Nathaniel School of Music

5 Groovy Strumming Patterns for Acoustic Guitar (Advanced)

These five advanced strumming patterns keep the strumming hand moving in constant 16th note down-up strokes while the fretting hand switches between ringing chords and muted ghost notes, creating son clave, reggae, funk, offbeat and 3-3-2 grooves.

Video lesson by Jason Zac · Intermediate · 28 min

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Key points

What this lesson teaches

This is the second set of strumming patterns from Jason Zac at Nathaniel School of Music, aimed at players who are comfortable with basic eighth note strumming and want grooves for Latin, reggae, rock, folk and funk. Every pattern is built on 16th notes: each beat is split into four parts, counted 1 e and a, 2 e and a, 3 e and a, 4 e and a. The patterns are not necessarily faster. You simply have more places to put your chord hits.

The key technique is continuous strumming with ghost notes. Your strumming hand keeps going down and up without stopping. Your fretting hand decides what you hear: pressing the chord makes it ring, while releasing pressure mutes the strings and gives a percussive ghost sound. This endless motion sounds groovy and also helps you stay in time. Simple open chords such as C, E, E7, Am, F, G and Em are all you need.

Pattern 1: The son clave

The son clave is the classic Latin rhythm of three hits followed by two. Start by playing only the clave hits over a C major chord, counting the 16ths aloud and tapping your foot on every beat so the groove does not run away from you.

Then strum all 16ths as ghosts, and bring in the ringing chord only at the clave hits. Try it over G as well. Once it is steady, try:

Pattern 2: Reggae

In reggae the guitar plays chord hits on the ands of each beat. Over a C chord, play the chord on upstrokes only; the downstrokes still happen, but they mute the strings. Listen to the percussive sound your muting makes and refine it.

To complete the feel, add a 16th note swing, and on beats 2 and 4 add an extra quick ghost stroke before the offbeat chord. If that extra stroke is hard at first, stay with plain upstrokes and good muting.

Pattern 3: Accents and a choked beat 3

This pattern starts with downstrokes on the opening beat and moves into offbeat strums. Learn the first two beats alone first, even vocalising the rhythm. Then add beats 3 and 4: on beat 3 you choke the chord with a muted percussive hit, like a snare. On beat 4, the and and a can be ghosts or the same chord.

Accent beats 2 and 4. A useful warm-up: two downstrokes on eighth notes, then four muted 16ths (down, up, down, up).

Pattern 4: Off the grid

Play 1 e and, then from there place hits only on the e and a positions, never on the beats or the ands. The gaps can be filled by toggling between chord and ghost, or by a snare-like percussive noise. It feels off the grid but sits exactly in the 16th note grid.

Pattern 5: The 3-3-2 feel

This groove places accents in a 3-3-2 grouping across the 16ths, similar to the tresillo. First play it all as ghosts with only the accents, counting 1-2-3, 1-2-3, 1-2. Then learn it two beats at a time: beats 1 and 2 are down, down, up, down, down; beats 3 and 4 are down, up, down, down, down, up. Join the halves, accenting beat 1, and add chords.

How to practise

  1. Count every 16th aloud and keep your foot on the pulse.
  2. Start slowly with ghosts only, then add chords.
  3. Work on clean muting, without buzzes or stray harmonics.
  4. Stay relaxed. Build your internal clock first; a metronome can come later.

Questions about this lesson

What is a ghost note in guitar strumming?

A ghost note is a strum played while the fretting hand mutes the strings, so you hear a percussive click instead of a chord. It lets the strumming hand keep moving and adds groove.

How do you play a reggae strum on acoustic guitar?

Play the chord on the upstrokes on the ands of each beat while the downstrokes mute the strings. Then add a 16th note swing and an extra quick ghost stroke on beats 2 and 4.

Does swing mean playing faster?

No. Swing and straight versions are played at the same tempo; swing just moves the inner subdivisions slightly later.

Should I use a metronome for these patterns?

The lesson suggests first building your own timing by tapping your foot or moving your body, and using a metronome later once your internal clock is secure.

Practise it

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