“He has the magic right hand!” So said a student of mine about David Bowie and his amazing twelve-string guitar playing. We all want freedom of expression on the guitar and no less with rhythm and strumming. You need to be able to play any rhythm at any time. But where to start?
The key to this freedom is to learn compound strumming patterns. This means that two patterns are pieced together to form a third pattern. You also need to be able to use one pattern in one measure, and a different pattern in the next and so on. We will make a one measure, compound strumming pattern out of two separate patterns, and then use it in the chord progression from Jimi Hendix’s “Hey Joe,” which includes both a simple and a compound pattern.
Let’s call the two source patterns I and II respectively. Take a look at Example I above, which shows how the two patterns combine to form a third, compound pattern. You may also want to take a look at my lessons, “Essential Strum Pattern in ‘Knockin’ On Heaven’s Door” and “Learn the Strumming Pattern for ‘Dead Flowers," which explain Patterns I and II in detail.
As you may recall from the two earlier lessons, Pattern I is used in slow songs and allows more rhythmic activity, namely sixteenth notes. Pattern II generally goes faster and relies more on eighth notes. So, what we’ll do is shoehorn Pattern II in its entirety into the second half of Pattern I. When we drop Pattern II into the second half of Pattern I, the eighth notes of Pattern II become sixteenth notes.
Look at the video and use your ears and eyes. But sooner than later, you have to memorize the patterns. In music, the ears are faster than the eyes, but the memory is the fastest of all. You should be comfortable with both patterns one and two before attempting the compound pattern. If you find it difficult to execute, go back to patterns one and two and practice them separately over one chord – use E for example. Then attempt the compound pattern again, repeating it over one chord.
When you listen to “Hey Joe,” it may be hard to hear the patterns under all the surface embellishments and fancy lead work. But if you were to play a rhythm guitar part consisting of these patterns (behind the right chords, see below), it would fit perfectly underneath someone else playing the leads, licks, accents, singing, etc. More specifically, Pattern II in the compound pattern supports the main guitar fills or hooks that punctuate many of the lines.
The chart above shows how the chords and strumming are aligned. Note how Pattern I is used on the first two measures, and the compound pattern is used on the last two measures. It's a blues/gospel influenced form: the singing takes place in the first half, and the response, aka the guitar leads, takes place in the second half, over the compound pattern.
The “accuracy at any speed or rhythm rule.”
If you still have trouble with the compound pattern, try playing it very slowly, making sure that you’re completely accurate with the series of down and upstrokes. Because the down-strokes and upstrokes naturally sound different (the down-stroke is a little more forceful, more full and the upstroke a little lighter and thinner), even if your rhythm is a little off, if you go slowly enough, and you’re perfectly accurate, the inherent rhythm of the pattern will emerge. Then try speeding it up and you’ll probably find that it takes off.
Make sure that you keep your right hand moving all the time. Sometimes it can be good to take a look in a mirror, not necessarily a roomful of mirrors, but a well-placed full-size mirror, and watch what your right hand is doing. It shouldn’t be hanging around in the ‘down’ position too much, but floating, jiving, boogying up and down. Always moving, a bit like Marc Bolan at a party in the ‘70s. That's the idea - be free - have fun with it! -Christian Botta
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