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How to accompany on guitar

Accompanying a singer-songwriter requires an entirely different approach than playing with a band.

A good singer-instrumentalist will have plenty of experience accompanying his or herself as a soloist and will already be adept at creating a full, rhythmic sound with just his or her instrument. As an accompanying electric guitarist, your job is to add decorative color, rather than to fill the sonic space you’d normally be expected to take up in a full band.

In short, you need to figure out how to do more with less.

Here are five tips for playing with a singer-songwriter in a duo or intimate setting.

Play with space.

Whether accompanying an acoustic guitar, keyboard or even a bouzouki, it’s important to pick your spots. Rarely will it be necessary to play full chords; instead, look to utilize chord partials, double stops and arpeggios to help create atmosphere.

Listen for moments in a given song where you can fill an empty space by playing a melodic or rhythmic counterpoint figure, even if only for a single beat. For example, you can look to add fills or licks in between a singer’s vocal phrases, creating a call-and-response effect. This will not only make your guitar parts stand out, but more importantly, keep your singer happy because you’re not stepping on his or her vocals.

Session guru Adam Levy is a master of using space in his playing. Check out his tasteful performance accompanying Norah Jones on “Come Away with Me.”

Utilize the volume knob.

Like many guitarists, you might be accustomed to cranking your volume knob to 10 and leaving it there, but your guitar’s volume selector is actually one of the most effective tools you have at your disposal.

Playing in an intimate setting is all about dynamics, and getting comfortable subtlety changing volume is key. Just inching the knob a few degrees forward or back can have a huge effect on your loudness and tone and can greatly enhance the mood or emotion of a specific moment within a song.

Incorporating pedal steel-like volume swells into your accompaniment is another very effective means to adding a dynamic range to your playing. At first, it might take some practice to feel comfortable manipulating the knob while picking, but once you get a feel for it, it can become a great way to create an ear-catching, atmospheric effect.

Try playing in different registers.

If you’re performing with an acoustic guitarist or a pianist, he or she will likely be playing full-voiced chords in the mid to low register of their instrument. In this case, see if you can find lines in the guitar’s upper register to create a contrast between the two parts. With a singer holding down the low end and middle, you’re freed up to experiment playing in positions far up the neck that you would usually reserve for solos.

In contrast, if you’re playing with a higher-register instrument, say a ukulele or mandolin, it might be more effective to play lower parts or even mimic what a bass player might do.

Incorporate 6th interval voicings.

The most under-used intervals on the guitar are undoubtedly major and minor 6ths. What makes 6ths (which are essentially inverted 3rds), so effective is that they outline the harmony of a given chord in only two notes. 6ths are useful alternatives to full chord voices and have a wider, more open sound than 3rds or 5ths. Plus, not that many guitarists play 6ths, and learning them can give your playing a more distinctive sound.

You can practice learning 6ths by harmonizing the major scale on skipped strings (i.e. 1st and 3rd, 2nd and 4th) and outlining the stock major and minor barre chord shapes you already know. Once you have the pattern under your fingers, you’ll be able to quickly come up with tasty parts to fit just about any chord progression.

The legendary Steve Cropper is credited with popularizing many of the techniques we’ve covered. Check out his use of 6ths in the bridge of Otis Redding’s “Sitting on the Dock of the Bay.”

Listen!

This, of course, goes without saying, but actively listening to the musicians you’re playing with is the single most important part of playing in a group. When performing or practicing with just one or two other musicians in an intimate setting, the idiosyncrasies in everyone’s playing become amplified. This means there’s less room for error, but it also allows more opportunity to compliment each other’s playing by being aware of each person’s part.

For most singer-songwriters, the lyrics are the centerpiece of the song, and every aspect of the music should be in service of them. So beyond just being aware of what’s going on musically, see if you can pick up the mood of a song by listening to the lyrics and then mirror the emotional arc of the arrangement with your playing.

Ethan Varian is a freelance writer and guitarist based in San Francisco. He has performed with a number of rock, blues, jazz and bluegrass groups in the Bay Area and in Colorado. Follow him on Twitter.

How to accompany on guitar

Thinking about taking your skills to an accompaniment gig – or maybe just jamming with some friends who want to sing along? Check out these 5 helpful guitar tips from Mount Pleasant, SC teacher Christopher A…

Guitar is a great instrument to accompany everything from horns to winds to piano to vocals. Whether you’re backing up a soloist, choir, band, or songwriter, there are a few tips to make the experience memorable for you and more importantly the vocalist or other musicians. Let’s get started by discussing some of my sideman gigs.

I’m an up-and-coming guitarist who’s auditioned for the local jazz quartet. They call me in to play along with the other members in a live setting and I’m given a lead sheet with chords. I read over the sheet and look for tempo markings, key changes, and form. Once I’ve done that and begin playing I remember my place in the ensemble. This is paramount to being a great sideman. You are providing a rhythm and chord structure to a song. It’s imperative to do so without blaring out your part and playing too loudly for the melody to be heard. Finding the pocket, or the main beat of the groove, will allow the soloists greater freedom and give the group a tight, focused sound.

My next step as a sideman comes when I visit an open mic and there’s a vocalist who doesn’t have someone to play her song. I know the tune and volunteer to play for her. As I start into the song I am deliberate with my rhythm changes and tempo of the tune. While I’m backing her up I remember to play quieter than the vocals. That means my chords and picking shouldn’t overshadow the vocals. This may mean turning your electric down or strumming lighter on an acoustic guitar. Your job as a sideman is to complement the vocals by providing steady rhythm and musical dynamics with your playing that reflect what the singer is crooning. I remember watching others back up voice majors in college and sometimes the singers were timid and afraid to sing out. It didn’t help when they had a guitarist beside them playing louder than them with their head buried in the chart, oblivious to the singer’s plight.

That leads to the next point – know the form of the tune. Be prepared to play the intro and make notes of what lyrics come in when you are playing the different sections of the song. The vocal cues will help you provide the best back up for the song and ensure you don’t get lost along the way. Remember that singers are human, too, and knowing the form of the song is helpful should they forget a verse or jump to a chorus earlier than you anticipate. You’ll be able to get to that part quicker with a chart and the knowledge of the song’s form.

That brings me to the most important tip – listen to the singer! I know it seems obvious, but you’d be surprised how many times I’ve seen groups where the singer is laying into a vocal and the guitarist is chugging away on loud chords or playing a screaming solo over the vocals. By not working together with the vocalist you can ruin their instrument, their voice, by making them sing harder than necessary to compensate for your overly loud amp and playing style. This is not something you want to be known for, so remember: if you can’t hear the vocals, you’re too loud.

The last key is to be prepared for anything. Bring a capo along. Sometimes a key won’t work for a singer and capoing up will allow them to sing their song without you relearning the chords. Sometimes words are forgotten and they sing the song differently than you’ve learned. They may come in too early or too late on a phrase. Your part in all of this is to be flexible and make them sound great regardless of what happens along the way. By putting the singer/band first, the song ends up being the main attraction and with any luck you’ll earn the respect of the singer, other musicians, and the crowd. When you play your part and listen to the other parts around you, the music sounds best.

So rock on, it’s time to shine but remember the guitar tips stated above:

  • Know your place in the ensemble
  • If you can’t hear the vocals you’re too loud
  • Know the form of the tune
  • Listen to the singer
  • Be prepared
  • Be flexible and make those around you sound great

Applying these common sense guitar tips to your sideman work will afford you more chances to accompany singers and other instrumentalists. Get out to your local open mic or audition for a band. Respond to the Craigslist ad from a vocalist looking for someone to back them up. These opportunities will help you develop the skill set to be a great sideman and ultimately a better musician.

How to accompany on guitarChristopher teaches mandolin, violin, music performance, and guitar lessons in Mount Pleasant, SC, as well as online via Skype and Google Helpouts. He has over ten years of experience in teaching in classrooms and studios, and his lessons focus on providing the budding musician with the tools to become a proficient player. Learn more about Christopher here!

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Enriching A Set: Voicing Of Chords And Strumming Patterns

Learn Guitar Progressions (Accompaniment) Online

  • 13 lessons teaching how to play 13 very popular Irish tunes.
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By the end of the course you will have a repertoire of thirteen popular Irish session tunes, be familiar with open chords, muting of strings for percussive effect, single string accompaniment and the use of ‘jazzy’ chords in the accompaniment of traditional music. The course has 13 lessons, broken into 3 to 4 tutorials each, where tunes are taught phrase by phrase.

How to accompany on guitar

Course Structure

The aim of this course is not just to learn how to accompany Irish music on the guitar using standard tuning, but how to do so in a rich and dynamic way that adds depth to any set. The tutor examines the voicing of the chords along with strumming patterns of some of the more typical tune types and keys in the Irish tradition such as the Jig, Reel, Slip-jig and Hornpipe. Some of the skills and techniques focused on include the use of open chords, the muting of strings for percussive effect, single string accompaniment and the use of ‘jazzy’ chords. A selection of well known tunes have been carefully selected to demonstrate the skills and techniques taught.

The guitar is one of the most popular instruments in the world. This free video clip series will show you all the basics of playing it and how to sing along.

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How to accompany on guitar

Let me guess…you are a jazz guitarist and have met a talented jazz vocalist you’d like to start gigging with…or…you just heard Joe Pass and Ella Fitzgerald together and would like to start something similar with a singer…or…you simply realized you can make lots of money teaming up with a jazz singer and playing in duet…

These are common situations that, as a jazz guitar player, you might have encountered or that are very likely to appear as possibilities during your career.

If you have never accompanied a jazz vocalist and are looking for advice on how to do it effectively, read on…I’ve played with jazz singers for years and I am sure I can give you a few tips.

First of all, before you select your singer, be sure that she/he has her own charts, which doesn’t mean that she has photocopies of the real book. She must have charts transposed into her own key and, possibly, with clear arrangements.

This is SO critical!! specially if you are just starting and have no experience. Having clear intros and outros for each tune, will give you a guideline to follow and make your rehearsals so much more fun (well, at least less painful and frustrating…).

Remember, there are tons of singers out there. Take your time to select the one whom it will be easier for you to work with on a regular basis.

Ok, with this out of the way, here are a few recommendations on how to accompany a jazz singer with taste:

1) Learn the melody of each song in the repertoire. It sounds obvious, however, you will be surprised to know that the charts that most musicians usually end up playing from show only chord changes. Not knowing the melody of the song will give you absolutely no clue on how to support your singer with both rhythmic and melodic ideas.

2) Learn to play in at least two different styles: swing and bossa nova. Most singers have both swing and Latin tunes in their repertoire and will assume that you know how to accompany in these two syles. This will take you some time. Listen to Joe Pass , Martin Taylor and Tuck Andress and start getting a feel of how a solid and inspiring guitar accompaniment can sound like. Then, I recommend that you shop around for a finger style guitar method. There are quite a few out there. I personally would suggest to study transcriptions from Joe Pass to learn both jazz guitar accompaniment and improvisation. Martin Taylor has published a book on finger style that you can buy for a few dollars and that will keep you busy for years! You can study Brazilian guitar on a book by Nelson Faria . The book comes with a CD and is a step-by-step education on the topic (be patient!).

3) Keep things VERY simple when you accompany a jazz singer. I remember playing with a vocalist who kept asking me for more melody in my accompaniment. So I started playing more melody and things got even worse! Then I started experimenting with simple guide tones (3rd and 7th) and, all of a sudden, he was the happiest human being on earth…at the end of the gig he said: “I told you that playing more melody would work!” (ehm..s..ure…).

4) Ensure that your timing is solid! You must be a reference for the singer and ALWAYS know where (in the song) you are. As I said, knowing the melody of the song will help your singer hear that you are both in the same place.

5) Take short solos! If you are playing a duet, playing long solos will pull attention from your singer, who is the one you are supposed to help spark. Use lots of chords in your solos, linking them with single lines (again, listen to the masters). Play just one section of the song and cue your singer in when you are about to end your solo.

6) Be clear! Play simple and extremely clear. If you have been playing with a plectrum all your life, start practicing fingerstyle and gradually combine bass lines, chords and melody.

Ok these are just a few guidelines that I hope will put you in the right direction. Again, be patient, and start building your fingerstyle skills one step at at a time.

Accompaning a singer bsasically denotes playing the right chord/underlaying such chords on the song the singer is singing, with the right beat, tempo.
As much as this is nothing hard but it has to be properly learnt so as not to get it the wrong way…Its about getting to play the right chord progressions/movements for each song(worship/praise).

LAW OF PROGRESSION

There is this general rule that most songs follow, basically as a matter of fact composers who composed the songs you want to accompany followed same rule while composing the same song and that is the rule of CIRCLE OF FOURTHS/FIFTHS.

Majorly we will be considering the circle of fourths in this series.

TIME TO PRACTISE GET ON THE Keys.

FROM C LETS MOVE BY FOURTHS…moving in fourths is a mathematical move [1 2 3 4] C F Bb Eb Ab Db Gb B E A D G ….C

NOW THAT’S THE TRICK OF CIRCLE OF FOURTHS BASICALLY THE PROGRESSION MOVES IN FOURTH.

Now lets look inward into the fourths movements and how it affects our accompaniment…

We will derive: B E A D G C F …locally pronounced T,M,L,R,S,D,F …7,3,6,2,5,1,4

Examples of fourth movements in C

C F -D G -E A -F B …1 4 -2 5 -3 6 -4 7 …all in fourths patterns

The circle of fourths (or circle of fifths) is the relationship among the 12 tones of the chromatic scale, there corresponding key signatures, and the associated major and minor keys.

The circle of fifths is a clockwise movement ascending from C to C [i.e. C G D A E B F#/Gb Db/C# Ab Eb Bb F C] on the circle while the circle of fourths is an anti-clockwise movement descending from C to C [C F Bb Eb Ab Db Gb/F# B E A D G C]

Musicians and Composers use the circle of fifths to understand and describe the musical relationships among some selection of those pitches. E.g. with the knowledge of the circle you can easily move/modulate from C major to A minor or say from G major to E minor and you won’t make a bad sound because they are related and we could easily attribute that idea to the Circles.

The circles design is helpful in composing and harmonizing melodies, building chords, and modulating to different keys within a composition.
Typically the “circle of fifths” is used in the analysis of classical music, whereas the “circle of fourths” is used in the analysis of jazz music, but this distinction is not exclusive.

With the knowledge of the circles, there is this Contemporary song in a minor key Lord you are Holy by Helen Baylor in the key of C minor, approaching such songs will physically look like you are playing from the key Eb Major and that’s because of the relationship between them [Eb major

CIRCLE OF FIFTHS/FOURTH DIAGRAM

Most songs that you accompany day by day fall on this fourth movements…e.g. As the Deer, panteth for…the water so my heart longeth after thee… CAN BE ACCOMPANIED THIS WAY

IN THE KEY OF C MAJOR

NB: immediately the song started on the first Degree/Tonic that’s the major key C it followed fourths movement basically until the last two bars where the song had to resolve so has to pick the lines , basically the composer contacted the circle of fourth charts before composing esp the melody notes: m,s,s,m,r,d: r,f,m,r,d: l`,l,l,s,f,s.

Progressions the movements/pattern you follow while accompanying a singer/song is called progression e.g. if you followed a 2 – 5 – 1 movement (REH – SOH – DOH) this will be called a 2 – 5 – 1 progression

Example in the key of C

Most times the 2 – 5 -1 progression helps in ending a song… we will check that out in the progressions below:

There is this common progression in Praise Songs 4-5-3-6-2-5-1 lets make out something from this common praise song…LIFT HIM UP HIGHER.

I WANT TO BELIEVE ITS GETTING MORE INTERESTING NOW
Another very common progression is the 6-2-5-1 progression common to both worship and praise songs

With this knowledge and previous knowledge pick 10 common praise songs that you know and try this progressions on them in part

HOW TO DETERMINE WHICH CHORD TO PLAY PER TIME

Determining which chord to use to accompany or back up a singer majorly depends on the melody line of the song the singer is singing at present, Each melody note commons from a particular major or minor chord.
Let us consider the first line of As the deer …Melody notes…m,s,s definitely this can onlhy be found in the chord : Doh: m: soh… and that’s how to determine which chord goes per time by considering the melody note per time For instance, if the melody notes were r,f,m,f,m might have considered the following chords r:f:l(2), f:l:d(4), l:d:m(6), l:d:f(4INV)

MAKSSOSA GROOVE

The Nigeria Makkosa is a wonderful groove that follows the progression 1 4 5 4 1… and continues that way … A good song that can be used to expatiate that is this common song ‘eh eh eh eh my God is good o’ as the song is moving on the 1 2 3 4 count 4/4 timing you just keep holding your One Four Five Four One Four chord continuously on every 1 2 count

THE CULTURE OF VAMPING

After learning how to accompany a singer the next question that might arise is about the Vamping; the repeated use of a phrase through an entire song or the improvisation on top of a repeated phrase through a song. looping, samples and grooves are all examples of vamping, as is almost all popular music with repeated chord progression, it simply implies building on top of a groove to create a song …*A short repeated chord progression, often serving as the introduction of a performance.
e.g. you can vamp a 6 2 5 1 progression

CONCLUSION

One of the most important skill a keyboardist must possess in this Course is the ability to play by Ear, being able to pick musical note just by hearing there sound
Basic exercise for achieving this is by running (HUMMING) your Major scale Ascending and Descending everyday.

I’ve always liked these guys and they use both:

In sessions I’ve noticed it’s a bit like having two guitarists, it can be a bit messy. The musicians have to be flexible and sensitive to what each other are doing.

Re: piano and guitar together, how does it work?

Re: piano and guitar together, how does it work?

ads first unfortunately

Re: piano and guitar together, how does it work?

I dunno about together as accompaniment, but the piano can sound fine accompanying the guitar, as Dick Gaughan proved on Coppers and Brass.

Re: piano and guitar together, how does it work?

Well, there’s one subculture where it’s pretty common:

Re: piano and guitar together, how does it work?

It works the way any situation works where there are two accompanists, they must be sensitive to what each other is doing, and like with couples dancing, only one can lead at a time. This is also a time where straightforward chords are best, unless of course the two work things out in advance.

Re: piano and guitar together, how does it work?

I do like piano accompaniment. In a session situation though I don’t normally like playing guitar if there is a piano on the go. As has been said above it is the same as any other situation with 2 accompanists – except that I find it even harder with a piano as they tend to be so much louder and more "in your face".

It can work fine when arranged in a band situation though.

Re: piano and guitar together, how does it work?

Yeah, they can be too loud. But if the person playing is good (and the guitar isn’t playing too softly,) I think It’s really nice. Of course, it’s not very traditional.

Re: piano and guitar together, how does it work?

This is why I try to keep the volume turned down on my digital piano when I play at sessions whether or not there is a guitarist at the session also. If there is a guitarist also there at the session, I try to pay attention to what they are playing and play more softly than the guitarist. I am trying to avoid clashing with the chords played by the guitarist.

Re: piano and guitar together, how does it work?

It works by listening and compromise on the part of the accompanists, also it helps if there are a fair few melody players otherwise piano & guitar need to take turn around if they can’t pull it together.

The difficulty, IMO, is that most accompanists lack the ability, or willingness, to back the melody and adjust to accommodate another accompanist. The trick is to create room and listen, this is also helped along by keeping things simple.

I’m a bit like NCFA in that I do like piano accompaniment but not always when I’m playing guitar. In my experience it’s unusual to come across a piano player who is prepared to accommodate. So in most situations it’s the guitar who has to fit into the available space and depending on the piano player, there maybe limited or no space available.

Varrie Hall is a fantastic piano player in this regard, saw her at the Rum fest a few years back I was actually really taken with her lovely wide roomy playing, leaving miles of space for the guitar player. Sounds like this is what fauxcelt is talking about in his post above but IME not many pianists are that accommodating so goodman yourself fauxcelt. Same applies to guitarists though. On balance I’d say pianists would tend to be the better musicians on average so the budding guitarist stands to learn something from the alpha "no compromise" pianist.

When I did a bit of guitar accompaniment regularly sometimes I’d find myself in situations where I’d have to fit in. Although it irked a little I found a great deal of satisfaction out of finding a suitable space. Everyday is a school day and all that.

Of course it’s better when the accompanists are on the same page. When it works it can be really quite satisfying and this has a lot to do with the attitude.

Funnily enough my best recollection of it working was an occasion where two fiddle and guitar duets turned up at a session in Inverness a few years back (one or other of us had gotten the week mixed up) nobody else turned up so it was two fiddles and two guitars, and it worked rather well and a good time was had by all.

If you attend a regular session with a piano and your the guitar player then I’d focus on the piano players style to see if you can work up an accompaniment that would compliment. Me, I’d rather torture everybody with the banjo unless the pianist is an accommodating one.

Re: piano and guitar together, how does it work?

When the local Irish music sessions were started up here in 1995, I already had many years worth of experience playing piano as an accompanist/backup musician/sideman in many different types of situations and styles of music. I was lucky enough to have some good teachers in college. Also, I had been playing regularly at a local Blues Jam with some better and more experienced musicians when the Irish sessions were started in 1995.

Re: piano and guitar together, how does it work?

my answer to that bandit is simple:

when the two pairs of ears act as one, only then. ‘something’ can be done …

Re: piano and guitar together, how does it work?

Triona and Micheal O’Domhnaill had a great thing going on keyboard and guitar. Triona’s piano style is very influenced by guitar moves.

Re: piano and guitar together, how does it work?

Re: piano and guitar together, how does it work?

Same as guitar and piano accordian –
it may not work at all
if you play together regularly you may know that one will lead the accompaniment on a particular tune and the other will follow the chords/ bass line
you both couldalternate playing tune or accompaniment.

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Backing tracks have come a long way from the old CD’s (or even cassettes). Remember those? There would be several versions of the same song on a CD – one with the lead melody, and then several versions in different keys without the lead melody.

Those backing tracks (or “accompaniment tracks”) were versatile because you could practice playing melody, comping, or soloing. And no need to worry about the rhythm section getting bored!

A variety of apps have now made backing tracks even easier to use. Features like looping, selecting any key, and changing tempos allow you to dial in exactly the type of background track that you want to jam to.

Here’s a list of the top 7 backing track apps for guitar.

  • App store reviews are shown for both the most recent version of the app and the overall history of the app.
  • This list is decidedly slanted towards the iOS world, but Android versions have been noted where applicable.

How to accompany on guitar

1. AmpKit

by Agile Partners | Website
Platform: iOS
Reviews: 13 (5 stars)
Overall Reviews: 1,276 (3.5 stars)
Price: Free with In-App Purchases

The Verdict: Well reviewed by the New York Times and Wired, AmpKit is a high-powered package of effects, multi-track recording, online sharing, tuner, and metronome. The software is well-built with low latency and great performance. Recent versions of the app get very high reviews. More importantly for us here, it also has the ability to play background tracks from iTunes while you jam along. Works best with a line-in adapter like the Apogee JAM 96k. />

How to accompany on guitar2. Guitar Jam Tracks: Scale Trainer & Practice Buddy

by Ninebuzz Software LLC | Website
Platform: iOS and Android
Reviews: 115 (4.5 stars)
Overall Reviews: 632 (4.5 stars)
Price: $3.99 with In-App Purchases

The Verdict: This is the most popular of the “Jam Tracks” series of apps from Ninebuzz. This version – the Scale Trainer & Practice Buddy – is geared at beginner guitarists just figuring out how to use scales over chord changes. It’s an excellent solution for this goal. It provides guides to scales, breaks down the chord changes, then gives you five jam-along tracks to begin with. Additional tracks require In-App Purchases. To dig more into specific styles, see the Jam Track apps for Acoustic Blues, Humbucker Blues, Rock, Jazz, or Reggae.

/>How to accompany on guitar

How to accompany on guitar3. Chordbot

by Contrasonic AB | Website
Platform: iOS and Android
Reviews: 14 (4 stars)
Overall Reviews: 139 (4.5 stars)
Price: $4.99

The Verdict: Chordbot is part songwriting tool and part practice tool. You can create your own backing tracks by selecting chords to create a chord progression, than selecting a comping pattern. Using these building blocks, you can create your own sections, loops, or entire song structures. This can help for songwriting, or just for creating a groove to solo over. It gets high marks for being well laid out and easy to use. Try the free Chordbot Lite version first to get a feel for it. />How to accompany on guitar

How to accompany on guitar

How to accompany on guitar4. JamUp Pro

by PositiveGrid| Website
Platform: iOS
Overall Reviews: 866 (4.5 stars)
Price: $19.99 with In-App Purchases

The Verdict: Similar to AmpKit, JamUp Pro is a multi-purpose app with effects, amp modeling, a phrase sampler, and the ability to access tracks from your iTunes library for jamming along. While it has high quality and lots of features, it’s a bit pricey and additional expansion packs require In-App Purchases. Works with the full range of iOS audio interfaces like the IK Multimedia AmpliTube iRig. />

How to accompany on guitar5. Guitar Lessons – JamPlay

by JamPlay, LLC | Website
Platform: iOS and Android
Reviews: 6 (3.5 stars)
Overall Reviews: 527 (4.5 stars)
Price: Free

The Verdict: The JamPlay app is put out by the same folks at JamPlay.com, where you can get some excellent video lessons in different guitar styles and skill levels. The app includes some of those lessons, as well as a large chord library, tuner, metronome, and more. It includes “jamtracks”, backing tracks that you can use to practice your newfound scale skills. />How to accompany on guitar

How to accompany on guitar6. Pro Band Backing Tracks

by David J Chura | Website
Platform: iOS
Reviews: 17 (4.5 stars)
Overall Reviews: 66 (4 stars)
Price: Free with In-App Purchases

The Verdict: The Pro Band app’s claim to fame is that the backing tracks are made from real, live studio musicians. No midi tracks or synth loops here. Even though the tracks are recorded live, you can still change the key and tempo for each track. The free app comes with 2 tracks (a blues and a rock tune). For more tracks, you have to buy In-App Purchases. Tracks are available in Blues, Rock, and Jazz. />

How to accompany on guitar

7. Backtrackit

by Ziad Al Halabi | Website
Price: Free with In-App Purchases

The Verdict: A great backing track player that can scan your local library and add your tracks to Backtrackits’ own library of stock tracks.

Change tempo and pitch of any track while you playback.

Includes advanced features like lead instrument removal, equalizer, and more. />How to accompany on guitar

How to play Happy Birthday on guitar is a common request. It’s a good song to have in your repertoire, and you never know when you’ll be asked to play it!

Luckily, it’s also a very easy song to play, as it features basic chords and a melody that can be played in open position.

Below you’ll find Happy Birthday chords and tab. All you need is a guitar!

At the bottom of this page you can download a printable copy of Happy Birthday in F and in G.

How to Play Happy Birthday On Guitar

There are several ways of playing Happy Birthday on guitar. The main choices are: play just the tune; play the chords (to accompany either yourself or others singing); or play a solo fingerstyle arrangement of the tune that includes accompaniment.

As this lesson is for beginners, we have provided music to enable you to do either of the first two options.

The music below shows you how to play either the melody or the chords. A common key to play Happy Birthday in is F major. We’ve also included it in G major, because in G there are no barre chords to worry about.

Happy Birthday TAB

Below is a simple way of playing Happy Birthday in TAB and traditional notation. Chords are also provided. Click on the images for larger versions.

Happy Birthday To You / Good Morning Dear Children

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Happy Birthday In G

In case you don’t like playing barre chords, here is a version of happy birthday for guitar in G major.

Happy Birthday / Good Morning Dear Children

Happy Birthday Guitar PDF

Download a printable PDF of Happy Birthday here: Happy Birthday Guitar. For more information on the song Happy Birthday To You, visit: Wikipedia Happy Birthday.

Want to learn more chords? Download our printable guitar chord book. This comprehensive guitar reference book contains a large number of chords suitable for playing all styles of music.