Scroll through the lesson and click on notation/video/audio links to load the interactive players.
Please subscribe to get full access to all lessons for only $7.95/month PLUS 1 week free trial.
Riff Interactive lessons are LESS
expensive and MORE
interactive than alternatives!
Lesson Jam Track
(Key of G)
Teacher: hi guys. Reggae style guitar for the
rest of the month.
Teacher: Go ahead and load up the lesson sample
and the looping track.
henry: got it
dh: hi, sounds interesting that is why I am
Teacher: Cool. We will look at a variety of
typical reggae grooves with accompaning techniques and riffs over the next few
weeks. Starting off tonight with a old school, classic Reggae shuffle/swing
Stroke over G-C-D
Teacher: The chord progression is G - C, G - C -
Teacher: This progression, a I - IV - V, lies at
the heart of many famous Reggae tunes. Bob Marley's 'One Love' and 'Stir It Up'
come to mind.
Teacher: The feel tonight is over a 'One Drop'
groove. Here the drummer place a rimshot on beat 3 with the guitar handling the
typical backbeat position of beats 2 and
Teacher: The pattern is deceptively simple, but
their are a few points up front to discuss when trying achieve a good Reggae
Teacher: First is the coordination of the two
hands. Of particular importance is the 'choke' in the left hand. The sound of
the chords is very staccato, or short, as a rule.
Teacher: To get the sound, release the pressure
from the fingers without removing them from the strings. Here is a close up
video of the left hand.
Frank: Is it typical in Regae to play chords all the way
up the neck instead of "in the box"?
Teacher: I will give some other ways to play
Teacher: Typical you want to stay in the middle
of the neck, between frets 5 and 12. And on the top 3 or 4
Ah, I see.
gretschroundup: yes, good video - I'm with
Teacher: In the right hand, a slight palm mute
will be helpful to control any unwanted ringing
Teacher: lay the outside of the palm lightly
where the strings come off the bridge. Experiment with position and pressure so
that you may create a very dry sound but still hear the notes of the
Teacher: Here are some other voicings of the G
major chord that will be useful.
G Triad Voicings
Teacher: yo kozz. Welcome, reggae style
Which pickup(s) are you using on your Strat, and what guage
Teacher: Placing the notes of the chord in a
different order gives you an inversion. These will be useful to move through the
progression without having to jump around on the neck.
Teacher: Middle pickup of a typical Strat. Your
tone should be fairly dry, almost percussive. We will experiment with efffect
later but this will be a good place to
Teacher: And different tones, too. Typical clean
sound for this lesson.
I-IV-V Voicing Pairs(G-C-D)
Teacher: one second, i have to drop out, don't go
Teacher: some nice sets of voicings are shown.
Keeping your hand with a 4-5 fret range.
Teacher: This basic rhythm stroke we are playing
is called the 'chek' stroke. Think of this name when sounding chords on beats 2
Teacher: We can add an answering stroke on the
upbeat, giving us the 'chek-a' stroke.
This is almost always a downstroke-upstroke combination. Try with 2 downstrokes.
One of the misunderstood parts of Reggae is that because it is played on
off-beats that one uses upstrokes. Downstrokes provide a more powerful, support
Teacher: Still, use down-up for the 'chek-a'
stroke for the most part.
Teacher: To add a further percussive dimension to
your parts we can add rhythm scratches between strokes.
Are we live now?
Scratch + Chord Variations
yes, this is live John
Teacher: or is it The
Teacher: anyone on their laptop in line for that
movie right now?
John: My WI FI
doesn't work that far away from base....nor is my guitar cord that
Teacher: Tonights progression is right from the
key of G Major. In a major key, their are three main approaches to adding single
note leads and supporting parts.
Teacher: Mine either.
Teacher: First you might want to check out notes
straight from the chords. Arpeggios.
Frank: the scratch is cool...so simple its almost hard!
You might come up with a counter line to the rhythm guitar or the melody. Again,
palm muting is often used for these 'stuckey' lines.
Counter-Line (Stuckey Part)
Many basslines use arpeggios. It is always good to know the bassline so you can
double the bass part. A typical and important sound.
'stuckey' a word you made up?
Teacher: I heard it first used by the other
guitarist I learned from in my first Reggae band. We reworked R&B tunes
Reggae-style. I have seen it used other places, as well
Teacher: I like it because the sound sounds like
Regae originated in the West Indies, right? I head a Regae band in the Bahamas,
complete with a steel drum. They were
Teacher: Right. Jamaica, specifically. Reworked
American R&B with African and Caribbean/Latin rhythms. I didn't have time to
run down a full background but will do so bit by bit.
Teacher: The major scale is important to know to
fill around the chords and for its melodic potential.
The major scale line uses an "against-the-grain" sound of using straight 8th
notes over a shuffle groove. This can work the other way around as
Teacher: And the Major Pentatonic scale is a
great, smooth sounding choice
G Major Pentatonic
Here a couple of useful patterns and a
Pentatonic - Diagonal Pattern
major pent lick with the pull-off, is there audio for
Teacher: That's it for tonight's lesson. I hope
to see you back here next week. Catch up with me at my website,
www.guitarteacher.com or on the Riff Interactive message board for any
Storm, what does the "H" mean in the
Teacher: click the speaker icon, then click it
again to play back after the audio
Thanks Storm. First lesson, but really enjoyed it.
Teacher: got to go. Have a great week. Your
<< load notation from left
<< load audio from left
<< load audio from left