Thank’s dude as a rythmical guitarist I appreciate a lot this video 😉🤟🏼👍🏼 especially to me the second part, the accents stuff should help me drastically
I had a hand injury in 1998 (long time ago), and if forced me to limit my voicings (sometimes to just two notes), and I had to pay attention to intervals more. It was actually a very freeing, albeit frustrating (then), process. Sometimes limitations create improvement. Corey Wong is such a genius. I appreciate his attention to rhythm. Also, his music is great for cheering you up if you feel down. Positive vibes.
I got this from watching and reading about R Blackmore. His rhythm playing is only a few notes. I didn't understand but started doing this a little at a time. This explanation hits the mark. And the other comment about this genius. It's the explanation that makes its sense to some of us. If you learned this early on bully for you. But why rip on this guy for teaching something not everyone knows.
@@cianciaway883 There's a wee bit more to his playing that this. This one aspect is really good advice, especially to those that haven't been playing 40 years and even some that have been playing that long that may have never played in a band for example. So enlighten us to your awesome back catalog of records that showcase your awersomeness born from 40 years of playing tasty chops.
I'm a bassist. I've been trying to convey this message for years, decades. Harmonic information. Uh, I'm just gonna refer this video to my peeps. It's well said, with intelligence. You have done a great service. And so much more good I go here.
Also as a bassist, I've also noticed that this and this alone are the things that determine whether the groove actually grooves or if it just stumbles along struggling to keep itself together...
Cory has become such an icon in the past few years. He's like a Nile Rodgers for the UA-cam generation. Also, these are some outstanding tips! Regardless of your instrument, everything Cory just talked about applies: • The way individual instruments blend, and gel together in a band is CRITICAL! Get the mud out! • Playing in time is how a band sounds tight and professional, and every instrumentalist needs to be expert at it. • Lastly, players MUST listen as they play, and follow the band's dynamics as they happen. You're not robots. I've played in some okay bands, and the best ones understood these points. The not so good ones-or the not so good players-couldn't do these things. I would add that the larger a band gets the harder it can be to keep this stuff under control, so the band leader has to be a VERY good leader, which Cory obviously is. My best band experience was with a simple rock/funk 3 piece. Everyone had to pull their weight all the time, or else it fell apart. We got pretty tight because we had to be.
He is a phenomenal player and probably one of the best rhythm guitar players alive, but… He still has a long way before he can be compared to Nile Rodgers. In technique? Sure, but Nile Rodgers didn’t just left an impact on guitar, he left an undeniable impact on all contemporary music, which Cory still hasn’t done quite yet. He might do in the future, but he’s not there yet. My opinion (since you mentioned he’s like the Nile Rodgers of UA-cam).
@@dirgmario I see your point, but I think implicit in @The Last Boy Scout ‘s post is that UA-cam is a new thing and therefore Cory is charting a new path in the footsteps of greats such as Niles
This is great. Awareness is probably the number one problem in amateur bands. Everyone just wants to be heard all the time instead of meshing and picking your spots.
I think you mean "ego" is the number one problem - that's what makes everyone WANT to be heard ALL THE TIME. Listen to me me me me me me me me me me me me me me
I'm a horn player, awareness is big-time important for us, too, whether it's the group is rock, jazz, wind ensemble, or full orchestra. I've watched enough videos of Cory and his band to know he practices what he preaches, the performances are awesome.
I saw Corey and his band at the Sultan Room a few months ago. I know this is a rhythm guitar lesson but really the ideas of “less is more” for note choices, consistent timing, and being musically aware of how you fit into an ensemble are the essential pillars for any successful musician who wants to play in a band.
I remember watching a Bootsy Collins video on how he forms a groove and it really is a “less is more” style. People think music is solely the notes being played but it’s the space in between that make the notes special. I think of guitarists like David Gilmour and Eric Clapton. Two guitarists that use space to great effect.
These are great tips! One rhythm tip I learned from listening to Keith Richards that I think may also be useful is keeping the rhythm dynamic-- you can write a rhythm part with a motif and slightly vary it as the song progresses to keep it engaging. I first noticed this with you cant alway's get what you want where Keith displaces the hammer on in the acoustic rhythm he's playing by a beat or 2 each time he plays it in the beginning
I play most of the solos in a two guitar cover band but when me and the other guitarist are both playing rhythm parts, I listen carefully to what he's playing on any given song and usually craft voicings that will blend with it. I don't just automatically dig my heels in and demand that he conform to what I'm doing but try to blend into what he's voicing in his rhythm parts. That's the sharing and give and take you have to have in a band with two guitarists.
Great advice. I once was called in to session with a gospel choir where the dudes I played with had been playing together for years. And they used to start to shred their butts off for the heck of it. I played less and less because the groove got so busy it was insane but I doubt they paid any attention to what I was doing on the guitar. Keep it phunky, Cory.
Great tips. I've always tried to have awareness. I'm not the fastest or technically proficient, but I get lots of compliments on my ability to make a band sound better. Cory is awesome!
I played my first musical as a guitarist. All over the place i was playing 3 note chords on the highest 4 strings. Some weird voicings id never seen before. It was really eye opening.
I played for decades as a rhythm guitarist in bands where often I was the only guitar. When we would bring in a lead guitarist, they would usually fight me when I would say I need to modify what I was playing to accommodate a 2nd guitar. Alone, I was filling the sound with the one guitar, with 2 guitars, each needs to thin out in order to compliment each other, not fight against each other. During parts of a song, vocals, etc., where there is not actual lead guitar or a solo, even the lead guitar is going to want to, or should want to be contributing. If I am ripping 1/8 & 1/16’s to “fill it up”, anything other than a single strum may sound to full or muddy. Work together. Often less is more. A band is teamwork, not a constant “look at me” moment, although every member should be able to get the spotlight on occasion. Have fun and as always, enjoy!
I was just talking about Point #1 with a student last night - he plays in an originals band with another guitarist and keyboardist. Same issue, obviously - we discussed shell voicings on the three top strings, doing the Nile Rodgers kinda thing when things are sounding too ‘cluttered’ Cory is such an artist and killer musician - bravo! 👏
I’ll play a fun musical game with myself in those situations where the goal is to see how “small”I can make my part AND still keep the groove cooking. Imagine all sixteen “available” beats in a sixteenth note groove and begin subtracting depending on what my musical colleagues are playing. Consider it the Zen of Lazy Parts. It works:) It also will make your band mates more self aware of how much sonic space they’re occupying. Hopefully. :)
Cory, great video! Everything you described, is one of the reason Nile Rodgers was one of the best rhythm guitarists EVER! He almost NEVER touched the low strings, played a lot of notes, nor played too far down OR up the fingerboard. You nailed it! 👍
Honestly when I first got my strat I had that issue a lot (even worse was constantly turning my volume knob down) but eventually your hands just start to figure out where all that stuff is and naturally learn to avoid them
Solid advice. Really the top 3 for playing in a band. Even if you can only play 1 chord shape, but do these 3 things well, than you will valuable to a band.
I play electric guitar in a contemporary Christian worship band that consists of drums, bass, acoustic guitar, two vocals, keys, and sometimes- synth. With that many instruments happening, I've personally found that sometimes laying out entirely until the bridge or chorus is what works best for some pieces and, more often than not, a volume swell note here and there is all that is needed for verses- and then I open up with partial chords or single note lines. Any solos when they happen are generally built around the vocal line and just emphasize it. Lots of triads- rarely full chords- and I regularly ride the guitar's tone knobs which are wonderful for creating dynamics. Biggest thing is LISTENING to see what ISN'T needed in a song . . .
I think about this a lot - what if the best thing to do for a section of a song* is to simply not play? i feel like brass instruments maybe have this more often, staying out until the chorus, but it’s something i rarely see considered on guitar or piano or something *or even a whole song sometimes??
Point #3 comes to me naturally, as I'm typically the composer for my group. Point #1, however, was a struggle for me once I finally got to hear us on a demo record; took a while to figure out why we sounded so...... cluttered. Now, we play fewer notes, but with more precision. This is a good video.
I spent decades playing drums,mostly in funk bands. Cory nails it; listen and play with intention and purpose with your boys in the band,that's the gig.Go Cory,talking about the real deal.
Great vid. I saw rhythm - guitar - come up on my screen . I can’t begin to tell anyone who wants to be a credible player to forget everything but the rhythm,and timing . If you can’t play rhythm in time YOU CANT PLAY ! Why people believe playing “ lead “ is so superior to a rhythm player boggles my mind. Cory whim I’d never heard of before was spot on. I’ve been playing for sixty three years, that means nothing other than indicating I’m old. When I started playing in 1958 I had a passion for the guitar. Luckily I was influenced by the Everly Brothers before all else. I loved those Don Everly acoustic intros , Don playing in G tuning, Phil standard tuning, both playing J 200 guitars . That taught me how important rhythm was, the acoustic intros were always a hook for their early tunes . By 1961- 62 I started listening to jazz players, my dad would take me to clubs. By the time I became professional I was only playing four note chords unless it was a countryish tune playing first position cowboy chords, they have their place,and sound great depending on genre. I’ll bet I haven’t played a six note chord in forty years . I love four note inversions . Like say an A minor add 9. D string 9 th fret - G string 7th fret - B string 7th fret ,high E string 5th fret. That’s a four fret stretch. However if you pay attention to the bass notes in your inversions you can play melodic chord lines . I guarantee you far fewer great rhythm players than lead players . Ps. Of course I can play single note solos , there always based on the chords ,relative inversions or whatever. Takes this man’s advice . Notice how loose his right hand was. He wasn’t thinking, he was felling . Kudos Cory …
Hey Jacque, you seem to know your rhythm guitar shit so maybe you can help me with a question I've been wondering for a while as a piano player: how do you keep these thinner chords from sounding well, thinner compared to five and six note chords? Just a fuck ton of compression (and some distortion if you're playing heavier stuff)? Is a lot of it rarely playing those thicker chords in the first place so that two three and four note chords don't have anything to sound thinner than in comparison to?
If you want to listen to perfectly constructed songs with acoustic guitars playing great rhythms with one guitar,and three guitars - all first position , I didn’t want to come off like I was knocking cowboy chords, they’re fat. Put on headphones ,and listen to these two Beatles tracks. 1. I’m looking through you, just one acoustic guitar . You’ll also hear how in the pocket Paul,and Ringo are in the rhythm section. I imagine Lennon is playing the rhythm, notice what he does chordally on “ I’m looking through you “ lyric. He’s dropping a note from C# to C when going to the A#m - The song is in A#, they must have used a capo on the acoustic . 2. I’ve just seen a face . Two six strings,and a twelve string. NO BASS in the song, it’s got to be around 120-125 bpm . The arrangement is unreal. It’s ALL about the rhythm … I would like to hear some feedback on this .
Nice one, my band is a UK three piece indie guitar band, I am the lead vocalist, rhythm/lead guitar and keys/synths player, I’ve definitely learnt over the years how important it is to lock in and listen to what the other band members are playing which is essential not to be just thinking about what you are playing and then being far too loud!! Focusing and listening to what your other members will make you a better, tighter and more creative player, locking into a bass part or a drum beat and it then pulsing through my body then makes me create things I maybe wouldn’t have thought of and can then set a rhythmic pattern, loop, phrase to then adapt and create the vocal/guitar parts to fit and follow how the other band members are playing which then develops the feel and rhythm of the whole song. When I play I am always constantly focused and listening to all the other band members which is really important and I understand others may find this hard to do as well as focusing on what you are playing yourself, myself having always been the sound engineer and producer live and in the studio has definitely helped and enabled me to do this, in my head when I’m listening to everything I always try to think of all instruments sitting on different shelves and having the part they play and where it sits within an EQ band, this works well for me. The amount of musicians I’ve seen over the years especially guitarists who don’t listen to other band members, usually end up being far too loud in the mix drowning everyone else out, they have effects pedals i.e. overdrive level/volume on full and having no dynamics, instead of just using less which then gives better dynamics and control, for me less is more and will then create a better, nicer sounding mix.
excellent advise for musicians wanting to be in a band and make it work. last point about listening to the band more than focusing on your part is so important for me as i play by ear. usually i change my input to suit, rather than ask someone else to change, especially someone else who hasn't got the play by ear happening yet. worst thing is when someone learns tab to a song and it clashes with the band. it takes a lot of time to fix and sometimes they can't hear it clashing. practice using your ears.
So glad I watched this. Every thing said was spot on with issues in my playing. The attack mechanics are great. I have been practicing Bohannon riffs to help.
Thinning things out and slowing down…I actually *have* to do this now because I’ve carpal tunnel in both hands and cannot hold a barre chord or a complex chord without pain. My entire approach to the instrument is in flux. I’m glad I watched this video, now I’m low key thrilled by the innovations I’ll have to make!
Wow there's actually some really useful tips in here, I wasn't expecting that. I expected to hear the same things you find in 9 out of every 10 videos. The one about using simpler chord voicings is a really good thing to know.
Because of this video on rhythm guitar, specifically by Corey Wong, I am now subscribing to Sweetwater UA-cam channel. Thank you so much among the top three rhythm guitar videos that I have seen thus far as a self taught guitarist that I aspire to be and am becoming thank you, thank you, thank you.
Reassuring and encouraging to know I am not the only one making these mistakes! Many thanks As well as for the technical reasons you gave, I also think awareness and listening is important for finding your place in the vibe.
Great lesson! Now here is a really hard one. Play with dynamics. Try playing softly during the vocal and blasting during the solos. All bands can do this, but I've never found guys who will.
I'm more rooted in metal and guys like James Hetfield but one of the things I like about Cory is even in his funky accented rhythms is that he still gives the strings a good workout and hits the note hard when they need to be worked hard. If you need punch, hit it hard. Smack it. I see so many guitar players that don't do this.
This was a much needed video, thanks corey ! I group minor and major 3rds into triads and major and minor 2nds into triads. It helps me to organise phrases.
Definitely things to keep in mind. As always, the context, the environment is what matters. So one more tip: Use your ears, and adapt until it feels right. Peter Lazer
My high school jazz teacher (even though I played trombone in the stage band, he was big on making sure I had some knowledge on all the instruments I played) used to have me practice three-note voicings on both piano and guitar. 3rd, 7th, and alteration, as much as possible, which was always the standard voicing in the old big band comping style anyway. Those three notes give you that definitive jazz sound, but also give the bass and piano more space. The rest of the chord is usually fleshed out by the horn sections anyway -- so, like Cory said, if you've got horns and keyboards and piano and bass and all of that, there's not really a need to have six-note voicings on the guitar. Like the piano, those voicings are POSSIBLE if you're playing solo or you're the only accompanying instrument, but not necessary all the time. There's a reason metal and rock players lean on power chords.
Cory Wong is remarkable. Such an artist with such remarkable breadth. The storylines he creates and the production quality of the videos he puts together for his youtube channel are so cool.
I'm in a trio consisting of a guitarist who sings, a drummer who doesn't, and a lead instrumentalist (harmonica) who also sings and occasionally adds supplemental congas and/or cowbell. With such sparse instrumentation, our guitarist is usually playing five or six note chords in the lowest possible root position...to create full chords with as much low end presence in the mix as possible. With that in mind, one of the things we're constantly on the look out for is the rhythmic interplay between the guitar and drums, tailoring the patterns to _hit together_ in some moments and to _create space_ (or fill in gaps) in others. By applying Tip #3, it's amazing what a huge (but not muddy) sound a tiny band can create.
Regarding Tip #1 My mind was BLOWN when I first realized so many U2 super famous guitar rhythm patterns involve only 2 notes at a time. Tip #2) I have to ask if you’re a former drumline guy. That’s the type of stuff we eat for breakfast. You’re the first guitar teacher I’ve seen teach this type of thing.
The first one makes me happy because I’ve been insecure about the way I play chords for rhythm on the higher four strings with three notes a chord. For some reason I thought it was the wrong way and I see other players practicing with larger chords and think they sound great but I never heard them in a band setting. I drew inspiration from funk guitarists and that’s how I even play my acoustic.
Great video Cory. As a high school music teacher who does not play guitar, this video clearly presents the challenges (and solutions) young players encounter when trying to funk grooves. Thank you!
Very good advice on the voicing; I can absolutely notice a difference. To be fair, I play mostly metal through a very high gain amplifier with an additional OD pedal pushing the mids in the front. That being said though, from my experience, gain and distortion have to be utilized correctly and wisely when considering the voicings, because the more notes you add, the crazier the tone can get. It loses that edge; that definition and punch that heavy music is built on. Praise be to power chords LOL
How do you keep your rhythm playing funky fresh? 💥
I surgically removed tendons from my wrist to make it more loose and funky, and then learned mixolydian
Thank’s dude as a rythmical guitarist I appreciate a lot this video 😉🤟🏼👍🏼 especially to me the second part, the accents stuff should help me drastically
listen
I had a hand injury in 1998 (long time ago), and if forced me to limit my voicings (sometimes to just two notes), and I had to pay attention to intervals more. It was actually a very freeing, albeit frustrating (then), process. Sometimes limitations create improvement. Corey Wong is such a genius. I appreciate his attention to rhythm. Also, his music is great for cheering you up if you feel down. Positive vibes.
8am
That first piece of advice about thinning out the chord to avoid getting punished by the FOH person is pure gold.
The Edge was explaining how it was key to his approach. Possibly he pioneered it? Someone more informed than me on guitar history could maybe tell.
Dude I used to do that in the eighties and shit loads more people for that matter.. why is this guy considered a genius?
I think it's great for song writing in general. Allow the note you play be heard.
I got this from watching and reading about R Blackmore. His rhythm playing is only a few notes. I didn't understand but started doing this a little at a time. This explanation hits the mark. And the other comment about this genius. It's the explanation that makes its sense to some of us. If you learned this early on bully for you. But why rip on this guy for teaching something not everyone knows.
@@cianciaway883 There's a wee bit more to his playing that this. This one aspect is really good advice, especially to those that haven't been playing 40 years and even some that have been playing that long that may have never played in a band for example.
So enlighten us to your awesome back catalog of records that showcase your awersomeness born from 40 years of playing tasty chops.
Ok I can’t resist. Should have called this video “The Wong way to play rhythm guitar”
👏👏👏😁
The only problem with that is the Wong way is the right way, and that's just confusing 😂
2nd
Don’t mock him! It’s wong. Instead, talk about wight way to play.
He is gonna hurt that hand! Look how his fingers bend! Too fast yo
I'm a bassist. I've been trying to convey this message for years, decades. Harmonic information. Uh, I'm just gonna refer this video to my peeps. It's well said, with intelligence. You have done a great service. And so much more good I go here.
Good Luck, I have been gigging on Bass for over 25 years. So many guitarist think the world revolves around them.
Also as a bassist, I've also noticed that this and this alone are the things that determine whether the groove actually grooves or if it just stumbles along struggling to keep itself together...
@@tylerevans1700 So true
Hope you only have 4 strings on your bass so you don't delve into other instruments sonic territory !!
Right? This felt like BASS-ics, right hand accents CORE to bass groove, awareness of note spacing, and of course---listening!!
His right hand deserves a Physics and Math Nobel Prize. Good god. He looks like an awesome guy, too. So humble. So gifted. So down to earth..
My right hand’s become suicidal
Totally, amazing!
Cory rocks.
His right hand is like a piece of flubber. A very precise piece though.
Cory has become such an icon in the past few years. He's like a Nile Rodgers for the UA-cam generation. Also, these are some outstanding tips!
Regardless of your instrument, everything Cory just talked about applies:
• The way individual instruments blend, and gel together in a band is CRITICAL! Get the mud out!
• Playing in time is how a band sounds tight and professional, and every instrumentalist needs to be expert at it.
• Lastly, players MUST listen as they play, and follow the band's dynamics as they happen. You're not robots.
I've played in some okay bands, and the best ones understood these points. The not so good ones-or the not so good players-couldn't do these things. I would add that the larger a band gets the harder it can be to keep this stuff under control, so the band leader has to be a VERY good leader, which Cory obviously is.
My best band experience was with a simple rock/funk 3 piece. Everyone had to pull their weight all the time, or else it fell apart. We got pretty tight because we had to be.
He is a phenomenal player and probably one of the best rhythm guitar players alive, but… He still has a long way before he can be compared to Nile Rodgers.
In technique? Sure, but Nile Rodgers didn’t just left an impact on guitar, he left an undeniable impact on all contemporary music, which Cory still hasn’t done quite yet. He might do in the future, but he’s not there yet. My opinion (since you mentioned he’s like the Nile Rodgers of UA-cam).
@@dirgmario I see your point, but I think implicit in @The Last Boy Scout ‘s post is that UA-cam is a new thing and therefore Cory is charting a new path in the footsteps of greats such as Niles
Even further to Tony Maiden ....😁
Well, Cory Wong is great 👍
My favourite Rythm guitar player is Ry Cooder
Omg. Equating Corey Wong with the Hitmaker. 100m in record sales. Yep right.
This is great. Awareness is probably the number one problem in amateur bands. Everyone just wants to be heard all the time instead of meshing and picking your spots.
Amen! Preach it bro.. ✌️ 💕
Yeah 90 percent of the time less is more.
I think you mean "ego" is the number one problem - that's what makes everyone WANT to be heard ALL THE TIME.
Listen to me me me me me me me me me me me me me me
And a big reason why most people remain amateurs for their entire lives.
I'm a horn player, awareness is big-time important for us, too, whether it's the group is rock, jazz, wind ensemble, or full orchestra. I've watched enough videos of Cory and his band to know he practices what he preaches, the performances are awesome.
00:46 #1 Too many notes in voicing
03:13 #2 Right hand consistency and dynamics control
05:55 #3 Awareness
I saw Corey and his band at the Sultan Room a few months ago. I know this is a rhythm guitar lesson but really the ideas of “less is more” for note choices, consistent timing, and being musically aware of how you fit into an ensemble are the essential pillars for any successful musician who wants to play in a band.
I remember watching a Bootsy Collins video on how he forms a groove and it really is a “less is more” style. People think music is solely the notes being played but it’s the space in between that make the notes special. I think of guitarists like David Gilmour and Eric Clapton. Two guitarists that use space to great effect.
I find his band too busy TBH. Vulfpeck or FF I like more for this reason.
Corey Wong at Sweetwater? Probably also filmed a demo for his new pedal with Jackson Audio. Can't wait for that video!
That's a fact. ;)
These are great tips! One rhythm tip I learned from listening to Keith Richards that I think may also be useful is keeping the rhythm dynamic-- you can write a rhythm part with a motif and slightly vary it as the song progresses to keep it engaging. I first noticed this with you cant alway's get what you want where Keith displaces the hammer on in the acoustic rhythm he's playing by a beat or 2 each time he plays it in the beginning
I play most of the solos in a two guitar cover band but when me and the other guitarist are both playing rhythm parts, I listen carefully to what he's playing on any given song and usually craft voicings that will blend with it. I don't just automatically dig my heels in and demand that he conform to what I'm doing but try to blend into what he's voicing in his rhythm parts. That's the sharing and give and take you have to have in a band with two guitarists.
Great advice. I once was called in to session with a gospel choir where the dudes I played with had been playing together for years. And they used to start to shred their butts off for the heck of it.
I played less and less because the groove got so busy it was insane but I doubt they paid any attention to what I was doing on the guitar. Keep it phunky, Cory.
I wish more guitarists for like Cory. Everyone wants to be a UA-cam shredder these days but no one wants to be a musician in a “team” of musicians.
Cory is an excellent teacher. He definitely dispenses guitar wisdom. ' Sitting at his feet ' so to speak is time well spent
Great tips. I've always tried to have awareness. I'm not the fastest or technically proficient, but I get lots of compliments on my ability to make a band sound better. Cory is awesome!
All good points. I'm not a musician, but the whole thing brings to mind something I heard a long time ago. "Play what serves the song the best".
I played my first musical as a guitarist. All over the place i was playing 3 note chords on the highest 4 strings. Some weird voicings id never seen before. It was really eye opening.
I love experimenting with different voicing on the higher four strings.
I played for decades as a rhythm guitarist in bands where often I was the only guitar. When we would bring in a lead guitarist, they would usually fight me when I would say I need to modify what I was playing to accommodate a 2nd guitar. Alone, I was filling the sound with the one guitar, with 2 guitars, each needs to thin out in order to compliment each other, not fight against each other. During parts of a song, vocals, etc., where there is not actual lead guitar or a solo, even the lead guitar is going to want to, or should want to be contributing. If I am ripping 1/8 & 1/16’s to “fill it up”, anything other than a single strum may sound to full or muddy. Work together. Often less is more. A band is teamwork, not a constant “look at me” moment, although every member should be able to get the spotlight on occasion. Have fun and as always, enjoy!
Great Lesson from Cory. He seems like a good guy
he is the Optimist!
I was just talking about Point #1 with a student last night - he plays in an originals band with another guitarist and keyboardist. Same issue, obviously - we discussed shell voicings on the three top strings, doing the Nile Rodgers kinda thing when things are sounding too ‘cluttered’
Cory is such an artist and killer musician - bravo! 👏
Those little triad inversions are fantastic
I’ll play a fun musical game with myself in those situations where the goal is to see how “small”I can make my part AND still keep the groove cooking. Imagine all sixteen “available” beats in a sixteenth note groove and begin subtracting depending on what my musical colleagues are playing. Consider it the Zen of Lazy Parts. It works:) It also will make your band mates more self aware of how much sonic space they’re occupying. Hopefully. :)
Excellent presentation. I’m not a rhythm guitar but your principles in this video are universal, I think. Great contribution.
This is great advice for literally any musician on any instrument.
Cory, great video! Everything you described, is one of the reason Nile Rodgers was one of the best rhythm guitarists EVER! He almost NEVER touched the low strings, played a lot of notes, nor played too far down OR up the fingerboard. You nailed it! 👍
The most amazing thing to me is how he doesn’t smack the PUP selector when he’s going full tilt…that’s my biggest issue with Strats.
Big problem for me too with my meaty mitts.
All in the flick of the wrist! No Pete Townshend windmills on a strat lol
@@michaelpiercey7316 but PT windmilled on a Strat!
There's a company that makes a switch lock. I put one on mine and it works well.
Honestly when I first got my strat I had that issue a lot (even worse was constantly turning my volume knob down) but eventually your hands just start to figure out where all that stuff is and naturally learn to avoid them
As a bar musician for 45 years, how I wish this could have been seen by so many of my bandmates.
Solid advice. Really the top 3 for playing in a band. Even if you can only play 1 chord shape, but do these 3 things well, than you will valuable to a band.
This is basic, but essential, info. Gotta have all of this in your bag. Thanks for posting.
This advice is all gold and goes for any rhythm instrument!
I play electric guitar in a contemporary Christian worship band that consists of drums, bass, acoustic guitar, two vocals, keys, and sometimes- synth. With that many instruments happening, I've personally found that sometimes laying out entirely until the bridge or chorus is what works best for some pieces and, more often than not, a volume swell note here and there is all that is needed for verses- and then I open up with partial chords or single note lines. Any solos when they happen are generally built around the vocal line and just emphasize it. Lots of triads- rarely full chords- and I regularly ride the guitar's tone knobs which are wonderful for creating dynamics. Biggest thing is LISTENING to see what ISN'T needed in a song . . .
I think about this a lot - what if the best thing to do for a section of a song* is to simply not play? i feel like brass instruments maybe have this more often, staying out until the chorus, but it’s something i rarely see considered on guitar or piano or something
*or even a whole song sometimes??
When NOT to play is the harder thing to master for any musician
that's mostly because Christian music focuses way too much on "ambience" sounds.
might be the best music lesson I've ever received. Cory Wong is the best
Sir you are a great communicator. Makes it easier to learn.
Point #3 comes to me naturally, as I'm typically the composer for my group. Point #1, however, was a struggle for me once I finally got to hear us on a demo record; took a while to figure out why we sounded so...... cluttered. Now, we play fewer notes, but with more precision.
This is a good video.
Great job!
I spent decades playing drums,mostly in funk bands. Cory nails it; listen and play with intention and purpose with your boys in the band,that's the gig.Go Cory,talking about the real deal.
Team first always wins
One of the best musical lessons for any comping player‼️
How do you keep your plectrum from turning around between your thumb and finger while doing all that relentless picking?
This is great video, especially if you’re at that intermediate level of guitar play. Good advice, its worth the time watching.
Great vid. I saw rhythm - guitar - come up on my screen . I can’t begin to tell anyone who wants to be a credible player to forget everything but the rhythm,and timing . If you can’t play rhythm in time YOU CANT PLAY ! Why people believe playing “ lead “ is so superior to a rhythm player boggles my mind. Cory whim I’d never heard of before was spot on. I’ve been playing for sixty three years, that means nothing other than indicating I’m old. When I started playing in 1958 I had a passion for the guitar. Luckily I was influenced by the Everly Brothers before all else. I loved those Don Everly acoustic intros , Don playing in G tuning, Phil standard tuning, both playing J 200 guitars . That taught me how important rhythm was, the acoustic intros were always a hook for their early tunes . By 1961- 62 I started listening to jazz players, my dad would take me to clubs. By the time I became professional I was only playing four note chords unless it was a countryish tune playing first position cowboy chords, they have their place,and sound great depending on genre. I’ll bet I haven’t played a six note chord in forty years . I love four note inversions . Like say an A minor add 9. D string 9 th fret - G string 7th fret - B string 7th fret ,high E string 5th fret. That’s a four fret stretch. However if you pay attention to the bass notes in your inversions you can play melodic chord lines . I guarantee you far fewer great rhythm players than lead players . Ps. Of course I can play single note solos , there always based on the chords ,relative inversions or whatever.
Takes this man’s advice . Notice how loose his right hand was. He wasn’t thinking, he was felling . Kudos Cory …
Hey Jacque, you seem to know your rhythm guitar shit so maybe you can help me with a question I've been wondering for a while as a piano player: how do you keep these thinner chords from sounding well, thinner compared to five and six note chords? Just a fuck ton of compression (and some distortion if you're playing heavier stuff)? Is a lot of it rarely playing those thicker chords in the first place so that two three and four note chords don't have anything to sound thinner than in comparison to?
If you want to listen to perfectly constructed songs with acoustic guitars playing great rhythms with one guitar,and three guitars - all first position , I didn’t want to come off like I was knocking cowboy chords, they’re fat. Put on headphones ,and listen to these two Beatles tracks.
1. I’m looking through you, just one acoustic guitar . You’ll also hear how in the pocket Paul,and Ringo are in the rhythm section. I imagine Lennon is playing the rhythm, notice what he does chordally on “ I’m looking through you “ lyric. He’s dropping a note from C# to C when going to the A#m - The song is in A#, they must have used a capo on the acoustic .
2. I’ve just seen a face . Two six strings,and a twelve string. NO BASS in the song, it’s got to be around 120-125 bpm . The arrangement is unreal. It’s ALL about the rhythm …
I would like to hear some feedback on this .
Nice one, my band is a UK three piece indie guitar band, I am the lead vocalist, rhythm/lead guitar and keys/synths player, I’ve definitely learnt over the years how important it is to lock in and listen to what the other band members are playing which is essential not to be just thinking about what you are playing and then being far too loud!!
Focusing and listening to what your other members will make you a better, tighter and more creative player, locking into a bass part or a drum beat and it then pulsing through my body then makes me create things I maybe wouldn’t have thought of and can then set a rhythmic pattern, loop, phrase to then adapt and create the vocal/guitar parts to fit and follow how the other band members are playing which then develops the feel and rhythm of the whole song.
When I play I am always constantly focused and listening to all the other band members which is really important and I understand others may find this hard to do as well as focusing on what you are playing yourself, myself having always been the sound engineer and producer live and in the studio has definitely helped and enabled me to do this, in my head when I’m listening to everything I always try to think of all instruments sitting on different shelves and having the part they play and where it sits within an EQ band, this works well for me.
The amount of musicians I’ve seen over the years especially guitarists who don’t listen to other band members, usually end up being far too loud in the mix drowning everyone else out, they have effects pedals i.e. overdrive level/volume on full and having no dynamics, instead of just using less which then gives better dynamics and control, for me less is more and will then create a better, nicer sounding mix.
excellent advise for musicians wanting to be in a band and make it work. last point about listening to the band more than focusing on your part is so important for me as i play by ear. usually i change my input to suit, rather than ask someone else to change, especially someone else who hasn't got the play by ear happening yet. worst thing is when someone learns tab to a song and it clashes with the band. it takes a lot of time to fix and sometimes they can't hear it clashing. practice using your ears.
Good stuff. Over the years I kinda figured most of this out on my own, but it's great to hear it articulated so well.
A great player I knoew has always said ignore the leftt hand that will come but the right hand is the absolute key. brilliant lesson !!
So glad I watched this. Every thing said was spot on with issues in my playing. The attack mechanics are great. I have been practicing Bohannon riffs to help.
Cory is funky, and an awesome educator!
Thinning things out and slowing down…I actually *have* to do this now because I’ve carpal tunnel in both hands and cannot hold a barre chord or a complex chord without pain. My entire approach to the instrument is in flux. I’m glad I watched this video, now I’m low key thrilled by the innovations I’ll have to make!
Wow there's actually some really useful tips in here, I wasn't expecting that. I expected to hear the same things you find in 9 out of every 10 videos. The one about using simpler chord voicings is a really good thing to know.
Because of this video on rhythm guitar, specifically by Corey Wong, I am now subscribing to Sweetwater UA-cam channel. Thank you so much among the top three rhythm guitar videos that I have seen thus far as a self taught guitarist that I aspire to be and am becoming thank you, thank you, thank you.
Such an exceptional player and a really wonderful teacher too! Super knowledgeable and insightful cat, and boy what a right hand🥵
Excellent vlog thanks.......nice playing
SRV is an ever-giving well of right hand dynamics and delivery techniques.
Reassuring and encouraging to know I am not the only one making these mistakes! Many thanks
As well as for the technical reasons you gave, I also think awareness and listening is important for finding your place in the vibe.
Great advice about thinning out the notes. I am amazed that Corey can strum like that and only hit two strings. I need to practice more.
Right?! I was amazed with his strumming technique! Really solid and strong with the accents! 👍
Finally someone made a guitar video worth watching! Thanks!
The two note chord had a third note in it which was a harmonic that was ringing during the two notes.
So cool to hear these tips. So unique to see the art of rhythm playing. I had no idea.
Excellent advice. I was just thinking of these exact things earlier today. People underestimate the importance of a good rhythm hand.
Great lesson! Now here is a really hard one. Play with dynamics. Try playing softly during the vocal and blasting during the solos. All bands can do this, but I've never found guys who will.
I'm more rooted in metal and guys like James Hetfield but one of the things I like about Cory is even in his funky accented rhythms is that he still gives the strings a good workout and hits the note hard when they need to be worked hard. If you need punch, hit it hard. Smack it. I see so many guitar players that don't do this.
Great video great show. Playing guitar. Great music. So sound. Great audio
So sound 👌
One of the most down to earth, simply just being a great human. Gosh, what a guy.
This was a much needed video, thanks corey ! I group minor and major 3rds into triads and major and minor 2nds into triads. It helps me to organise phrases.
Very, very good and valuable contribution.
Thank you, Cory!
Marc
What I noticed more than anything was the fluid, loose movement of your right wrist that gives such punch to your rhythms. Master class.
If one creates multi tracked songs and play all the instruments themselves , they realize instantly the issue with “ to many notes” . Great info.
This is great info, Cory, but what we really need to know is: what is your go-to disc for throwing a tight hyzer flip or straight line in the woods?
LOL! Hello fellow disc golfer 👍
@@jeffhemmerling6088 Watching Jomez right now ....
Bob weir is a great guitarist to look at when making rhythm parts.
My 54 years of playing guitar (and bass) agrees with everything you said.
Great points. I can relate to all of this. And I'm a violin player.
This guy’s playing is flawless
This was super helpful and helped my process of writing chord progressions
Definitely things to keep in mind. As always, the context, the environment is what matters. So one more tip: Use your ears, and adapt until it feels right.
Peter Lazer
Mind-boggling rhythm chops. Love it
My high school jazz teacher (even though I played trombone in the stage band, he was big on making sure I had some knowledge on all the instruments I played) used to have me practice three-note voicings on both piano and guitar. 3rd, 7th, and alteration, as much as possible, which was always the standard voicing in the old big band comping style anyway. Those three notes give you that definitive jazz sound, but also give the bass and piano more space. The rest of the chord is usually fleshed out by the horn sections anyway -- so, like Cory said, if you've got horns and keyboards and piano and bass and all of that, there's not really a need to have six-note voicings on the guitar. Like the piano, those voicings are POSSIBLE if you're playing solo or you're the only accompanying instrument, but not necessary all the time. There's a reason metal and rock players lean on power chords.
Cory Wong is remarkable. Such an artist with such remarkable breadth. The storylines he creates and the production quality of the videos he puts together for his youtube channel are so cool.
A fantastic guy. Truly into the rhythm
2:51 you're playing two notes, and the muted strings bring up the major third in a higher register as well.
This is GOLD. Thank you Cory and Sweetwater!
Thank you for your support, Ray! 💙
This is the best guitar advice I have ever seen on UA-cam
Great lesson. Cory has some sick rhythm chops.
I'm in a trio consisting of a guitarist who sings, a drummer who doesn't, and a lead instrumentalist (harmonica) who also sings and occasionally adds supplemental congas and/or cowbell. With such sparse instrumentation, our guitarist is usually playing five or six note chords in the lowest possible root position...to create full chords with as much low end presence in the mix as possible. With that in mind, one of the things we're constantly on the look out for is the rhythmic interplay between the guitar and drums, tailoring the patterns to _hit together_ in some moments and to _create space_ (or fill in gaps) in others. By applying Tip #3, it's amazing what a huge (but not muddy) sound a tiny band can create.
Cory Wong is the best rhythm guitar drumline instructor ever. That was a great check pattern
Smart guy, good communicator, great player...very nice to see great young guys like him coming up.
His playing is so clean, these videos are great
Regarding Tip #1
My mind was BLOWN when I first realized so many U2 super famous guitar rhythm patterns involve only 2 notes at a time.
Tip #2)
I have to ask if you’re a former drumline guy. That’s the type of stuff we eat for breakfast. You’re the first guitar teacher I’ve seen teach this type of thing.
This Amp sounds AMAZING!!! Love it
The first one makes me happy because I’ve been insecure about the way I play chords for rhythm on the higher four strings with three notes a chord. For some reason I thought it was the wrong way and I see other players practicing with larger chords and think they sound great but I never heard them in a band setting. I drew inspiration from funk guitarists and that’s how I even play my acoustic.
Thank you Sweetwater and Cory Wong for making this video. This is gold
Great video Cory. As a high school music teacher who does not play guitar, this video clearly presents the challenges (and solutions) young players encounter when trying to funk grooves. Thank you!
That right hand wrist motion is inhuman. He just kinda flails it perfectly, it is incredible.
It’s hard to replicate lol
Just the best advice! I've been screaming about this for years!
Bravo Cory 👏
What a fekkin' great lesson!!! superb playing as well!!!
Great tips and thanks. I've switched from a solo acoustic guitarist fronting my own soul funk band playing electric so this is great information.
Clear, concise, and awesome.
Highly informative! And your technique is really awesome too!👍
It's amazing these tips are so great and how much those tips even apply to bass guitar
This is gold! Thank you!
1:52 That compression.....
Thank you Cory. Good advice.
cool flappy right hand! do you use a thick or thin pick ? thx!
Wow, your rhythm chops are on point! Guess I should start practicing my accents now.
Very good advice on the voicing; I can absolutely notice a difference. To be fair, I play mostly metal through a very high gain amplifier with an additional OD pedal pushing the mids in the front. That being said though, from my experience, gain and distortion have to be utilized correctly and wisely when considering the voicings, because the more notes you add, the crazier the tone can get. It loses that edge; that definition and punch that heavy music is built on. Praise be to power chords LOL