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Electric Country Guitar Lessons: The Funk Approach

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Now, we're gonna get into a little
bit of some funk kind of approaches
to rhythm playing right hand and
some syncopation kind of stuff.
And man, thing about this is is
we're not talking about like,
I'm not talking about like 70s
funk rhythm or anything like that.
I just mean the funk kind of approach that
I think of with country music is like.
Just the snapping and popping with the
right hand, the rhythm and syncopation.
So really getting a lot out of
these strokes with your right hand.
So with that,
I am just really kinda digging
in pretty hard here with the pick and
my two fingers on my right hand.
The hybrid technique here that
we've been talking about, but
it's just really just kinda getting into
the feel of it more than anything and
that's something that you
can kinda channel through.
You can listen to guys like Jerry Reed
that are really kinda just like
he was like the funky chedak and like.
And this guys just really, really,
they made the country sound
a little funky, a little swampy.
Like Tony Jo White and
Jerry Reed, and guys like that.
There's a lot of things you can do here.
One of them, especially went to E and
the A and the D,
especially if you're drop tuned and
D if your drop D's tuned down.
A lot of these open strings,
you don't wanna do this to
where you're over-playing.
But a lot of these open strings,
you can really get going like a.
You can throw little
things like that in there
that'll just make your playing
interesting like what I did there.
Just that little
lick thrown in there.
So that's.
that's a pull off.
A fast one too.
It's pretty fast.
So the same
thing works
on the E.
So you can use these other chords,
as well.
So like there,
I super imposed A [SOUND] over the E.
So even if the bass player
doesn't change chords,
you can super impose some of
these other chords over E and
it'll make it sound pretty funky like
here's a D super imposed over the E.
Some of those ideas
like that where you're
just kinda manipulating
the rhythms and putting
some funky stuff in there.
So in A.
>> You
can superimpose this little open G run.
So that's a D and
I'm just playing fifth fret,
open D and then the A.
When I'm playing these other
chords over these other chords,
when I'm superimposing these sounds,
I'm not necessarily thinking
as like a chord substitution.
I'm thinking of this like
as just the sound of it.
So while I'm in A, I know that G.
[SOUND] That's my blues note in A and
then G that's what makes that an A7.
So I'm just using that.
I'm like using it as if it
was [SOUND] like the A7.
So I'm thinking of this like,
okay, there's two notes there.
And its just give me that.
[SOUND] It's given me,
I'll tell you what it is.
It's like a suss sound, basically.
So there's your A suss chord.
And its given me that kind of sound,
which I love that sound and
that's like heavy on the seven.
So the relationship between
the flat seven which is your G shape
over the A, it adds some tension.
Now, that's D over A right there.
There's your D.
So those chords,
your four chord and
your flat seven chord.
They all have a relationship and I'm not
exactly sure what the theory is behind
that, but it's definitely the sound.
And whenever you have
a static chord like that,
that you're playing on
like if you're in A.
There's another thing you can do and
we'll get into this more advanced,
but I'm just using the seven of
that the part of that cord
that makes this the seven.
An A7, which is the major third and
the flat seven which is G.
So I'm.
And I'm peddling off of that low A.
And I'm sliding up [SOUND] right there, so
that gives us an interesting
kind of rhythm sound.
And there's my suss, so
I'm putting a D with the flat seven.
And then I'm resolving
to that major third,
[SOUND] so that gives me this.
when I went to D,
I slid up.
To just this partial of D7,
so just those three notes of it.
You can do that where you're just playing.
Instead of playing this,
you use the D7 shape
which is [SOUND] there's your D7 shape.
So you're just using that.
You can
use that,
now bar that A.
So that's
all the kinda
funky approach.
You're snapping, popping, sliding
up to these little two note things.
That kind of
approach to that.
So there's a couple ideas in A.
All right, we're gonna do some
funk rhythm playing country style.
And country funk rhythm playing
in A over the Waylon Groove.
Now we're gonna increase
the speed a little bit on this so
just might focus on what I'm doing and
the techniques we just went over.
So here we go.
there was
a couple of
of that.
And then now we're gonna do a little bit
of this stuff in a different position.
Let's go to G and
do a couple of funk ideas.
All right we've done A and
some funky rhythm styles here.
Now we're gonna do a little
faster train beat in G.
We're gonna go through a couple things.
And we're gonna work off this
position here with the G seven.
we're gonna do a thing here
where we're gonna use our thumb.
So see if you can incorporate this.
We're gonna wrap our thumb around,
just let it catch the G
string on the third fret.
And then that gives us these four fingers
to do what we want on these other strings.
So I'm gonna hammer on,
from a B flat shape here
into G seven.
we're gonna do this and
then we're gonna add this.
We're going to add the C note,
which is a sus chord.
So, we're going to go,
the whole thing will be.
you can play this also with
a full C shape here, like.
But I kinda
like it better with
just the sus.
So we're gonna go through
the three chords, G, C, and D.
we're gonna use this shape the whole time.
So let's try that.
>> [SOUND]