Up to 70% Off!  
Up to 70% Off! See The Sale  
Your Current Savings
Bonus Discount {{memorialDay.bonusDiscount}}%
Watch the The Basics online guitar lesson by Chris Buono from Funk Fission

Taking what I briefly showed you in the last segment, this performance is single note hybrid approach in its true element—improvised comping with a phat groove. It’s all here: banjo-type staccato rolls on plenty of cool F9(13)/Eb voicings starting in bar 6, some sneaky open strings tones first heard in bar 8, and more.

Some cool other cool ditties to watch for are simple, yet effective rhythmic motives I repeat throughout this performance. For instance, at the downbeat of bar 2 I fully hybrid pick the F9, then palm punch on the upbeat, and then immediately follow the punch with another F9 on the last 16th. Later I shift that rhythmic figure over a half beat in bar 5 displacing the motif and continue to do that according to what I play leading into the downbeat. Another one is the keep-it-stupid-simple succession of staccato downbeat/upbeat chordal shots first heard in the last beat of bar 7 and many more times towards the end.

Some next-level single note hybrid ideas are tucked away within this free-form foray of dominant chords. Check out bar 12 at the upbeat of beat 3 where I quietly pick two fifth string open A’s, but with a hybrid stroke first instead of the expected downstroke. This enables me to play the double hybrid picked open D and G strings that precedes the upper part of the F9(13)/C stab. Moving back to bar 8, look at the last 16th note in beat 2 where I hybrid pick a snappy, yet delicate open D note right before playing the accented F9(13)/Eb. The open D purposefully serves as a half step approach tone to the bass note (Eb) of the following chord. Another example of the melodic trick can be seen in bar 24 where the F9 at the upbeat of beat 3 is hybrid picked starting at the root F, then it’s 3rd, A, and then I utilize an open G to pull back a whole step in line construction even though I’m picking a higher string. The timbre of the third string provides a cool sonic twist given the fact I’m going to a lower note, but on a higher string. This effect is even more apparent since the higher string is open.