I can strum 8 down beats with accent on 2 and 4 ok probably up to 80 BPM, taping on the beat.
My problem is using the metronome:
I can sync with 4 downs on the beep up to about 80 BPM, with foot taping on the beat.
When I swicth to 8 Down beats at 60 BPM, taping on the beat, my sync become totally drifting away and after a very few bars I am already 1 or 2 beats off road.
Is there a trick to learn this easier? like more progressive?
I have to admit that working new rhythm patterns or work with a metronom is always the most mentally exhausting exercice, after 5/10 mins or so I get burned out. Same for you?
If your accents are strictly on the 2 and the 4 then the 1 just sits there as one of many non-accented beats.
You should still always know exactly where it is. Knowing when the 1 comes around does not lose its importance. But it doesnât get the âdynamicâ importance of an accent.
I hope that helps.
Cheers
| Richard_close2u | JustinGuitar Moderator, Guide & Approved Teacher
Foot tapping and counting help a lot of people. But for some of us, they make things worse.
For me, it feels like thereâs too much going on - consciously tapping my foot actually messes up my strumming and fretting.
I find it more useful to focus on keeping a really solid but relaxed strumming hand. And when I do that, my foot often starts tapping - seemingly on itâs own.
I also find a drumbeat much more effective than a metronome click or beep. Playing it LOUD - through good speakers or headphones - really helps too.
If you can strum consistently on the beat (record yourself if not sure) without tapping your foot, I wouldnât worry about it too much.
The key word I pick up here is consciously. Just like most things it has to be automatic. So that when your tapping your foot to the beat youâre doing it subconsciously.
When Justin says to focus on the thicker strings (for all beats other than 2 and 4), do we not play the thinner strings at all? Like should the pick only strike the thicker strings for those beats? Or should I try to play all strings but somehow try to make the thicker strings louder on that strum?
Because I canât seem to understand how I can do the latter.
I think the idea is to aim at the thicker strings, i.e. play the thicker strings only, but not to worry too much if you also hit the thinner strings sometimes. You neednât be too precise. Also, what is meant by âthe thicker stringsâ? Maybe the lowest 3 strings, maybe 4. Itâs not too important, is the point.
Anshul, move your strumming arm / hand in a smaller arc, use less movement. That does not mean less force and quieter strumming. It means your pick does not travel the same distance down.
@Richard_close2u So for example when playing the E chord, in an ideal scenario we donât play the thinner strings at all. Like we try so that the pick doesnât strike the thinner strings at all in that strum (as in we stop our hand motion when the pick is near 3rd string or something, so that the thinner ones are not played).
I understand about the force and volume. But what I just wrote, is that the right way?
Yes, because you are looking to make a sound difference across every bar. So only playing the full set of six strings on the 2 and 4 gives punctuation, landscape, features around which the music can find interest.
Justin suggests you can play Heroes using all down 8th note strumming. I expect there are tons moreâŚhopefully others will step in with additional suggestions!
