Guitar accompaniment. Chords, strumming and strumming for guitar

Well, we have finally come to the most crucial moment in playing the piano. In this lesson you will learn how to improvise with your left hand. This means that by carefully reading this lesson and practicing hard, you can easily play any piece the way you like, knowing only the melody and chords to it.

What do you need to know to do this?

1. I hope you can already reproduce the melody note by note.
2. Be able to use their basic forms (major, minor, diminished).
3. Do chord inversions.
4. Have an idea of ​​different types of accompaniment and use them skillfully.

Aren't you scared? We've already done half the work, and that's already a lot. There are 3 and 4 points left. Let's look at them in order, then everything will fall into place. And you will understand that there is nothing complicated here (provided you have mastered the first two points well).

So far you have played these types of chords called basic chords. What does this mean? What this means is that if you play a C or Cm chord (C major or C minor), the lowest note is the C note. This is the main note of the chord. Next, the notes of the chord are arranged in the following sequence: the fundamental tone is followed by the third, and then the fifth. Let's look at an example.

In a C major chord (C):

• C is the root tone
• Mi is a third
• Salt is a fifth

I hope everything is clear?

But to play a chord, it is absolutely not necessary to take its basic form. Remember from mathematics: “The sum does not change by changing the places of the terms”? The same thing happens when playing a chord. No matter how you take it, no matter what sequence you put the original notes in, it will remain the same.

Inversion of a triad - transferring the lower sound of a chord up an octave or the upper
sound of the chord down an octave.

Let's take the familiar C major chord. It will remain as such, no matter how we take it, and there are only three options: do-mi-sol, mi-sol-do, sol-do-mi.

What does this knowledge give us? Here's what:

• Inversions allow you to achieve subtle qualitative differences in the sound of a chord
• They also make it possible to be more comfortable with each other

For example, to connect the chords C and F, it is enough to change the location of just two notes: we change E and G to F and A (one key higher). In this case, the note “C” remains in place. This is much easier than moving your entire hand from a basic C chord to a basic F chord (F-la-do).

Summarize. It is important to remember that the notes that make up a chord can be composed in different ways. The chord at the bottom does not need to have a root note. It can be built from any note included in its composition, choosing the type that is convenient for you. this moment, or the sound of which you prefer.

Try to play all the chords you know with their inversions.

It should look something like this:

The next stage in mastering invocations will be for you to connect different chords using different types of their arrangement. The main task is to preserve the most smooth transitions from one chord to another, excluding large leaps between them.

Here's an example of what it should look like:

Now try to play it yourself, using the smoothest possible transitions from one chord to another:

• In C major – C – Em – Dm – G – C – Em – Am – Dm – F – G – C
• In D major – D – Hm – Em – A – Em – G – A – D
• In F major – F – B (this is B flat) – C – F – Dm – Gm – B – C – F
• well, in G major – G – Em – C – D – G

• big latin letter means that you need to play a major chord from a given note
• a capital letter with a small letter “m” is a minor chord
• a major chord consists of b3 + m3 (major and then minor third), a minor chord - vice versa - m3 + b3
• Latin chord notation: C (do) – D (re) – E (mi) – F (fa) – G (sol) – A (la) – H (si) – B (b flat)

If it doesn’t work, try first writing these chords on the staff, analyzing them, finding the shortest way to play them sequentially one after another (with the smoothest voicing), using inversions.

To those who are in music school is engaged in solfeggio, a table with information will probably be useful,

What steps are chords built on?

Accompaniment

Once you have a good grasp of the inversions of triads, you can begin arranging melodies. Namely, add your own accompaniment to it. But how to do that?

Until now, you have simply used a background of long chords; this type of accompaniment is called “chord accompaniment.”

Let’s take the well-known melody “A Christmas tree was born in the forest”, and using its example we will make an arrangement with different types accompaniment. Let us note that its character, depending on the accompaniment, will change, in some places – radically.

So, the chord type of accompaniment may not be as boring as you imagine. By the way, this is a very diverse type of accompaniment. Such ostinato accompaniment (that is, monotonous pulsation, repetition) creates

– at a fast pace – tension, expectation of some kind of outcome or – less often – inspiration, elation

– and in at a slow pace– either the effect of a funeral procession, or soft rolling slow dance

– a completely chordal design of both the theme and the accompaniment is an excellent means for climaxes and adding weight and anthem.

Another type of accompaniment is the alternation of bass and chord. It is also divided into several subspecies:

– when the bass and the rest of the chord are played

– bass and repeated chord repetition (this accompaniment is used, for example, in a waltz)

– well, the most common type of accompaniment is arpeggiated figuration.

Italian word " arpeggio" means "like a harp." That is, an arpeggio is the playing of the sounds of a chord sequentially, as on a harp, and not simultaneously, as in the chord itself.

Types of arpeggios a large number of, and, depending on the size, the works can be very different. Here are some of them:

This list can be continued indefinitely. But perhaps it’s worth stopping so that you can at least master these. In fact, once you have mastered the basics of accompaniment, you can rely on your own feelings and try to experiment.

So, go for it. Here are some popular tunes with recorded chords. Play them with different types of accompaniment. But don’t forget the order of learning the pieces:

• learn only the melody in the upper voice;
• learn chord accompaniment by playing just chords;
• look for the most convenient arrangement of chords, using not only the basic type of chords, but also its inversions, ensuring that there are fewer jumps up and down when playing;
• connect the melody and chord accompaniment together;
• add a little improvisation by changing the texture of the accompaniment to a more complex one.

There are many sites with guitar backing tracks. We present what others don’t have - guitar backing tracks Russians songs.

"Backing track", speaking in in simple language is a music track that is missing one of the instruments or vocals. Hence the name: minus one instrument/part. Most often, we are accustomed to using this term specifically in relation to music in which there is no vocal part of the performer at all, or only the accompanying backing vocals remain. But there are also instrumental backing tracks, including guitar ones. This means that in the track using special programs The guitar part is removed.

Searching for backing tracks is also available through the songbook. The page with the backing track contains, whenever possible, tabs and notes for ease of performance.

Guitar backing tracks are created not only for the purpose of learning or training, but also for real performances and even concerts. Fully live show, for example, in a restaurant it is often quite difficult in terms of connection, setup, and arrangement of tools. This affects the final cost for the restaurant and the public. But performing to a soundtrack, where not only the vocals but also the guitar sounds live, is much simpler and cheaper. At the same time, the “magic” of a live performance is preserved.

But still, the main role of backing tracks is training. For example, if you need to rehearse the same part of the piece at home, or the guitarist simply does not have musicians accompanying him. Often, “minus” is used by musicians to play along to compositions by their favorite artists. In this case, you can play both an original guitar part and practice the art of improvisation.

Backing tracks of the same song may differ from each other, both in sound quality and in the length of the audio track. In the latter case, this is often due to the fact that the original contains a technique or solo part that is too complex for an ordinary guitarist to perform, or a large number of repetitions that needed to be reduced.

Today you can find on the Internet great amount backing tracks for guitar for every taste. Unfortunately, the quality of many of them leaves much to be desired. Why is this happening? All because they are used to create backing tracks different methods. Conventionally, they can be divided into the following categories:

• Original. Such a backing track is created in a recording studio and, often, by the authors of the composition themselves. Further use of such a track: concert, rehearsal, less often further sale.
• Arrangement. This type of backing track may differ from the original sound, as it is recorded in the studio professional musicians, which simply replay the song, as close as possible to the original.

Finding the original or arrangement on the Internet is not always possible, so there are simplified types of backing tracks.

• Slicing. If the quality and structure of the original track allow, then you can cut and “glue” the composition back together. In this case, the parts in which the guitar part is present are cut out completely, or replaced with specially written ones that sound similar.
• Clogging. If there is a shortage of cut materials, the missing parts are added in the sequencer.
• Jamming is a type of processing in which the part of a guitar or any other instrument is muted using special programs. The quality of the product may suffer significantly. In this case, they combine several types of creating a backing track, simply adding tracks from above.

Let's start with the fact that beginner guitarists who read this lesson are already familiar with chords in open position.

Of these, we need the chords A (A), D (D), Mi (E). Here we will use the standard twelve bar sequence (blues square).

But we will play not with chords, but with riffs. This type of accompaniment is used not only in blues, but also in rock and roll.

Chord A (A)

Chord D (D)

Chord E (E)

In order to make a riff out of an A (A) chord, you need to mute the first, second and third strings. To do this, we pinch the fourth string with our first finger on the second fret. Next we place the first finger like a barre on the third, second and first strings, but do not pinch, but mute. As a result, after hitting these strings with a pick, a dull sound appears, more like the sound of percussion. Similarly, riffs are made from the chords D (D) and E (E). In the same way, we get fifths from each chord.

In order to diversify the riffs, the clamped string on the second fret with the first finger is alternated with a note on the fourth fret with the third finger. This rock 'n' roll riff at the beginning can be played with an overhand pick on the downbeat. Next we add a pick blow from below on weak share. Some guitarists play the weak beat by hitting the pick from above. It all depends on personal preferences and the concept of the blues itself. In some places it is better to play by hitting the strings from above, and in others from below. This riff is a classic blues accompaniment.

Now that we know how a classic blues riff is played, let's play all twelve bars of a blues square using this riff.

In order to diversify this sequence, blues guitarists add various bass and melodic lines, double stops, chords, and transitions. Below is one of simple examples transition that can be used to transition from an A (A) to a D (D) riff, or used as a turnaround ending.

The manual is intended for those who would like to independently master the basics of the art of accompaniment. The lesson materials will be useful not only for beginners - those who picked up the guitar for the first time. Those who already know chords and are trying to compose or select songs by ear will also find a lot of interesting things in the manual.

Guitar structure. Guitarist's seat
Guitar tuning. Build guitars. Finger designation
"Chord gymnastics for the left hand"
Positioning the right hand
Learning the song "Dombai Waltz" by Yu. Vizbor
Composing songs using standard "squares"
Learning the melody of "Dombai Waltz" by Yu. Vizbor using tablature
Selection of accompaniment for Yu. Vizbor's song "Shkhelda"
Selecting accompaniment by trial and error
Brute force game
"Shkhelda" Yu. Vizbor. Music app
Barre
Transposition.
Learning the song "Dombai Waltz" by Yu. Vizbor in the key of D minor
How to quickly learn notes and find them on the staff?
Finding notes on a guitar fretboard
Guitar neck
Morning exercises. V. Vysotsky. Music app
General concepts about rhythm. Bar line. Tact. Zatakt. Time signature
comparison table poetic sizes and time signatures in music
How to calculate the duration of notes and rests?
Learning from the notes of G. Shangin-Berezovsky's song "The Tsarevna-Nesmeyana"
The princess is not funny. G. Shangin-Berezovsky. Music app
Playing in positions. Leg-conductor
Song learning algorithm
Learning the song "City" by B. Grebenshchikov
City. B. Grebenshchikov. Music app
Game "fight"
Learning Yu. Shevchuk's song "Autumn"
Autumn. Yu. Shevchuk. Music app
How to learn to invent yourself different kinds"battle"
Size 2/4
Size 3/4
Size 4/4
Size 6/8
Usage dance rhythms in musical practice
Basic patterns of some dance rhythms.
Special types of rhythmic division
Algorithm for calculating a rhythmic pattern, including triplet, doublet, quartole, quintole, septolet
Examples from songs: “A Dream in Your Hand” by A. Rosenbaum. Music app.

Chord dictionary for six string guitar. 3000 chords.
Terms of use.
Alphanumeric chord symbols
Table of simple chords for six-string guitar.
Summary chart of chords in five positions

• Song application.
  • Dombai Waltz. Yu. Vizbor
  • Shkhelda. Yu. Vizbor
  • Morning exercises. V. Vysotsky
  • Princess Nesmeyana. G. Shangin-Berezovsky
  • City. B. Grebenshchikov, A. Volokhonsky, A. Khvostenko.
  • Autumn. Yu. Shevchuk. From the repertoire of the group "DDT"
  • Sleep in hand. A. Rosenbaum
  • Enchanted, bewitched. A. Lobanovsky. From the repertoire of M. Zvezdinsky
  • You are the only one I have. Yu. Vizbor
  • A star called the Sun. V. Tsoi
  • Bouquet. Words by N. Rubtsov. Music by A. Barykin
  • Yesterday. D. Lennon, P. McCartney
  • In the upper room. Words by N. Rubtsov. Music by A. Morozov
  • Hotel California. From the repertoire of the group “Eagls”
  • Everything is now against us. From the repertoire of Zh. Bichevskaya
  • Musician. A. Nikolsky. From the repertoire of the group “Resurrection”
  • Ballad of Candles. A. Lobanovsky. From the repertoire of M. Zvezdinsky.
  • Maestro. From the group's repertoire " Blue berets»
  • I h yaka mkyachna. Ukrainian folk song
  • This company. From the repertoire of M. Gulko

Application.
Recommendations for the selection and operation of guitars by guitar master S. Shchegolev
The simplest types of accompaniment. Addendum to Lesson No. 12
Exercises to develop a sense of rhythm. Addition to lesson No. 12
Reduction musical notation
Brief list the most common musical terms

Greetings Dear friends:=) We continue to master blues guitar playing. Today I won’t bore you with theory; there was already a ton of it in previous issues. Today we will focus exclusively on practice. In today's article you will begin to master, and you will slowly begin to play the blues on the guitar :=)

This is already the fourth issue, I hope previous issues were useful for you:

In the previous article you learned the basic blues chords, today we will put them into practice. We will start with a simple blues accompaniment and gradually complicate it.

So, let's get acquainted with the first version of the accompaniment. As you remember, the main chords of blues accompaniment are: T– tonic, S– subdominant, D– dominant. Let's look at everything using the key A7 as an example.

The tonic will be the A7 chord of group E(mi); subdominant, chord D7 group A (A); dominant, chord E7 group A (A).

This accompaniment is most often used by guitarists to create the so-called rhythmic lining, against which powerful riffs and solos are performed.

The second accompaniment option that we will consider will be a little more complicated. In order to expand positions, we will use adjacent chords from other groups.

So, for example, for chords of the group E (mi), the adjacent group will be G (sol):

For chords of group A (A), the adjacent group will be C (C):

As we can see, all group chords are placed on the guitar fretboard from the 2nd to the 9th fret. Let's call this area the first play area. Below in the figure, with dots, I showed the location of the tonic of the main chords in this playing area:

In our case, the key is A and these tonics will be the notes: A– tonic chord, D– subdominant chord, E– dominant chord. When you change the key, the tonics of the chords shift to the right or left along the fretboard, and along with them the entire playing area shifts.

To diversify the sound, instead of simple seventh chords, you can use the same chords with add-ons and alterations.

These chords can be combined with each other in various ways.

Here is a tablature diagram of the chords that I played in the video lesson:

To create a more complex and varied accompaniment, you can increase the frequency of chord changes. You will get this accompaniment option:

Here's the tablature chart for the chords:

Note that the dominant chord here is E7#9. This is the so-called “Hendrix” chord. If you don’t know who Jimi Hendrix is, Google will help you, dear friends :=)

Now let's add to the chords we know, chords that are located half a tone lower. These are the so-called half-tone “entrances” :=) In addition, let’s change the very rhythm of the playback a little, and we will get this version of the accompaniment:

Here is a tablature diagram for playing chords:

As you can see from the diagram, in bar 5 the D9 chord was played higher up the fretboard, so we ended up in the second playing area.

This type of accompaniment can be played in the second playing area:

Here is the tablature diagram:

And finally, let's combine the first and second play area and we will get this accompaniment option:

This is how it plays:

Guys, that's all for today. I've shown you the basic blues accompaniment options, but that doesn't mean there aren't more options. Try to combine different blues chords with each other, make chord changes more frequent, in a word, don’t be afraid to experiment and find something new.

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Dear friends, see you in the next articles and newsletter issues: =)