How to accompany yourself on guitar. Guitar accompaniment
There are many sites with guitar backing tracks. We present what others don’t have - guitar backing tracks Russians songs.
"Backing track", speaking in in simple language is a music track that is missing one of the instruments or vocals. Hence the name: minus one instrument/part. Most often, we are accustomed to using this term specifically in relation to music in which there is no vocal part of the performer at all, or only the accompanying backing vocals remain. But there are also instrumental backing tracks, including guitar ones. This means that in the track using special programs The guitar part is removed.
Searching for backing tracks is also available through the songbook. The page with the backing track contains, whenever possible, tabs and notes for ease of performance.
Guitar backing tracks are created not only for the purpose of learning or training, but also for real performances and even concerts. Fully live show, for example, in a restaurant it is often quite difficult in terms of connection, setup, and arrangement of tools. This affects the final cost for the restaurant and the public. But performing to a soundtrack, where not only the vocals but also the guitar sounds live, is much simpler and cheaper. At the same time, the “magic” of a live performance is preserved.
But still, the main role of backing tracks is training. For example, if you need to rehearse the same part of the piece at home, or the guitarist simply does not have musicians accompanying him. Often, “minus” is used by musicians to play along to compositions by their favorite artists. In this case, you can play both an original guitar part and practice the art of improvisation.
Backing tracks of the same song may differ from each other, both in sound quality and in the length of the audio track. In the latter case, this is often due to the fact that the original contains a technique or solo part that is too complex for an ordinary guitarist to perform, or a large number of repetitions that needed to be reduced.
Today you can find on the Internet great amount backing tracks for guitar for every taste. Unfortunately, the quality of many of them leaves much to be desired. Why is this happening? All because they are used to create backing tracks different methods. Conventionally, they can be divided into the following categories:
- Original. Such a backing track is created on recording studio and, often, by the authors of the composition themselves. Further use of such a track: concert, rehearsal, less often further sale.
- Arrangement. This type of backing track may differ from the original sound, as it is recorded in a studio by professional musicians who simply replay the song, getting as close to the original as possible.
Finding the original or arrangement on the Internet is not always possible, so there are simplified types of backing tracks.
- Slicing. If the quality and structure of the original track allow, then you can cut and “glue” the composition back together. In this case, the parts in which the guitar part is present are cut out completely, or replaced with specially written ones that sound similar.
- Clogging. If there is a shortage of cut materials, the missing parts are added in the sequencer.
- Jamming is a type of processing in which the part of a guitar or any other instrument is muted using special programs. The quality of the product may suffer significantly. In this case, they combine several types of creating a backing track, simply adding tracks from above.
Beginning guitarists, having heard new song, often ask the question: what kind of picking is used to play the accompaniment? Or what is the best way to play a composition if we are talking about an arrangement for one guitar?
It is impossible to answer these questions unambiguously. IN to a greater extent the choice will depend on artistic taste and individual style performer. There are a great many options for this method of sound production.
A guitarist must regularly replenish his musical arsenal various types overkill. The more the performer has, the better, the more beautiful and original the chords of the song will sound. In addition, the means of expression are significantly expanded to more subtly convey mood and emotions to the listener.
For example, the great Italian guitarist M. Giuliani at one time developed 120 fingerpicks. They are presented as separate exercises and divided into 10 separate groups. These achievements of the great master undoubtedly deserve praise and seem to be fertile ground for the cultivation of his ideas.
A little theory before class
What is overkill from the point of view music theory? This is an arpeggio - alternately extracting the sounds of a chord: from the lowest note to the highest (ascending) and vice versa (descending). The sounds of a chord can vary in order.
This article will discuss the most common and easiest to perform types of arpeggios used in guitar accompaniment.
In the exercises, next to each note of the arpeggio there is a designation indicating which finger right hand the note needs to be played. The entire diagram can be seen in the drawing with a hand.
To quickly remember the match Latin letters to each finger, you need to conditionally connect them into one word “ pimac“ and, as it were, pronounce it letter by letter, mentally moving your fingers, starting from the thumb.
In some exercises there are chords with complex alphanumeric symbols - do not pay attention if they are difficult to understand, you can return to this topic later, now the main task– mastering types of search. All chords are easy to play and are not particularly difficult.
Types of guitar picking (arpeggios)
A simple selection of 3 sounds.
This type of arpeggio uses only three strings. First you need to analyze which note, which finger to play. You must strictly adhere to the fingering of your right hand. First, picking is practiced on open strings, this allows you to concentrate more on honing your technique. Once you feel confident, you can play chord progressions using this method.
Don't forget about reprises - repetition of bars 1 and 2, bars 3 and 4, 5 and 6. The guitar grids indicate the right hand fingering.
A simple selection of 4 sounds.
It is played very simply - the bass string, and alternately plucking the strings, starting from the third to the first and back. This type of arpeggio, despite its triviality, can sound quite impressive. A striking example is the accompaniment in the second verse of Harry Moore’s most beautiful blues ballad – still got the blues. Watch the video with this music:
Having become comfortable with open strings, you can start playing chords:
Two small exercises in C major and A minor
Picking on distant strings
Mastering this type of arpeggio may seem incredibly difficult at first. Although upon closer examination there is nothing overly complex in it. The first four sounds of this picking are nothing more than the picking discussed in the first exercise, then there is sound production on the first string, and again 3,2 and again the 3rd string. To play this arpeggio, you need to start at a very slow tempo, controlling the order in which the sounds are extracted with the corresponding fingers.
Picking with simultaneous plucking of 3 strings at a waltz tempo
Fingers i,m,a, as if preliminarily laid behind the strings, in such a correspondence i -3 ,m -2, a -1 (but the sound is not yet produced). Then strike the bass string and simultaneously pluck with three fingers. Count rhythmically - one, two, three - one, two, three - etc.
Notice how the bass string changes alternately in each measure, imitating a bass line:
Picking with simultaneous plucking of 2 strings at 2/4 tempo
This type of arpeggio is very often used in classical romances. Strings 2 and 1 are plucked at the same time. As you can see, often the types of fingerpicking and their choice depend precisely on what genre a particular song belongs to. You can read something about genres here – ““. And here is a version of this search in A minor:
With increasing performing experience, the clear boundaries in the concept of “type of fingerpicking” are erased; each chord in a song can be emphasized by different strokes. An arpeggio can stretch over several measures and transform rhythmically, expressing the nature of the theme.
Exercises for practicing arpeggios do not need to be played mechanically and mindlessly. IN at a slow pace, maintaining the time signature evenly - first on open strings and then with chords. The sequences in the exercises are just examples; arpeggios can be played arbitrarily, according to the harmony you like.
If you want to pass full course for playing the guitar, then here you go:
Beautiful picking and original sound!
Greetings Dear friends:=) We continue to master blues guitar playing. Today I won’t bore you with theory; there was already a ton of it in previous issues. Today we will focus exclusively on practice. In today's article you will begin to master, and you will slowly begin to play the blues on the guitar :=)
This is already the fourth issue, I hope the previous issues were useful to you:
In the previous article you learned the basic blues chords, today we will put them into practice. We will start with a simple blues accompaniment and gradually complicate it.
So, let's get acquainted with the first version of the accompaniment. As you remember, the main chords of blues accompaniment are: T– tonic, S– subdominant, D– dominant. Let's look at everything using the key A7 as an example.
The tonic will be the A7 chord of group E(mi); subdominant, chord D7 group A (A); dominant, chord E7 group A (A).
This accompaniment is most often used by guitarists to create the so-called rhythmic lining, against which powerful riffs and solos are performed.
The second accompaniment option that we will consider will be a little more complicated. In order to expand positions, we will use adjacent chords from other groups.
So, for example, for chords of the group E (mi), the adjacent group will be G (sol):
For chords of group A (A), the adjacent group will be C (C):
As we can see, all the chords of the groups fit on the guitar neck from the 2nd to the 9th fret. Let's call this area the first play area. Below in the figure, with dots, I showed the location of the tonic of the main chords in this playing area:
In our case, the key is A and these tonics will be the notes: A– tonic chord, D– subdominant chord, E– dominant chord. When you change the key, the tonics of the chords shift to the right or left along the fretboard, and along with them the entire playing area shifts.
To diversify the sound, instead of simple seventh chords, you can use the same chords with add-ons and alterations.
These chords can be combined with each other in various ways.
Here is a tablature diagram of the chords that I played in the video lesson:
To create a more complex and varied accompaniment, you can increase the frequency of chord changes. You will get this accompaniment option:
Here's the tablature chart for the chords:
Note that the dominant chord here is E7#9. This is the so-called “Hendrix” chord. If you don’t know who Jimi Hendrix is, Google will help you, dear friends :=)
Now let's add to the chords we know, chords that are located half a tone lower. These are the so-called half-tone “entrances” :=) In addition, let’s change the very rhythm of the playback a little, and we will get this version of the accompaniment:
Here is a tablature diagram for playing chords:
As you can see from the diagram, in bar 5 the D9 chord was played higher up the fretboard, so we ended up in the second playing area.
This type of accompaniment can be played in the second playing area:
Here is the tablature diagram:
And finally, let's combine the first and second play area and we will get this accompaniment option:
This is how it plays:
Guys, that's all for today. I've shown you the basic blues accompaniment options, but that doesn't mean there aren't more options. Try to combine different blues chords with each other, make chord changes more frequent, in a word, don’t be afraid to experiment and find something new.
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Dear friends, see you in the next articles and newsletter issues: =)
Let's start with the fact that beginner guitarists who read this lesson are already familiar with chords in open position.
Of these, we need the chords A (A), D (D), Mi (E). Here we will use the standard twelve bar sequence (blues square).
But we will play not with chords, but with riffs. This type of accompaniment is used not only in blues, but also in rock and roll.
Chord A (A)
Chord D (D)
Chord E (E)
In order to make a riff out of an A (A) chord, you need to mute the first, second and third strings. To do this, we pinch the fourth string with our first finger on the second fret. Next we place the first finger like a barre on the third, second and first strings, but do not pinch, but mute. As a result, after hitting these strings with a pick, a dull sound appears, more like the sound of percussion. Similarly, riffs are made from the chords D (D) and E (E). In the same way, we get fifths from each chord.
In order to diversify the riffs, the clamped string on the second fret with the first finger is alternated with a note on the fourth fret with the third finger. This rock 'n' roll riff at the beginning can be played with an overhand pick on the downbeat. Next we add a pick blow from below on weak share. Some guitarists play the weak beat by hitting the pick from above. It all depends on personal preferences and the concept of the blues itself. In some places it is better to play by hitting the strings from above, and in others from below. This riff is a classic blues accompaniment.
Now that we know how a classic blues riff is played, let's play all twelve bars of a blues square using this riff.
To diversify this sequence blues guitarists add various bass and melodic lines, double stops, chords, transitions. Below is one of simple examples transition that can be used to transition from an A (A) to a D (D) riff, or used as a turnaround ending.
The situation under consideration looks like this: a novice guitarist can more or less easily perform the simplest “yard” accompaniment, but a keyboard player with playing skills and some knowledge of music theory experiences certain difficulties with this. If it’s not a matter of knowledge and skill in the game, then what is it? In the instrument. For getting beautiful combination sounds they must be located relative to each other in a certain way. When playing a synthesizer, the performer himself sets the location of the chord sounds by pressing the keys. The keyboard player can be guided by his knowledge, experience, hearing, or use a chord reference book. For example, the C chord includes the notes before, mi And salt. The guitarist uses tablatures, which show which strings and on which frets need to be pressed to play a particular chord. For example, in the simplest case, to produce an E minor chord (Em), you only need to pluck two strings. The other four strings will sound harmonious with these two! This is possible thanks to the structure of the guitar scale and the tuning of the guitar. Amazing, isn't it? To get a similar chord, a keyboard player would have to press 6 keys! Which ones? We'll find out soon.
The specificity of playing accompaniment on a guitar is such that beginning the guitarist takes harmony for granted and doesn't think about it at all. He was shown Am -> Dm -> E and to get a harmonious accompaniment it was enough to press the chords correctly. The keyboard player also knows the harmonic turn Am -> Dm -> E, but to obtain beautiful accompaniment he needs not just to play chords, but to play them according to the rules of harmony. Do you feel the difference?
The guitar “guides” the guitarist along the path of harmony and through limitations. Look at the scale six string guitar(Fig. 1).
Rice. 1. Scale of a six-string guitar (from the site akgitara.ru)
The first limiter is the number of strings. The guitar allows you to play a chord that consists of a maximum of 6 sounds. On a synthesizer, one performer can play a chord consisting of ten sounds with both hands. In practice, chords of 7-8 sounds are more often used.
The second limitation is related to the limitation of the scale. The lowest sound on a guitar is mi large octave. For this reason la-keys for guitarists and bass players play a special role among all other keys. This is explained simply: the dominant is the culmination of a harmonic revolution, and in la-keys, the dominant chords will be E chords with the lowest sounding root sound, which is good for getting a “powerful” climax. Keyboardists can rejoice in the fact that, thanks to the synthesizer's tuning function, they do not have this limitation, and they can “charge” the subwoofer with sounds two octaves lower!
Another limitation is related to the structure of the guitar scale. The guitar uses a two-dimensional structure (strings - rows, frets - columns), while the synthesizer uses a one-dimensional structure (keys in a row). The difference is that the structure of the guitar scale does not allow for random sampling of sounds, which can be done on a synthesizer. For example, on a synthesizer you can play the chord Fsus2 ( fa-sol-do) from any note F on keyboard. Guitar sound F- 6th string first fret, salt- 6th string third fret, before- 5th string third fret. It is impossible to play two sounds on one string at the same time. F And salt. This means that from one note you can play many more chords on a synthesizer than on a guitar. The advantage of a two-dimensional guitar structure is its compactness, which has an important psychological aspect. The guitarist sees a compact array of 6 strings and 3-5 frets, and the keyboard player sees a couple of dozen keys in a row. Distributing four fingers of the left hand and three fingers of the right on a guitar is easier than keeping track of two hands on a synthesizer keyboard.
The above restrictions significantly reduce the number possible options playing the guitar. A guitar can be imagined as a forest with many paths, and a synthesizer as an open field - play wherever you want!
In Fig. 2. shows the keyboard of a five-octave synthesizer, the sound ranges of a guitar and singing voices.
Rice. 2. Range of guitar sounds.
The sound range of the guitar covers all male and female singing voices(except for the rare bass profundo). The guitar sings - it really is, and its accompanying capabilities are most clearly manifested in the middle singing range, in which almost everyone can sing. Among all types of accompaniment, the “bass and chord” accompaniment stands out. It can be considered as a basis for learning the rest. Let's start with it. In what range is the bass played, and in what range is the chord played? Let's first try to understand this ourselves, and then compare it with how this happens when playing the guitar. Bass is the lowest sound in accompaniment. This means that the root tone of the chord should not be lower than the bass. This is possible if the chord is played to the right of it. We allocate one octave for the bass so that any of the 12 octave sounds can be played as it. The chord region then falls into the alto range. Playing chords above alto on a guitar is quite difficult (especially on classical guitar), and in most cases this is not required. Let us accept the limitation of the upper tone of the chord at the note level F second octave. Now you can answer the questions posed: if you consider that the left hand plays in the range of the guitar, then the bass area will be from the note mi major octave to note D sharp small octave (black line in Fig. 2). If you don't think so, then the bass area will be from the note D sharp small octave and left all the way. The chords in both cases are played in the alto range. In practice, things are a little more complicated, but the division of areas shown is a good starting point for those who are lost in sight. large quantity keys on the synthesizer and finds it difficult to play the accompaniment. Beginning guitarists choose simple fingerings and play the basic chords Am, Dm, E, C, F, G on the first three frets. Accompaniment “bass and chord on the first three strings.” In Fig. Figure 3 shows tablatures of basic chords and their notation. Below the bass notes is the number of the string on which it is played.
Rice. 3. Basic guitar chords.
On all keyboard diagrams, the keyboard starts at note before major octave (the leftmost key on five-octave synthesizers).
Rice. 4. Basic chords on the keyboard.
The G chord comes in two variations. The guitarist plays the first option, but it is better and more convenient for the keyboard player to use the second (we will dwell on this later). Practice playing the game shown in Fig. 4 accompaniments. Left hand the bass plays and the right chord plays. When playing a chord, the bass continues to sound. Example 1. Guitar accompaniment “bass and chord” with two hands. Now try playing the accompaniment with one left hand. To obtain smooth transitions, you will need a sustain pedal, the use of which has specifics. The sustain pedal affects the entire area of the keyboard and guitar tones, when operated, begin to sound like a ukulele. It would be nice if the sustain pedal could only operate in a certain range. Due to the large jumps between bass and chord, playing the accompaniment shown on the synthesizer is not easy. Learning to play accompaniment with one hand will allow you to play the melody with your right hand at the same time. Example 2. Guitar accompaniment “bass and chord” with one hand. Let's analyze what is shown in Fig. 3 and 4. Bass The bass changes from chord to chord. This is not surprising, since it is he who determines the type of chord. In this case, the lower three strings of the guitar are used to produce bass sounds. Chords The chords are located in the alto range. Many people sing in this range and therefore the chords in question are great for accompaniment. When playing any sequence the voices of the chords change smoothly and do not cross - tertian tones ( of blue color) are not played below the fundamental or above the fifth tones of the chord. Smooth voicing and the absence of crossing are the basic rules of musical harmony. Smooth voicing is ensured due to the fact that all chords, with the exception of Am, are played in inversions! Let's take a closer look at this point. If you ask a beginning keyboard player to play the harmonic progression Am -> Dm -> E, then there is a high probability that he will play it using chords in the basic form, because it is easier. A novice guitarist would also like to play simpler, but he will do it like this: Am is a chord in its basic form, Dm is a quarter-sex chord, E is a sixth chord. This is the reason why the same accompaniment from guitarists often sounds much better than from keyboard players. The harmonic turn is the same, but the guitarist and keyboard player play it differently! There is nothing surprising about this. The letter system for notating chords is a simplified notation of accurate musical notation. The basic chords taken in the main form are shown in Fig. 5.
Rice. 5. Basic chords in basic form on a synthesizer.
Even without knowing the notes, you can see that the chords follow the same pattern.
Rice. 6. Basic chords in basic form on the keyboard.
It is easy to notice that smooth vocal guidance occurs only in some cases, for example, during the transition F -> G. In other cases, single or double crossing of voices appears. For example, when moving Am -> C, the upper voice ( salt in chord C) is taken below the lower voice ( la in the Am chord) in the previous chord! As a result, we get a ragged, boring and inharmonious transition.
A guitarist with poor playing technique understands that he plays poorly, but he sounds great! This makes him interested in continuing his studies. A keyboard player with poor playing technique understands that he plays poorly, and even sounds bad. Is it worth continuing classes in this case? The uniqueness of the guitar is that it helps the beginning guitarist feel quick success, which is extremely important when self-studying. I learned three chords and can already sing with a guitar popular songs! But on a synthesizer, you first need to figure out the accompaniment. But the feeling of quick success can also cause a backlash. Years pass, and he still tramples the grass at the foot of the mountain instead of climbing higher.
From Fig. 4 you can see that the chords are in a narrow arrangement. The frequency distance between adjacent sounds in a scale increases from low to high register. For this reason chords in close arrangement sound harmoniously in the middle register. The further into the low register a chord is moved in a close arrangement, the worse its tonal readability will be and the more hum will be in its sound due to the convergence of frequencies between its tones. The guitarist is calm about this, and the keyboard player must take this point into account.
Bass and chord
The bass in all considered guitar positions is located through one or more chord sounds (red circles in Fig. 7), which gives the harmony solidity and a strong sound contrast between the bass and the chords E, F, G, average between the bass and the Am chord, moderate between the bass and chords C and D. There is no weak contrast, when the bass and the root tone of the chord are on adjacent chord sounds, in no position.
Rice. 7. Position of the bass relative to the chord.
By choosing one or another harmonic sequence, you can hear a change in the contrast in the sound between the bass and the chord on the guitar.
Let's move from theory to practice and play an accompaniment with a melody.
Example 3. Accompaniment with melody.
To achieve a varied bass-and-chord type accompaniment, it should be viewed not simply as an alternation of one bass tone and one associated chord, but as the interaction of a bass line (several sounds) and a chord variation (several chords), played in a chosen rhythm. You can play a simple bass line and a simple chord variation on the guitar.
The simplest case involves moving the bass to chord or non-chord sounds using adjacent strings:
- When playing chords E, F, G, you can only move to the lower string.
- when playing a C chord, transitions in both directions are possible, but to transition C -> G you still need to be able to pinch the string with your free finger salt, and the transition C -> E is used as a passing one. With that said, after C they often move to the lower string.
- After playing the Am chord, you can go both ways.
- When playing Dm, you can only move to a higher string.
When changing the bass tone, it is possible that the same sound is repeated twice, for example, when playing Am -> E, the bass stroke can be la -> mi, mi -> G-sharp. Played here twice in a row mi that doesn't sound in the best possible way. To avoid repetition you can use:
- non-chord sound, for example: la -> F, mi -> G sharp, where F is a non-chord sound
- replace the repeated one with another chord sound, for example: la - > mi, G-sharp -> si, Where mi replaced by G-sharp
Example 4: Using a non-chord sound.
Example 5. Replacement with another chord sound.
To obtain accompaniment in the desired style, we use rhythmic figuration.
Example 6. Rhythmic figuration in the bass line.
You can also use rhythmic figuration in a chord variation.
Example 7. Rhythmic figuration in a chord variation.
We've sorted it out simple options accompaniment “bass and chord” not only in order to see how it is performed on the guitar, but also in order to invent and perform more complex options, one of which is the bassline and chord accompaniment, which can be used to develop left-hand playing skills.
Example 8. “Bassline and chord” accompaniment.
Based on the considered “bass and chord” accompaniment, short fingerings are played using the three upper strings. When playing by fingerpicking, the strings are not muted and to play it on a synthesizer with one hand, a sustain pedal is also required.
Short plucking on the top three strings
One of the simplest guitar pickings is the “four” picking (four sounds in sequence)
Example 9. Search "four".
Example 10. Variation on the theme of the song “It’s light in my upper room.”
The main difficulty of performing fingerpicking on three strings on a synthesizer is long distance between bass and other sounds. You not only need to press the sustain pedal clearly on the bass, but also have time to pick up the next sound after the bass without breaking. Another difficulty is the need to correct the melody part so that it does not often and strongly interfere with the accompaniment area, some sounds of which are taken quite high.
Another popular bust is “six”.
Example 11. Search "six".
Example 12. Variation on the theme of the song "House Of The Rising Sun".
The figure eight pattern is more difficult to perform.
Example 13. Number eight search.
Example 14. Improvisation using figure eight picking.
In the "2+2" pattern, the first pair is played as usual, and the second pair is played from the upper tone
Example 15. Searching "2+2".
Long guitar strum
When playing a long guitar pluck, all strings are often used. The figure shows the distribution of tones of basic chords on the keyboard.
Rice. 8. Guitar chords
The chords E, F and G are played using six strings, Am and C using five, and Dm using four strings.
Noteworthy are the chords G and C, which can be played on the third fret without or with a bar. Beginning guitarists avoid bar positions and choose the first variations of these chords, which sound lighter and not as rich. In some cases this will sound good, but in others it may sound like a failure, for example, when transitioning F->G in a bright chorus. It is better for keyboardists to choose the second options for playing these chords.
From the figure you can see that the bass is located everywhere through the chord sound, and the remaining tones of the chord are located closely (next to each other. Look at the second variants of the G and C chords).
Look at the E chord. It consists of 6 sounds, which are the sounds of the natural scale (which is why they sound harmonious). The bottom three sounds form the fifth chord, beloved by rock guitarists, and the top one forms a triad in a close arrangement. That's it! Now we can easily play six-tone guitar chords: we build a fifth chord from the bass and add a triad to it based on the chord sounds.
A beginning guitarist, regardless of the type of accompaniment and the number of strings used, places all fingers according to the tablature. When playing an F chord on the first fret, strumming uses six strings, while playing “bass and chord on the top three strings” uses four. In both cases, the guitarist plucks all the strings, despite the fact that in the second case the 4th and 5th strings are not used. Why put your fingers on strings that aren't being used? It's easier and more convenient for beginners. With experience, naturally, the guitarist optimizes his playing and uses his free fingers to complicate chords, play melodic inserts, etc., which enriches the accompaniment.
From Fig. 8 it can be seen that with the exception of the Dm chord, in other cases 5 or 6 strings are used, which allows you to play a long “eight” fingering, in which thumb With the right hand, the guitarist plays the two lower strings, and the other three on the three upper strings. Let's cheat and play the accompaniment to the Dm chord an octave lower.
Example 16. Long search "eight".
When playing chords E, F, G, the result is a strumming of 2 octaves; when playing Am and C, a strumming of one and a half octaves is obtained. This is interesting, since a keyboard player would, for simplicity's sake, play this figuration the same length for all chords.
You don't have to play the guitar strum exactly. To convey the character of the composition, you can use imitation.
Example 17. Exercise on the theme of the song “O Solo mia!”
If you want to continue your acquaintance with guitar accompaniment, I recommend getting the program Guitar pro, thanks to which you can simultaneously see the guitar tablature of the chord, its musical notation and location on the keyboard. And in the next lesson we will look in detail at the accompaniment of the “harmonic support” type. By the way, this accompaniment is one of the main ones when playing the accordion and, if you wish, you can spy on how accordionists perform it.