Maybe notice that if the bass note is on the 5th string I mostly alternate the bass on beats 1 and 4, but when the root is on the 6th string I just repeat that note. I don’t think I need to explain a lot about how it works, it is pretty straight forward.
In the example below I have taken the groove through a 12 bar blues in F. Any exercise is only really going to get in your system if you can apply it to a song, so this is a very important thing to always include in learning a new skill. To get used to playing the groove it is a good idea to take the groove and play through a few songs. When I play in 5/4 I also rely on feeling the 8th note sub-division.Ī great exercise to work with the subdivision is to play the 8th notes with a muted note and then accent the 5/4 Clave.
This is also true for an odd meter like 5/4. Sub-division is King!įeeling subdivision is at the root of all solid time feel and is the essential component to having good time. The next step is to start to turn these accents into a groove.Ī very basic 5/4 groove is shown in the 3rd bar here above and this is extended a bit to a solid F7 groove in the last bar. It can be a good idea to just get familiar with these two patterns, playing them with a metronome and maybe counting along as I do in the video. The basic flow of the 5/4 groove is the pattern shown in the 2nd bar of the example. The most common way of playing in 5/4 is to split the bar in 3 and 2, so the basic heavy beats of the bar are on beat 1 and beat 4 as shown in the example below.
#Take five guitar tab how to#
So to learn to solo in 5/4 it is useful to first check out how to play a groove and understand how the meter sounds. It isn’t until we have to deal with a another meter that we start to notice how much we really use our basic feel of 4/4. What we often forget is that we already have years of experience playing in 4/4 and that we rely on this whenever we play. In this lesson I am going to go over how to hear or feel a 5/4 groove, play it through a blues and then expand this into a way of building a vocabulary that you can use for playing a solo in 5/4. This allows the rhythm section to have an interesting chordal movement and yet allows the melody to remain very closely related to the Em tonal center.Odd Meter guitar solos can be very difficult to get into if you are not used to them. The Bm7 chord gives us the need to resolve back to Em but also shares several common tones with the Em7 chord. The Bm7 chord acts as a dominant chord in this context but with an added benefit. There is a chord (B7) that would arguably create a stronger need to resolve but it is not used in this case. What makes the Bm7 so interesting is that it creates one of the strongest pulls back to the Em7 chord. All other chords will want to resolve back to Em. Hence all other notes in the melody will want to resolve back to the Note E. It only takes a moment and we naturally feel like Em is home. In this song the Em7 chord establishes the tonal center for our ears. In particular, the relationship of these 2 chords is significant. The melody works fine over a continuous Em chord - but it would have the tendency to drone after a while - nothing interesting is happening for the melody to work against. This is more interesting than vamping over a single chord. With the "A" section of this song toggling quickly between Em7 and Bm7 you get a cool tension and release.
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