5 progressions (Mixolydian vamp, I-IV-V, minor descent, axis, Dorian
riff cell) x 2 plays: open-chord Malcolm hits, second-guitar triads,
Keith sus figure, power-chord chug, Police add9 arpeggios, thumb-over
embellishments. omit3 is a declared omission like rootless - the
pitch-class check still applies. Validator and build green.
Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
'Rock rhythm guitar is arrangement: the same chords played as muted chugs, open-string detonations, or high triad shimmer depending on the section. With two guitars, split the register — one low and thick, one high and thin — and never share an octave.',
comping:[
{
label:'Straight-8ths downstroke drive',
rhythm:'♪♪♪♪♪♪♪♪ all downstrokes',
description:'Relentless eighth-note downpicks on power chords, slight palm mute, no gaps — the punk/Ramones engine. Only works if the other guitar stays sparse or high.',
},
{
label:'Malcolm Young space',
rhythm:'accent hits + deliberate rests',
description:'Big open-position chords hit hard with silence between — the rests ARE the hook. Low gain, all downstrokes, let the band breathe.',
},
{
label:'Palm-muted chug with pushes',
rhythm:'muted 8ths/16ths, lift on the and-of-4',
description:'Muted root chug; lift the palm for full-ring accents on anticipations. High note-density, low spectral density — leaves room above.',
},
{
label:'Keith Richards sus figure',
rhythm:'hammer sus4/6 on the offbeats',
description:'Hold the A-shape barre, hammer the sus4 (B string +1) and the 6th (top string +2) on the "ands", pull back to the triad. The Start Me Up / Brown Sugar move.',
},
{
label:'Clean add9 arpeggio picking',
rhythm:'steady picked 8ths, light mute',
description:'Hold the add9 stretch and pick through it string by string — the Every Breath You Take verse texture everyone else lays out under.',
},
],
plays:{
'rock-mixo-vamp':[
{
label:'Big open chords (Malcolm)',
level:'intermediate',
chords:[
{shape:OPEN_A,note:'I — open A, all six strings of it'},
{shape:OPEN_G,note:'♭VII — open G'},
{shape:OPEN_D,note:'IV — open D'},
],
tips:'The open-chord version lives in the key of A (A–G–D). Hit hard, then shut up — the space between hits is the AC/DC trick. In other keys, use the barre or triad play.',
},
{
label:'Second-guitar triads, top strings',
level:'intermediate',
chords:[
{shape:TRIAD_GBE_MAJ,note:'I up high'},
{shape:TRIAD_GBE_MAJ_INV1,note:'♭VII — nearest inversion, no jump'},
{shape:TRIAD_GBE_MAJ,note:'IV'},
],
tips:'This is the guitar-2 part: triads above fret 5 while someone else owns the low end. Move to the nearest inversion, not the same shape up the neck.',
},
],
'rock-145':[
{
label:'Barres, straight-8ths drive',
level:'intermediate',
chords:[
{shape:E_BARRE_MAJ,note:'I — 6th-string root'},
{shape:A_BARRE_MAJ,note:'IV — same fret, root string up'},
{shape:A_BARRE_MAJ,note:'V — two frets up'},
],
tips:'Same I/IV/V geometry as a blues: one position, two grips. Verse = palm-muted, chorus = open. The dynamic contrast is the part.',
},
{
label:'Keith sus figure on the IV and V',
level:'intermediate',
chords:[
{shape:A_BARRE_MAJ,note:'hammer the sus4 (B string +1) on the and-beats'},
{shape:A_BARRE_MAJ,note:'same figure — sus4 and 6th (top string +2) trading'},
{shape:A_BARRE_MAJ,note:'resolve the hammer INTO the change'},
],
tips:'The grip stays still; two fingers do the talking. Swing the hammers slightly even over straight drums — that lag is the Stones feel.',
},
],
'rock-minor-descent':[
{
label:'Barres walking down the 6th string',
level:'intermediate',
chords:[
{shape:E_BARRE_MIN,note:'i'},
{shape:E_BARRE_MAJ,note:'♭VII — two frets down'},
{shape:E_BARRE_MAJ,note:'♭VI — two more'},
{shape:E_BARRE_MAJ,note:'V — one more half-step, the borrowed pull home'},
],
tips:'The whole progression is the low-E string walking down: root, -2, -4, -5 frets. Let the audience hear that bassline inside your chords.',
tips:'Strum these as 16th-note skanks or let them ring — either way you\'re the texture, not the foundation. Classic when keys or a second guitar hold the low end.',
},
],
'rock-axis':[
{
label:'Power-chord chug',
level:'intermediate',
chords:[
{shape:P5R_6,omit3:true,note:'I'},
{shape:P5R_6,omit3:true,note:'V'},
{shape:P5R_6,omit3:true,note:'vi — same shape; the bass note carries the minor'},
{shape:P5R_5,omit3:true,note:'IV — 5th-string root keeps you in position'},
],
tips:'No 3rds anywhere — major and minor come from the root motion, which is why one shape plays the whole loop. Save the full barres for the last chorus.',
},
{
label:'Add9 arpeggio verse (Police)',
level:'intermediate',
chords:[
{shape:ADD9_ARP,extensions:['9'],note:'pick through, low to high, let it ring'},
{shape:ADD9_ARP,extensions:['9'],note:''},
{shape:MADD9_ARP,extensions:['9'],note:'minor add9 — one finger lifts'},
{shape:ADD9_ARP,extensions:['9'],note:''},
],
tips:'It\'s a stretch — practise the grip high on the neck first, then move down. Light palm mute, clean tone, metronomic 8ths: the part is a clock, not a riff.',
},
],
'rock-riff-cell':[
{
label:'Power chords (Smoke on the Water)',
level:'intermediate',
chords:[
{shape:P5R_6,omit3:true,note:'i'},
{shape:P5R_6,omit3:true,note:'♭III — three frets up, same shape'},
{shape:P5R_6,omit3:true,note:'IV — two more'},
],
tips:'Root–♭3–4 on one string is the riff; the power chords are it harmonised. The famous version is two-note 4ths on the middle strings — same cell.',
},
{
label:'Thumb-over with embellishments',
level:'intermediate',
chords:[
{shape:E_BARRE_MIN,note:'i'},
{shape:THUMB_E,note:'♭III — thumb takes the bass, hammer the sus4 (G string +1)'},
{shape:THUMB_E,note:'IV — add the 9 with the pinky (top string +2)'},
],
tips:'The Hendrix/Frusciante device: thumb frets the root, the freed fingers decorate inside the chord. The Dorian IV is where the colour lives — lean on it.',
},
],
},
improv:{
scales:[
{over:'i / I',scale:'minor',why:'Minor pentatonic box 1 plus the ♭5 (blues scale) is the rock default over almost everything.'},
{over:'I (country-rock)',scale:'major',why:'Major pentatonic for the Skynyrd/Allman sweetness — same box shape three frets down from the minor one.'},
{over:'I–♭VII–IV',scale:'mixolydian',why:'Major pentatonic + the ♭7 and 4. The ♭7 of the key IS the root of the ♭VII chord — free target note.'},
{over:'i–♭VII–♭VI',scale:'minor',why:'Natural minor (Aeolian): minor pentatonic + the 2 and ♭6 for the stepwise colour.'},
{over:'i–♭III–IV',scale:'dorian',why:'The major IV asks for Dorian — minor pentatonic + the natural 6.'},
],
targetNotes:
'Root and 5th are safe everywhere; the 3rd of the chord of the moment is the pro move. Double-stops are rock\'s vocabulary: Berry 4ths on the top two strings, unison bends, and the quarter-step blues curl on the ♭3.',
licks:[
{
over:'rock-145',
description:'Chuck Berry double-stop intro figure (Johnny B. Goode device, shown in A): one-finger barre on the top two strings, slid in from below, hammered in triplets.',
tab:'e|--5--5--5--5--5--5--5--5--5--5--5--5--\nB|3/5--5--5--5--5--5--5--5--5--5--5--5--\n (slide in; A on e + E on B = root+5th of A)',
source:'Chuck Berry, "Johnny B. Goode" (1958); JustinGuitar song lesson SB-425',
},
{
over:'rock-axis',
description:'Box-1 unison bend cliché: bend the B-string ♭7 a whole step up to the root against the same note held on the top string (Hendrix "Purple Haze" outro, Page, May).',
tab:'e|---5------5------5------5----\nB|--8b10---8b10---8b10---8b10--\n (G bent to A against the A on e-string 5)',
source:'JustinGuitar unison bend technique BL-607; Happy Bluesman unison bends',
songs:['Sweet Home Alabama — Lynyrd Skynyrd','Sympathy for the Devil — Rolling Stones'],
tip:'The ♭VII is the rock sound — borrowed flat-seven instead of the polite V. (Sweet Home Alabama famously also parses as V–IV–I; the band played it I-centred.)',
},
{
id:'rock-145',
name:'I–IV–V',
rn:['I','IV','V'],
degrees:[0,5,7],
qualities:['maj','maj','maj'],
bars:[2,1,1],
mode:'major',
songs:['Wild Thing — The Troggs','Twist and Shout — The Beatles','La Bamba'],
tip:'Three chords, no slack: the arrangement does the work. Decide per section how big each hit is — that decision is the song.',
},
{
id:'rock-minor-descent',
name:'Minor descent (i–♭VII–♭VI–V)',
rn:['i','♭VII','♭VI','V'],
degrees:[0,10,8,7],
qualities:['min','maj','maj','maj'],
bars:[1,1,1,1],
mode:'minor',
songs:['Hit the Road Jack — Ray Charles','Sultans of Swing — Dire Straits (chorus tail)','All Along the Watchtower (without the V)'],
tip:'A staircase to the V: the major V is borrowed from harmonic minor and is what yanks the loop home. Drop it and you get the floatier Watchtower version.',
},
{
id:'rock-axis',
name:'Axis (I–V–vi–IV)',
rn:['I','V','vi','IV'],
degrees:[0,7,9,5],
qualities:['maj','maj','min','maj'],
bars:[1,1,1,1],
mode:'major',
songs:['With or Without You — U2','Let It Be — The Beatles'],
tip:'The same four chords carry a whisper or a stadium — rock\'s job is choosing which. Start the loop on the vi for the dark version.',
},
{
id:'rock-riff-cell',
name:'Riff cell (i–♭III–IV)',
rn:['i','♭III','IV'],
degrees:[0,3,5],
qualities:['min','maj','maj'],
bars:[2,1,1],
mode:'dorian',
songs:['Smoke on the Water — Deep Purple','Iron Man — Black Sabbath (spine of the riff)'],
tip:'Root–♭3–4 is THE rock riff cell, lifted straight from minor pentatonic. The major IV makes it Dorian — the app\'s Dorian mode lights up exactly these notes.',
},
]
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