rest
E|f---f-f-f---f--|p---f---p---f--| string and notes produced
E|1---5-8-5---8--|p---1---p---8--| F major (f-a-c) arpeggio
E|f---a-c-a---c--|p---f---p---c--| F major (f-a-c) arpeggio notes
</pre>
<h4>Reggae - Jamaica 4/4</h4>
<p>|♪ 𝄾 ♪ ♪ 𝄾 ♪ ♪ 𝄾 ♪ ♪ 𝄾 ♪ | sheet music notation</p>
<pre>
|1-e-&-2-e-&-3-e-&-4-e-&|1-e-&-2-e-&-3-e-&-4-e-&| how to count
|_ v _ v _ v _ v|_ v _ v _ v _ v| _ is downstroke, v is upstroke, . is prolonged duration by half
E|1-p-1-1-p-1-1-p-1-1-p-1|1-p-1-1-p-1-1-p-1-1-p-1| the actual string and fret, p for pause/rest
E|f-p-f-f-p-f-f-p-f-f-p-f|f-p-f-f-p-f-f-p-f-f-p-f| string and notes produced
E|1-p-5-8-p-5-8-p-1-8-p-1|5-p-1-5-p-8-1-p-5-8-p-1| F major (f-a-c) arpeggio
E|f-p-a-c-p-a-c-p-f-c-p-f|a-p-f-a-p-c-f-p-a-c-p-f| F major (f-a-c) arpeggio notes
</pre>
<h4>Rhumba - Cuba 4/4</h4>
<p>|♪ 𝅘𝅥𝅯 𝅘𝅥𝅯 ♪ ♪ ♪ ♪ ♪ ♪ | sheet music notation</p>
<pre>
|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a| how to count
|_ _ v _ _ _ _ _ _ |_ _ v _ _ _ _ _ _ | _ is downstroke, v is upstroke, . is prolonged duration by half
E|3---3-3-3---3---3---3---3---3--|3---3-3-3---3---3---3---3---3--| the actual string and fret, p for pause/rest
E|g---g-g-g---g---g---g---g---g--|g---g-g-g---g---g---g---g---g--| string and notes produced
E|3---7-10-3---7---10---3---7---10--|10---7-7---3---10---3---7---10--| G major (g-b-d) arpeggio
E|g---b-d-g---b---d---g---b---d--|d---g-b-b---g---d---g---b---d--| G major (g-b-d) arpeggio notes
</pre>
<h4>Samba - Brazil 4/4</h4>
<p>|♪ .𝅘𝅥𝅯 ♪ 𝄾 ♪ .𝅘𝅥𝅯 ♪ 𝄾 | sheet music notation</p>
<pre>
|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a| how to count
|_. v _ _. v _ |_. v _ _. v _ | _ is downstroke, v is upstroke, . is prolonged duration by half
A|3.----3-3---p---3.----3-3---p--|3.----3-3---p---3.----3-3---p--| the actual string and fret, p for pause/rest
A|c.----c-c---p---c.----c-c---p--|c.----c-c---p---c.----c-c---p--| string and notes produced
A|3.....7-10---p---2.----3-2---p--|3.----7-10---p---2.----3-2---p--| C major 7 (c-e-g-b) arpeggio
A|c.----e-g---p---b.----c-b---p--|c.----e-g---p---b.----c-b---p--| C major 7 (c-e-g-b) arpeggio notes
</pre>
<h4>Samba cruzado - Brazil 4/4</h4>
<p>|𝄾 ♪ 𝄾 ♪ 𝄾 ♪ ♩ |♩ ♪ ♪ 𝄾 ♪ 𝄾 ♪ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
| v v v _ |_ _ v v v| _ is downstroke, v is upstroke, . is prolonged duration by half
A|p-3-p-3-p-3-3--|3---3-3-p-3-p-3| the actual string and fret, p for pause/rest
A|p-c-p-c-p-c-c--|c---c-c-p-c-p-c| string and notes produced
A|p-3-p-6-p-11-3--|3---6-11-p-3-p-6| C minor 6 (c-eb-ab) arpeggio
A|p-c-p-eb-p-ab-c--|c---eb-ab-p-c-p-eb| C minor 6 (c-eb-ab) arpeggio notes
</pre>
<h4>Samba marcha - Brazil 4/4</h4>
<p>|♩ ♩ ♩ 𝄾 ♪ |𝄾 ♪ 𝄾 ♪ 𝄾 ♪ ♩ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_ _ _ v| v v v _ | _ is downstroke, v is upstroke, . is prolonged duration by half
E|0---0---0---p-0|p-0-p-0-p-0-0--| the actual string and fret, p for pause/rest
E|e---e---e---p-e|p-e-p-e-p-e-e--| string and notes produced
E|0---4---7---p-0|p-4-p-7-p-0-4--| E major (e-g#-b) arpeggio
E|e---g#---b---p-e|p-g#-p-b-p-e-g#--| E major (e-g#-b) arpeggio notes
</pre>
<h4>Samba de partido alta - Brazil 4/4</h4>
<p>|𝄾 ♪ 𝄽 ♩ ♩ |♩ ♩ 𝄾 ♩ ♪ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
| v _ _ |_ _ v v| _ is downstroke, v is upstroke, . is prolonged duration by half
E|p-0-p---0---0--|0---0---p-0---0| the actual string and fret, p for pause/rest
E|p-e-p---e---e--|e---e---p-e---e| string and notes produced
E|p-0-p---4---7--|0---4---p-7---0| E major (e-g#-b) arpeggio
E|p-e-p---g#---b--|e---g#---p-b---e| E major (e-g#-b) arpeggio notes
</pre>
<h4>Samba 3/4 - Brazil</h4>
<p>|♪ ♪ 𝄿 ♪ 𝅘𝅥𝅯 𝄽 | sheet music notation</p>
<pre>
|1-e-&-a-2-e-&-a-3-e-&-a|1-e-&-a-2-e-&-a-3-e-&-a| how to count
|_ v v v |_ v v v | _ is downstroke, v is upstroke, . is prolonged duration by half
E|5---5---p-5---5-p------|5---5---p-5---5-p------| the actual string and fret, p for pause/rest
E|a---a---p-a---a-p------|a---a---p-a---a-p------| string and notes produced
E|5---9---p-0---4-p------|5---9---p-e---4-p------| A major 7 (a-c#-e-g#) arpeggio
E|a---c#---p-e---g#-p------|a---c#---p-e---g#-p------| A major 7 (a-c#-e-g#) arpeggio notes
</pre>
<h4>Samba 7/4 - Brazil</h4>
<p>|♩ ♩ ♩ 𝄾 ♪ 𝄾 ♪ 𝄾 ♪ 𝄽 | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&-5-&-6-&-7-&|1-&-2-&-3-&-4-&-5-&-6-&-7-&| how to count
|_ _ _ v v v |_ _ _ v v v | _ is downstroke, v is upstroke, . is prolonged duration by half
E|3---3---3---p-3-p-3-p-3-p--|3---3---3---p-3-p-3-p-3-p--| the actual string and fret, p for pause/rest
E|g---g---g---p-g-p-g-p-g-p--|g---g---g---p-g-p-g-p-g-p--| string and notes produced
E|3---7---10---p-2-p-3-p-7-p--|3---7---10---p-2-p-3-p-7-p--| G major 7 (g-b-d-f#) arpeggio
E|g---b---d---p-f#-p-g-p-b-p--|g---b---d---p-f#-p-g-p-b-p--| G major 7 (g-b-d-f#) arpeggio notes
</pre>
<h4>Songo - Cuba 4/4</h4>
<p>|♩ ♩ ♪ ♪ 𝄾 ♪ |♪ ♪ ♩ ♪ ♪ 𝄾 ♪ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_ _ _ v v|_ v _ _ v v| _ is downstroke, v is upstroke, . is prolonged duration by half
E|0---0---0-0-p-0|0-0-0---0-0-p-0| the actual string and fret, p for pause/rest
E|e---e---e-e-p-e|e-e-e---e-e-p-e| string and notes produced
E|0---3---7-0-p-3|0-3-7---0-3-p-7| E minor (e-g-b) arpeggio
E|e---g---b-e-p-g|e-g-b---e-g-p-b| E minor (e-g-b) arpeggio notes
</pre>
<h4>Spanish tango 2/4</h4>
<p>|♪ ♪ ♪ ♪ ♪ | sheet music notation</p>
<pre>
|1-e-&-2-&|1-e-&-2-&| how to count
|_ v v _ v|_ v v _ v| _ is downstroke, v is upstroke, . is prolonged duration by half
E|3-3-3-3-3|3-3-3-3-3| the actual string and fret, p for pause/rest
E|g-g-g-g-g|g-g-g-g-g| string and notes produced
E|3-7-10-3-7|10-7-10-3-7| G major (g-b-d) arpeggio
E|g-b-d-g-b|d-b-d-g-b| G major (g-b-d) arpeggio notes
</pre>
<h4>Tango - Argentina 4/4</h4>
<p>|♩ ♩ ♩ ♪ ♪ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_ _ _ _ v|_ _ _ _ v| _ is downstroke, v is upstroke, . is prolonged duration by half
E|3---3---3---3-3|3---3---3---3-3| the actual string and fret, p for pause/rest
E|g---g---g---g-g|g---g---g---g-g| string and notes produced
E|3---7---10---7-10|3---10---3---7-3| G major (g-b-d) arpeggio
E|g---b---d---b-d|g---d---g---b-g| G major (g-b-d) arpeggio notes
</pre>
<h4>Rock 4/4</h4>
<p>|♩ ♩ ♩ ♩ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_ _ _ _ |_ _ _ _ | _ is downstroke, v is upstroke, . is prolonged duration by half
|> > > > |> > > > | accents
E|5---5---5---5--|5---5---5---5--| the actual string and fret, p for pause/rest
E|a---a---a---a--|a---a---a---a--| string and notes produced
E|5---9---0---5--|9---0---5---9--| A major (a-c#-e) arpeggio
E|a---c#---e---a--|c#---e---a---c#--| A major (a-c#-e) arpeggio notes
</pre>
<h4>Bunny hop 4/4</h4>
<p>|♩ ♪ .♪ ♪ ♩ ♪ .♪ |𝄼 𝄼 |𝄼 𝄼 |♩ ♩ ♩ 𝄽 | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_ _ v _ _ v| | |_ _ _ | _ is downstroke, v is upstroke, . is prolonged duration by half
|> > | | |> > > | accents
E|3---3.3-3---3.3|p--------------|p--------------|3---3---3---p--| the actual string and fret, p for pause/rest
E|g---g-g-g---g.g|p--------------|p--------------|g---g---g---p--| string and notes produced
E|3---7-10-3---7-10|p--------------|p--------------|3---7---10---p--| G major (g-b-d) arpeggio
E|g---b-d-g---b-d|p--------------|p--------------|g---b---d---p--| G major (g-b-d) arpeggio notes
</pre>
<h4>Charleston 4/4</h4>
<p>|♩ 𝄾 ♪ 𝄼 | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_ v |_ v | _ is downstroke, v is upstroke, . is prolonged duration by half
A|3---p-3-p------|3---p-3-p------| the actual string and fret, p for pause/rest
A|c---p-c-p------|c---p-c-p------| string and notes produced
A|3---p-7-p------|10---p-7-p------| C major (c-e-g) arpeggio
A|c---p-e-p------|g---p-e-p------| C major (c-e-g) arpeggio notes
</pre>
<h4>Greek 7/8</h4>
<p>This a first 7/8 rhythm, thus the 8/8 is missing.</p>
<p>|♪ ♪ ♪ ♪ ♪ ♪ ♪ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4|1-&-2-&-3-&-4| how to count
|_ _ _ _ _ _ _|_ _ _ _ _ _ _| _ is downstroke, v is upstroke, . is prolonged duration by half
|> > > |> > > | accents
A|2-2-2-2-2-2-2|2-2-2-2-2-2-2| the actual string and fret, p for pause/rest
A|b-b-b-b-b-b-b|b-b-b-b-b-b-b| string and notes produced
A|2-5-9-0-2-5-0|2-5-9-0-2-5-0| B minor 7 (b-d-f#-a) arpeggio
A|b-d-f#-a-b-d-a|b-d-f#-a-b-d-a| B minor 7 (b-d-f#-a) arpeggio notes
</pre>
<h4>Hora 4/4</h4>
<p>|♩ ♪ ♪ 𝄾 ♪ ♩ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_ _ v v _ |_ _ v v _ | _ is downstroke, v is upstroke, . is prolonged duration by half
|> |> | accents
E|0---0-0-p-0-0--|5---5-5-p-5-5--| the actual string and fret, p for pause/rest
E|e---e-e-p-e-e--|a---a-a-p-a-a--| string and notes produced
E|0---4-7-p-0-4--|5---8-0-p-5-8--| E major (e-g#-b) and A minor (a-c-e) arpeggios
E|e---g#-b-p-e-g#--|a---c-e-p-a-c--| E major (e-g#-b) and A minor (a-c-e) arpeggios' notes
</pre>
<h4>Irish jig 6/8</h4>
<p>|♩ ♪ ♪ ♪ ♪ | sheet music notation</p>
<pre>
|1-&-2-&-3-&|1-&-2-&-3-&| how to count
|_ _ _ _ _|_ _ _ _ _| _ is downstroke, v is upstroke, . is prolonged duration by half
E|3---3-3-3-3|3---3-3-3-3| the actual string and fret, p for pause/rest
E|g---g-g-g-g|g---g-g-g-g| string and notes produced
E|3---7-10-10-3|7---10-3-7-10| G major (g-b-d) arpeggio
E|g---b-d-d-g|b---d-g-b-d| G major (g-b-d) arpeggio notes
</pre>
<h4>Polka 4/4</h4>
<p>|𝄾 ♪ 𝄾 ♪ 𝄾 ♪ 𝄾 ♪ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
| v v v v| v v v v| _ is downstroke, v is upstroke, . is prolonged duration by half
E|p-3-p-3-p-3-p-3|p-0-p-0-p-0-p-0| the actual string and fret, p for pause/rest
E|p-a-p-a-p-a-p-a|p-e-p-e-p-e-p-e| string and notes produced
E|p-5-p-9-p-0-p-5|p-0-p-4-p-10-p-0| A major (a-c#-e) and E7 (e-g#-d) arpeggios
E|p-a-p-c#-p-e-p-a|p-e-p-g#-p-d-p-e| A major (a-c#-e) and E7 (e-g#-d) arpeggios' notes
</pre>
<h4>Can-can 2/4</h4>
<p>|𝄾 ♪ 𝄾 ♪ | sheet music notation</p>
<pre>
|1-&-2-&|1-&-2-&| how to count
|_ v _ v|_ v _ v| _ is downstroke, v is upstroke, . is prolonged duration by half
D|x-5-x-5|x-0-x-0| the actual string and fret, p for pause/rest, x for left hand muting
D|x-g-x-g|x-d-x-d| string and notes produced
D|x-5-x-9|x-0-x-10| G major (g-b-d) and D7 (d-f#-c) arpeggios
D|x-g-x-b|x-d-x-c| G major (g-b-d) and D7 (d-f#-c) arpeggios' notes
</pre>
<h4>Reel 4/4</h4>
<p>|♪ 𝄾 ♪ ♪ 𝄾 ♪ ♪ 𝄾 ♪ ♪ 𝄾 ♪ | sheet music notation</p>
<pre>
|1-e-&-2-e-&-3-e-&-4-e-&|1-e-&-2-e-&-3-e-&-4-e-&| how to count
|_ _ _ _ |_ _ _ _ | _ is downstroke, v is upstroke, . is prolonged duration by half
| > > > >| > > > >| accents
E|0-p-0-0-p-0-0-p-0-0-p-0|0-p-0-0-p-0-0-p-0-0-p-0| the actual string and fret, p for pause/rest, x for left hand muting
E|e-p-e-e-p-e-e-p-e-e-p-e|e-p-e-e-p-e-e-p-e-e-p-e| string and notes produced
E|0-p-4-7-p-0-4-p-7-0-p-0|4-p-7-0-p-4-7-p-0-4-p-0| E major (e-g#-b) arpeggio
E|e-p-g#-b-p-e-g#-p-b-e-p-e|g#-p-b-e-p-g#-b-p-e-g#-p-e| E major (e-g#-b) arpeggio notes
</pre>
<h4>Sher 2/4</h4>
<p>|𝄾 ♪ ♪ 𝅘𝅥𝅯 𝅘𝅥𝅯 ♪ ♪ | sheet music notation</p>
<pre>
|1-&-2-&|1-e-&-a-2-e-&-a| how to count
| v v| _ v _ v | _ is downstroke, v is upstroke, . is prolonged duration by half
| > >| > > | accents
A|p-5-p-5|p---5-5-5---5--| the actual string and fret, p for pause/rest, x for left hand muting
A|p-d-p-d|p---d-d-d---d--| string and notes produced
A|p-5-p-8|p---0-3-5---3--| D minor 7 (d-f-a-c) arpeggio
A|p-d-p-f|p---a-c-d---c--| D minor 7 (d-f-a-c) arpeggio notes
</pre>
<h4>Turkish 5/4</h4>
<p>|♩ ♪ ♪ ♪ ♩ ♩ #x266A; #x266A; #x266A; | sheet music notation</p>
<pre>
|1-e-&-2-e-&-3-e-&-4-e-&|1-e-&-2-e-&-3-e-&-4-e-&| how to count
|_ _ v _ _ _ v _|_ _ v _ _ _ v _| _ is downstroke, v is upstroke, . is prolonged duration by half
|> > |> > | accents
A|3-----3-3-3-3-----3-3-3|8-----8-8-8-8-----8-8-8| the actual string and fret, p for pause/rest, x for left hand muting
A|c-----c-c-c-c-----c-c-c|f-----f-f-f-f-----f-f-f| string and notes produced
A|3-----6-10-3-6-----10-6-3|8-----11-3-8-11-----3-11-8| C minor (c-eb-g) and F minor (f-ab-c) arpeggios
A|c-----eb-g-c-eb-----g-eb-c|f-----ab-c-f-ab-----c-ab-f| C minor (c-eb-g) and F minor (f-ab-c) arpeggios' notes
</pre>
<h4>Two step 4/4</h4>
<p>|♩ ♪ ♪ ♩ ♪ ♪ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&| how to count
|_ _ v _ _ v|_ _ v _ _ v| _ is downstroke, v is upstroke, . is prolonged duration by half
D|0---0-0-0---0-0|5---5-5-5---5-5| the actual string and fret, p for pause/rest, x for left hand muting
D|d---d-d-d---d-d|g---g-g-g---g-g| string and notes produced
D|0---4-7-11---0-11|5---9-0-4---5-4| D major 7 (d-f#-a-c#) and G major 7 (g-b-d-f#) arpeggios
D|d---f#-a-c#---d-c#|g---b-d-f#---g-f#| D major 7 (d-f#-a-c#) and G major 7 (g-b-d-f#) arpeggios' notes
</pre>
<h4>Straightwaltz 3/4</h4>
<p>|𝄽 ♩ ♩ | sheet music notation</p>
<pre>
|1-&-2-&-3-&|1-&-2-&-3-&| how to count
| _ _ | _ _ | _ is downstroke, v is upstroke, . is prolonged duration by half
E|p---8---8--|p---3---3--| the actual string and fret, p for pause/rest, x for left hand muting
E|p---c---c--|p---g---g--| string and notes produced
E|p---8---0--|p---3---1--| C major (c-e-g) and G7 (g-b-f) arpeggios
E|p---c---e--|p---g---f--| C major (c-e-g) and G7 (g-b-f) arpeggios' notes
</pre>
<h4>Viennesewaltz 3/4</h4>
<p>|♪ ♩ .♩ | sheet music notation</p>
<pre>
|1-&-2-&-3-&|1-&-2-&-3-&| how to count
|_ v _ |_ v _ | _ is downstroke, v is upstroke, . is prolonged duration by half
A|3-3.----3--|3-3.----3--| the actual string and fret, p for pause/rest, x for left hand muting
A|c-c.----c--|c-c.----c--| string and notes produced
A|3-7.----10--|7-10.----3--| C major (c-e-g) arpeggio
A|c-e.----g--|e-g.----c--| C major (c-e-g) arpeggio notes
</pre>
<h4>Odd time 5/4</h4>
<p>You can count this one as 3 + 2.</p>
<p>|♪ ♪ ♪ ♪ ♪ ♪ ♩ ♩ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&-5-&|1-&-2-&-3-&-4-&-5-&| how to count
|_ v _ v _ v _ _ |_ v _ v _ v _ _ | _ is downstroke, v is upstroke, . is prolonged duration by half
|> > > > |> > > > | accents
E|3-3-3-3-3-3-1---1--|3-3-3-3-3-3-1---1--| the actual string and fret, p for pause/rest, x for left hand muting
E|g-g-g-g-g-g-f---f--|g-g-g-g-g-g-f---f--| string and notes produced
E|3-7-10-3-7-10-1---5--|3-7-10-3-7-10-1---8--| G (g-b-d) and F major (f-a-c) arpeggios
E|g-b-d-g-b-d-f---a--|g-b-d-g-b-d-f---c--| G (g-b-d) and F major (f-a-c) arpeggios' notes
</pre>
<h4>Odd time 7/4</h4>
<p>This one can be counted as 3 + 4.</p>
<p>|♩ ♪ ♪ ♪ ♪ ♩ ♪ ♪ ♪ ♪ ♪ ♪ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&-5-&-6-&-7-&|1-&-2-&-3-&-4-&-5-&-6-&-7-&| how to count
|_ _ v v _ _ v _ v _ v|_ _ v v _ _ v _ v _ v| _ is downstroke, v is upstroke, . is prolonged duration by half
A|5---5-5-5-5-5---5-5-5-5-5-5|5---5-5-5-5-5---5-5-5-5-5-5| the actual string and fret, p for pause/rest, x for left hand muting
A|d---d-d-d-d-d---d-d-d-d-d-d|d---d-d-d-d-d---d-d-d-d-d-d| string and notes produced
A|5---9-0-4-5-9---0-4-5-9-0-4|5---9-0-4-5-9---0-4-5-9-0-4| D major 7 (d-f#-a-c#) arpeggio
A|d---f#-a-c#-d-f#---a-c#-d-f#-a-c#|d---f#-a-c#-d-f#---a-c#-d-f#-a-c#| D major 7 (d-f#-a-c#) arpeggio notes
</pre>
<h4>Odd time 15/4</h4>
<p>It's best to count the example below as chunks of 4 + 4 + 4 + 3.</p>
<p>|♩ ♪ .𝅘𝅥𝅯 ♪ ♪ ♩ ♩ ♪ .𝅘𝅥𝅯 ♪ ♪ ♩ ♩ ♪ .𝅘𝅥𝅯 ♪ ♪ ♩ ♩ ♩ ♩ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&-1-&-2-&-3-&-4-&-1-&-2-&-3-&-4-&-1-&-2-&-3-&| how to count
|_ _ v _ v _ _ _ v _ v _ _ _ v _ v _ _ _ _ | _ is downstroke, v is upstroke, . is prolonged duration by half
E|0---0.0-0-0-0---0---0.0-0-0-0---0---0.0-0-0-0---0---0---0--| the actual string and fret, p for pause/rest, x for left hand muting
E|e---e.e-e-e-e---e---e.e-e-e-e---e---e.e-e-e-e---e---e---e--| string and notes produced
E|0---4.10-3-0-4---10---3.-0-4-10-3---0---4.10-3-0-4---10---3---0--| E7#9 (e-g#-d-g) arpeggio
E|e---g#.d-g-e-g#---d---g.e-g#-d-g---e---g#.d-g-e-g#---d---g---e--| E7#9 (e-g#-d-g) arpeggio notes
</pre>
<h4>Odd time 15/8</h4>
<p>It's best to count the example below as chunks of 3 + 3 + 4 + 3 + 2.</p>
<p>|♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&-1-&-2-&-3-&-4| how to count
|_ _ _ _ _ _ _ _ _ _ _ _ _ _ _| _ is downstroke, v is upstroke, . is prolonged duration by half
|> > > > > | accents
E|5-5-5-5-5-5-5-5-5-5-5-5-5-5-5| the actual string and fret, p for pause/rest, x for left hand muting
E|a-a-a-a-a-a-a-a-a-a-a-a-a-a-a| string and notes produced
E|5-8-0-3-5-8-0-3-5-8-0-3-5-8-0| A minor 7 (a-c-e-g) arpeggio
E|a-c-e-g-a-c-e-g-a-c-e-g-a-c-e| A minor 7 (a-c-e-g) arpeggio notes
</pre>
<h4>Odd time 11/4</h4>
<p>It's best to count the example below as chunks of 4 + 4 + 3.</p>
<p>|♪ .𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 ♪ 𝅘𝅥𝅯 𝅘𝅥𝅯 𝄿 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 ♪ .𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 ♪ 𝅘𝅥𝅯 𝅘𝅥𝅯 𝄿 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 𝅘𝅥𝅯 ♩ ♩ ♩ | sheet music notation</p>
<pre>
|1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a-1-e-&-a-2-e-&-a-3-e-&-a-4-e-&-a-1-e-&-a-2-e-&-a-3-e-&-a| how to count
|_ v _ v _ _ v v _ v _ v _ v _ v _ _ v v _ v _ v _ _ _ | _ is downstroke, v is upstroke, . is prolonged duration by half
| > > > > | accents
E|0.----0-0-0---0-0-0-p-0-0-0-0-0-0.----0-0-0---0-0-0-p-0-0-0-0-0-0-------0-------0------| the actual string and fret, p for pause/rest, x for left hand muting
E|e.----e-e-e---e-e-e-p-e-e-e-e-e-e.----e-e-e---e-e-e-p-e-e-e-e-e-e-------e-------e------| string and notes produced
E|0.----4-10-2---0-4-10-p-2-0-4-10-2-0.----4-10-2---0-4-10p-2-0-4-10-2-0-------0-------0------| E9 (e-g#-d-f#) arpeggio
E|e.----g#-d-f#---e-g#-d-p-f#-e-g#-d-f#-e.----g#-d-f#---e-g#-d-p-f#-e-g#-d-f#-e-------e-------e------| E9 (e-g#-d-f#) arpeggio notes
</pre>
<h4>Odd time 11/8</h4>
<p>It's best to count the example below as chunks 3 + 3 + 3 + 2.</p>
<p>|♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ | sheet music notation</p>
<pre>
|1-&-2-&-3-&-4-&-1-&-2|1-&-2-&-3-&-4-&-1-&-2| how to count
|_ _ _ _ _ _ _ _ _ _ _|_ _ _ _ _ _ _ _ _ _ _| _ is downstroke, v is upstroke, . is prolonged duration by half
|> > > > |> > > > | accents
E|3-3-3-3-3-3-3-3-3-3-3|3-3-3-3-3-3-3-3-3-3-3| the actual string and fret, p for pause/rest, x for left hand muting
E|g-g-g-g-g-g-g-g-g-g-g|g-g-g-g-g-g-g-g-g-g-g| string and notes produced
E|3-7-10-2-3-7-10-2-3-7-10|3-7-10-2-3-7-10-2-3-7-10| G major 7 (g-b-d-f#) arpeggio
E|g-b-d-f#-g-b-d-f#-g-b-d|g-b-d-f#-g-b-d-f#-g-b-d| G major 7 (g-b-d-f#) arpeggio notes
</pre>
<h3>Note names on each string and fret</h3>
<p>Sooner or later, knowing names of the notes on each string will be to your advantage. Even if you can find given note by ear on the fretbaord, it's easier to transcribe and transpose music with this part of language of musical theory. You will find it easier to discuss music with musicians with a at least a basic knowledge of music theory.</p>
<p>I strongly recommend playing each note on a given string, listening to it first, then play it again pronouncing its name aloud and hum or sing it, simply trying to make any sound that will match the pitch of given note the third time you play it.</p>
<p>The hashtags - # - are pronounced as 'sharp' and the b's - b - are pronounced as 'flat'. Let's start with notes that aren't sharps nor flats. Here are the strings and notes:</p>
<pre>
0|-1-2-3-4-5-6-7-8-9-10-11-12-13-14-15-16-17-18-19-20-21-22-23-24-|
e|-f---g---a---b-c---d-----e--f-----g-----a-----b--c-----d-----e--| high
b|-c---d---e-f---g---a-----b--c-----d-----e--f-----g-----a-----b--|
g|---a---b-c---d---e-f-----g-----a-----b--c-----d-----e--f-----g--|
D|---e-f---g---a---b-c-----d-----e--f-----g-----a-----b--c-----d--|
A|---b-c---d---e-f---g-----a-----b--c-----d-----e--f-----g-----a--|
E|-f---g---a---b-c---d-----e--f-----g-----a-----b--c-----d-----e--| low
</pre>
<p>As you can see, some patterns emerged in a form of clusters of notes. The guitar is an instrument that contains quite few of them and it's worth noticing these and take advantage of them. You can see that starting on the zeroth fret, there are notes that are nor sharp nor flat. This pattern repeats on frets five, ten, twelve, seventeen, twenty two and twenty four.</p>
<p>More useful pattern though, is the one where the notes create what is called an octave interval - the interval where first and eighth noteis are the same, but different in pitch. Let's take a look at the low E string and the note e on the D string, second fret, for example. Same goes for every and each note on the fretboard. It's very well worth to acknowledge, learn and accommodate this pattern into your playing. Once you have learned all the notes and their octaves, you can move on to learn the sharps and flats and their octaves.</p>
<p>Let's learn the sharp and flat notes on the fretboard:</p>
<pre>
0|-01----02----03----04----05-06----07----08----09----10-11----12-13----14----15----16----17-18----19----20----21----22-23----24-|
e|-------f#/gb-------g#/ab----a#/bb-------------c#/db----d#/eb----------f#/gb-------g#/ab----a#/bb-------------c#/db----d#/eb----| high
b|-------c#/db-------d#/eb----------f#/gb-------g#/ab----a#/bb----------c#/db-------d#/eb----------f#/gb-------g#/ab----a#/bb----|
g|-g#/ab-------a#/bb----------c#/db-------d#/eb----------f#/gb----g#/ab-------a#/bb----------c#/db-------d#/eb----------f#/gb----|
D|-d#/eb-------f#/gb----------g#/ab-------a#/bb----------c#/db----d#/eb-------------f#/gb----g#/ab-------a#/bb----------c#/db----|
A|-a#/bb-------------c#/db----d#/eb-------------f#/gb----g#/ab----a#/bb-------------c#/db----d#/eb-------------f#/gb----g#/ab----|
E|-------f#/gb-------g#/ab----a#/bb-------------c#/db----d#/eb----------f#/gb-------g#/ab----a#/bb-------------c#/db----d#/eb----| low
</pre>
<p>Another interesting thing one may notice is, that the notes that are not sharp or flat are like the white keys on the keyboard or piano, and the sharp or flat notes are like the black keys. Each set of the notes, that can also be called pitches, have some interesting relationships that will be explained later in further detail. For now, let's just mention that the 'white keys' can form a natural major or minor scales and their modes, and the 'black keys' can form a pentatonic scale.</p>
<h3>LIST - Listen, Internalize, Sing, Transfer</h3>
<p>The LIST concept is historically a successful one. Maybe not so much these days, when everything is readily available and explained on youtube and the likes. The rumor goes that kids these days may not have well trained ears. Let's take a look at what it is all about.</p>
<h4>Listen</h4>
<p>This is probably the fun, or at least the pleasant part. If you want to learn any piece of music, or even a natural language, it's worth listening to the material first. Carefully. Try to recognize how many and what instruments are playing, including vocals and what those instruments play. It doesn't have to be perfect, just try to be more analytical before you start headbanging to your favorite part.</p>
<h4>Internalize</h4>
<p>Whatever part and instrument you are trying to learn, internalize it. That takes actually remembering that part and being able to recall it at any given moment. Usually the most memorable part, that can also be used for reconstructing rest of the song on a given instrument, is the melody. Melody are the actual notes and implies also rhythm.</p>
<h4>Sing</h4>
<p>In order to verify the previous step, you should be able to sing the given part. If you can sing the melody with high fidelity, that's achievement unlocked.</p>
<h4>Notice please that we haven't touched the instrument yet. And we should not, until the last part.</h4>
<h4>Transfer</h4>
<p>Yay, finally!. Alrighty, now grab your guitar and let's sing the notes and find them on the fretboard. It's not cheating if you have given part of the song playing along on repeat, as there're often repeated notes on different strings that have different color.</p>
<h3>Most common bass lines, melodies and harmonic progressions</h3>
<h4>Bass lines</h4>
<p>Rather than try and list here the most common basslines, let's go through the most common types of basslines. Conceptually, there're only four of them.</p>
<ol>
<li>Type I is based usually on the root notes of a chord progression played straight in whatever subdivision the song needs. Like in AC/DC - Thunderstruck, One Republic - Counting Stars, Stevie Wonder - Superstition, Adele - Rolling In The Deep, The Police - Every Breath You Take etc.</li>
<li>Type II is similar to type I, but instead of having its own, steady rhythm, it copies what the bass/kick drum is doing. Like in Eagles - Take It Easy, KC and The Sunshine Band - Shake Your Booty etc.</li>
<li>Type III is if the bass plays exactly the same thing as some other instrument(s). Like in Jackson 5 - I Want You Back, Cream - Sunshine Of Your Love etc.</li>
<li>Type IV is if the bass plays its own, independent line. Like in Clash - London Calling, RHCP - Give It Away etc.</li>
</ol>
<h4>Harmonic progressions</h4>
<p>There're few harmonic (chord) progressions that are very common in certain genres. Before listing them, let's take a short look at some music theory.</p>
<p>The most common type of scales are septatonic - they have seven tones in it, numbered from one to seven. Among them, there's one scale in particular that is the most common one in western music, called natural major scale (also called ionian mode or, its minor variant - natural minor scale that happens to be its aeolian mode), that has a major chord as its first degree, then two minor chords, two major chords as its fourth and fifth degrees, then again a minor chord and the last is a half-diminished chord. The degrees are numbered with roman literals, uppercased for major chords and lowercased for minor chords. It looks like this:</p>
<pre>
natural major scale / ionian mode
I ii iii IV V vi vii
major minor minor major major minor half-diminished
</pre>
<p>Now, based on this, we can take a look at the most common types of harmonic progressions in different genres.</p>
<ul>
<li>Pop in major key - I V vi IV</li>
<li>Rock I V vi IV, I IV V, II V I, I III V, I bIII V, I bII bIII IV</li>
<li>Blues - I IV V, i iv V</li>
<li>Jazz in major key - ii V I, ii V i</li>
<li>Metal - vi IV I iii, I I vi V, I vii vi V, I I vi vii, vi vi I vii, iii ii I vi, I vi Iv bii, I bV IV iii</li>
</ul>
<h3>Technique mechanics</h3>
<p>There're mechanics that we should know about, although it's not really needed unless one is struggling with playing what is desired. The mechanics involved in developing a technique often change with the tempo, forcing to re-think and redo or re-learn habits and mechanics that inhibit the progress if not done properly. Some of us are natural players and some of us could benefit from hints here and there. There's a great work being done on picking mechanics by Troy Grady, so let's just go thorough some basics.</p>
<h4>Pick slanting</h4>
<p>Pick slanting is a mechanic that allows you to go from one string to the next without much effort. You may think that it's not really needed to go to such details because it's usally not a problem to achieve fast picking on one string, but it turns out that once one wants to cross the strings with high speed, knowing this mechanic is invaluable. There're two types of pick slanting - downward pick slanting and upward pick slanting, being equally important if one wants to master the art of speed picking.</p>
<p><em>Downward pick slanting</em> is a mechanic where we rotate the wrist outward, such that the back of the palm is slanted towards the earth and the pick crosses the string at a non-zero angle, let's say somewhere between 10 t0 45 degrees.</p>
<p><em>Upward pick slanting</em> is the opposite of downward pick slanting. The wrist is rotated inwards, such that the back of the palm is slanted towards the sky and the pick crosses the string at a non-zero angle, let's say somewhere between 10 to 45 degrees.</p>
<h3>Rhythmic workout</h3>
<p>Here you can find each and every possible combination of note lengths, ever. Just kidding.</p>
<p>These exercises are focused on playing on the down beat. Count loud as quarter notes and play only one beat every measure. Count even while you are playing these with a metronome - counting shifts you from the reactive domain to proactive domain where you actually (co)create things. Play these exercises on all strings.</p>
<h4>Quarter notes</h4>
<pre>
|1-2-3-4-|1-2-3-4-|1-2-3-4-|1-2-3-4-|
|0~~~~~~~|0~~~~~~~|0~~~~~~~|0~~~~~~~| start on the first beat every bar
|~~0~~~~~|~~0~~~~~|~~0~~~~~|~~0~~~~~| start on the second beat every
|----0~~~|~~~~0~~~|~~~~0~~~|~~~~0~~~| start on the third beat every bar
|------0~|~~~~~~0~|~~~~~~0~|~~~~~~0~| start on the fourth beat every bar
|0~0~0~0~|0~0~0~0~|0~0~0~0~|0~0~0~0~| play each beat straight, one after another
</pre>
<p>Now, let's combine these exercises into one:</p>
<pre>
|1-2-3-4-|1-2-3-4-|1-2-3-4-|1-2-3-4-|
|0~~~~~~~|~~0~~~~~|~~~~0~~~|~~~~~~0~| start on different beat in each bar
|--0~~~~~|~~~~0~~~|~~~~~~0~|~~~~~~~~|----0~~~|~~~~~~0~|~~~~~~~~|~~~~~~~~|------0~|~~~~~~~~|~~~~~~~~|~~~~~~~~|
</pre>
<p><b>Tip:</b> start to count in reverse - go from 4th to 1st beat, playing the same patterns.</p>
<p>Do not forget to practice with metronome towards the target tempo once you can do these two exercises for 1-5 minutes in a row at your own tempo. Next few exercises will be very similar, but with more rhythmic subdivisions.</p>
<h4>Eighth notes</h4>
<p>These exercises are focused on playing on the up beat. Count loud as eighth notes and play these on all strings.</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&|
|--0~~~~~~~~~~~~|~~0~~~~~~~~~~~~|~~0~~~~~~~~~~~~|~~0~~~~~~~~~~~~| start on the -and of one
|------0~~~~~~~~|~~~~~~0~~~~~~~~|~~~~~~0~~~~~~~~|~~~~~~0~~~~~~~~| start on the -and of two
|----------0~~~~|~~~~~~~~~~0~~~~|~~~~~~~~~~0~~~~|~~~~~~~~~~0~~~~| start on the -and of three
|--------------0|~~~~~~~~~~~~~~0|~~~~~~~~~~~~~~0|~~~~~~~~~~~~~~0| start on the -and of four
|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0|0-0-0-0-0-0-0-0| play straight eighth notes
|0-0~~~~~~~~~~~~|0-0~~~~~~~~~~~~|0-0~~~~~~~~~~~~|0-0~~~~~~~~~~~~| play two eightnotes on beat one
|----0-0~~~~~~~~|----0-0~~~~~~~~|----0-0~~~~~~~~|----0-0~~~~~~~~| play two eightnotes on beat two
|--------0-0~~~~|--------0-0~~~~|--------0-0~~~~|--------0-0~~~~| play two eightnotes on beat three
|------------0-0|------------0-0|------------0-0|------------0-0| play two eightnotes on beat four
</pre>
<p>Again, let's combine the exercises above into one:</p>
<pre>
|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&|1-&-2-&-3-&-4-&|
|--0~~~~~~~~~~~~|~~~~~0~~~~~~~~~|~~~~~~~~~~0~~~~|~~~~~~~~~~~~~~0| start on the -and of different beat in each bar
|0~~~~~~~~~~~~~~|~~0~~~~~~~~~~~~|~~~~0~~~~~~~~~~|~~~~~~0~~~~~~~~| play every single eighth note, starting on different subdivision every bar
|~~~~~~~~0~~~~~~|~~~~~~~~~~0~~~~|~~~~~~~~~~~~0~~|~~~~~~~~~~~~~~0|
|0-0~~~~~~~~~~~~|~~~~0-0~~~~~~~~|~~~~~~~~0-0~~~~|~~~~~~~~~~~~0-0| play two eightnotes each beat, starting on different beat every bar
</pre>
<p>Apply the same tip as with the quarter note exercises.</p>
<p><b>Tip:</b> displace the eight notes in one or more bars to create interesting rhythmic figures.</p>
<h4>Triplets</h4>
<p>Next subdivision we're going to practice is triplets. Triplets are perceived as something special, when they really are not. They just divide one beat into three parts.</p>
<pre>
|1-e-&-2-e-&-3-e-&-4-e-&|1-e-&-2-e-&-3-e-&-4-e-&|1-e-&-2-e-&-3-e-&-4-e-&|1-e-&-2-e-&-3-e-&-4-e-&|
|0~0~0~~~~~~~~~~~~~~~~~~|0~0~0~~~~~~~~~~~~~~~~~~|0~0~0~~~~~~~~~~~~~~~~~~|0~0~0~~~~~~~~~~~~~~~~~~| start on the first beat every bar
|------0~0~0~~~~~~~~~~~~|------0~0~0~~~~~~~~~~~~|------0~0~0~~~~~~~~~~~~|------0~0~0~~~~~~~~~~~~| start on the second beat every bar
|------------0~0~0~~~~~~|------------0~0~0~~~~~~|------------0~0~0~~~~~~|------------0~0~0~~~~~~| start on the third beat every bar
|------------------0~0~0|------------------0~0~0|------------------0~0~0|------------------0~0~0| start on the fourth beat every bar
|0~0~0-0~0~0-0~0~0-0~0~0|0~0~0-0~0~0-0~0~0-0~0~0|0~0~0-0~0~0-0~0~0-0~0~0|0~0~0-0~0~0-0~0~0-0~0~0| play the triplets on every beat in a bar
|0-0-0~~~~~~~~~~~~~~~~~~|~~~~~~0-0-0~~~~~~~~~~~~|~~~~~~~~~~~~0-0-0~~~~~~|~~~~~~~~~~~~~~~~~~0-0-0| play a triplet each beat, starting on different beat every bar
</pre>
<p>The exercises above could be a bit more challenging, as they require you to speed up your picking hand bit more than eighth notes, for example. To add to to the challenge though, let's do some basic accenting</p>
<pre>
|1-e-&-2-e-&-3-e-&-4-e-&|1-e-&-2-e-&-3-e-&-4-e-&|1-e-&-2-e-&-3-e-&-4-e-&|1-e-&-2-e-&-3-e-&-4-e-&|
|0~~~~------------------|0~~~~------------------|0~~~~------------------|0~~~~------------------| play just the first third of a triplet on the first beat every bar