This Week on the Guitar Blog...


Ghost Notes and Chords (Percussive Accents)
This episode of the GuitarBlog introduces the technical note and chord performance concept known of as, "Ghost Notes." This technique is popular for generating a muted and more percussive representation of a scale or chord tone. It is sometimes referred to as a, "chuck" or "clicked" note and can be heard in all styles of guitar music.


Video - PART 1: Example one applies Ghost Notes on a single-note line melody. Using a "B Minor" pentatonic scale lick, we will perform a mix of normal fretted tones and percussive Ghost Notes across a two-bar melodic idea. Example two adds another tone into the mix with a Double-Stop (two note chord) riff in "E Minor." Here the fret hand needs to float over two notes simultaneously and blend the effects of a clear Double-Stop along with the muted Ghost Notes.


membersVideo - PART 2: In the second half of the lesson, (available with the lesson handout in the members area), I demonstrate how Ghost Notes can be applied across a rhythm guitar idea performed within a Pop /Rock rhythmic groove (example 3). This example uses a key of "G Major" rhythm guitar riff applying several Ghost Note attacks around both open position chords and barre chords. The groove also adds a few single-note phrases as connecting runs.


Example four is the highlight of them all. It showcases the effects of playing Ghost Note technique within the Reggae style. Reggae is one of the most popular music styles where we find this technique performed. Keep in mind that Reggae grooves can make excellent practice exercises for learning how to perform the Ghost Notes within a rhythmic groove. 

Be sure to watch Part 2 of this lesson and download the handout in the members area of


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Recent Video Lessons



November 25, 2016:
Soloing with Lateral Pentatonic Scales


PART ONE: In part one, example one, I've put together layouts of two scale sections of a major pentatonic example in the key of "G Major." The starting shape in example 1a is constructed off of the 6th-string root at the third position. The second half of the pattern operates from the 4th-string's fifth position. These can be combined afterward to form one large Major Pentatonic scale layout.


In example two, we move onto the color of the Minor Pentatonic with a three part run of the "A Minor" Pentatonic scale. The layout offers shapes built off of the 6th-string third position in example 2a. Then, we move up to the next octave in example 2b built from the 4th-string fifth position. The third segment of the run is built from the 2nd-string eighth position and completes the neck to three octaves. All three are shown using varied rhythmic meter. The three segments can be combined into one passage to form a lengthy 3-octave lateral Minor Pentatonic run.

membersPART TWO: In part two, example three moves into the application of the Pentatonic patterns given in part one, starting with a phrase in "D Major." Example 3a demonstrates the first segment of a descending "D Major Pentatonic" motif along the neck. The initial phrase is in the higher register starting at the 3rd-string in seventh position and drops into the lower. Example 3b returns to the 3rd-string and descends even further along the fret-board resolving at the second position. Both themes from example 3a and 3b can be combined into one fluid statement.


In example four, the lateral Pentatonic Scale connections cover a great deal of the guitar fingerboard. Example 4a begins in the lower fret-board region at 6th-string and descends down the neck into the third position. From there the phrase expands into the example shown in 4b where the length of the neck is covered more rapidly moving through the scales tones along the neck laterally. Slides pull the scale along the 2nd-string shifting the melody forward to the eleventh fret. The phrase is notated as two parts, but the segments will operate smoothly as one connected melody if they are combined.

Watch Part 2 of this lesson and download the handout and jamtrack in the members area of

IMPROVISATION: Soloing with Lateral Pentatonic Scales


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