“For some players, their approach to rhythm guitar is, ‘Oh, someone else gets to do all of the fun stuff while I do this…’” Think playing rhythm guitar is boring? Cory Wong is here to change your mind

Hello, and welcome to my new column for Guitar World! Over the next few months, I will demonstrate many of the approaches I use to craft guitar parts.

I’d like to start by addressing rhythm guitar playing and what I believe should be the mindset of a rhythm guitarist: why you should care, why it matters, and how you can make it fun!

For some players, their approach to rhythm guitar is, “Oh, someone else gets to do all of the fun stuff while I do this!” I suppose one could feel that way because they’re not exploring all of the available creative options.

When it comes to rhythm playing, my mindset is the momentum of the song and considering whether I need to add something harmonic and/or melodic.

Oftentimes, the keyboards or bass are covering the chord changes, so I don’t need to play them. This gives me the freedom to think about melody or ways to outline or enhance the harmony.

Cory Wong: Creating catchy, signature rhythm guitar parts - YouTube

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For example, if the chord chart says “G,” there are many ways to interpret that. I could play Figure 1, which is a straight G barre chord strummed in a syncopated 16th-note rhythm.

Or I could play Figure 2, utilizing an open G5 voicing. The same approach applies if the chart says G7, G9 or Gm. In these examples, I’m just playing a chord; it certainly doesn’t sound like a song or riff.

One thing we can strive to do is make a rhythm part sound like a hook, iconic to the song. For example, if a cover band is playing the song, they would have to play that specific part.

Figure 3 presents a rhythm part that's both melodic and rhythmically syncopated. It contributes to the momentum of the groove while also being so specific that one could sing it.

Let’s say I don’t need as much harmony, but the song could use some rhythmic push and melodic content. Instead of being the “chords person,” I’ll think of myself as a bongo player who can play pitches.

Figure 4 offers an example of this approach: while strumming steady 16th notes, I alternate between sounding single notes and muted strings to create a rhythm part that’s both harmonically and rhythmically strong.

Imagine playing multiple roles. Within a song, there might be a big chordal accent on “one” played by the keyboards, followed by a percussion riff and then bookended by a horn phrase. I can roll all three of those elements into a single guitar part, as in Figure 5.

I start with an accent on G9, followed by muted 16th notes and a single-note melody, then, in bar 2 by a two-note harmonized melody. Figure 6 offers another example, played at a slightly slower tempo.

The key is to create a unique part. My rhythm guitar approach can best be described as looking to create a song within the song, which fosters a more creative and expressive mindset that can help give the song a unique musical fingerprint.