Crafting Killer Worship Guitar Parts: The Power of Simple Two-Note Voicings

In this series, I’m diving deep into the art of crafting killer worship guitar parts. Specifically, I’ll focus on one of the most powerful yet often overlooked techniques: using simple two-note chord voicings, or as we call them, “4-2 voicings.”

You’ll learn how to add creative embellishments and interesting rhythms to these basic voicings to elevate your guitar parts to the next level. Let’s dive in!

Playing Example…

The chords I used were G, B minor, C, and D, which form a 1-6-4-5 progression in the key of G. The voicings were 4-2 voicings, where we only play the chord tones on the fourth and second strings. This is what it looks like for a G chord:

• G major: G and B
• E minor: E and G
• C major: C and E
• D major: D and F#

We’ve covered 4-2 voicings extensively in other videos. In essence, it’s just a triad spread across the second, third, and fourth strings, but we only play the notes on the fourth and second strings. If you want to learn more about 4-2 voicings, check out this lesson!

In the repeat, we play the same G chord but move up the neck:

• G major: G and B
• E minor: E and G
• C major: C and E
• D major: D and F#

This allows for harmonic and melodic intensity. The beauty of 4-2 voicings is the flexibility to play chords in different positions on the neck, adding variety and interest.

Breaking Up Chords

Instead of playing the chord all together, try arpeggiating the notes, which means playing them separately. This technique, called a broken chord or arpeggio, can make your playing sound more intricate and dynamic.

Hybrid Picking

Hybrid picking, using both a pick and fingers, offers several advantages:

• Economy of Movement: Easy access to notes without jumping around.
• Nuanced Tone: The combination of nail and flesh striking the string creates a unique sound.

Rhythmic Variety

A pickup note before the main beat adds rhythmic interest. Instead of starting on the downbeat (one), begin just before it. For example, play the low note on the “and” of four and the high note on one.

Embellishments and Fills

Incorporate slides, hammer-ons, and rhythmic variations to add flair. Use these sparingly, much like a drummer would with fills, to avoid overdoing it. For instance:

• Slide into notes: Start one note before the target note and slide into it.
• Hammer-ons: Use these to embellish the higher note.

Practical Example

Here’s a breakdown of the technique:

• Chords: G, E minor, C, and D
• Rhythm: Syncopated rhythm over the bar, creating a triplet feel.
• Fill Technique: Slide into the lower note, adding intensity and musicality.

Recap

• Break Up Chords: Use arpeggios to add interest.
• Hybrid Picking: Combine pick and fingers for nuanced tone.
• Rhythmic Variety: Use pickup notes and syncopation.
• Embellishments: Incorporate slides and hammer-ons.

Final Playing Example…

If you prefer to watch this lesson, you can catch the full video below… 

If you would like to get pre access to all 12 parts, including the track and tabs…these resources, available through our Worship Guitar Skills Academy, will elevate your practice routine and make it more effective. You can check it out here.

Thank you for stopping by, and happy playing!