Strumming patterns from scratch

Strumming as a grid

Every strumming pattern is a choice of which 16th notes you hit within a bar. Think of a 16-cell grid; mark which cells get a hit, then choose down or up for each.

A universal rule: down-strums fall on numbered beats and “&”s, up-strums fall on “e” and “a”. This keeps your hand moving constantly — you only play on the cells you want, but your wrist keeps the down-up motion going. This is the single most important technique trick in rhythm guitar.

A library of patterns

Pattern 1 — Folk all-downs

D — D — D — D — (quarter notes on every beat)

Beginner-friendly. Boring on its own; perfect for ballads with a strong vocal.

Pattern 2 — Folk standard

D — D U — U D U (1, 2, &, &, 4, &)

This is “the strumming pattern” your first teacher showed you. Works on ~30% of all acoustic singer-songwriter songs.

Pattern 3 — Pop ballad

D — D U U D D U (1, 2, &, &, 3, 4, &)

A touch more momentum. Sounds like an Ed Sheeran or Taylor Swift verse.

Pattern 4 — Funk 16ths

D D U D U D U D U D U D U D U D (every 16th)

Hands move on every 16th, but you only squeeze the fretting hand on the ones you want to sound — the others are muted “chika” sounds. The basis of all funk rhythm guitar.

Pattern 5 — Reggae “skank”

— — & — — — & — (only the “&” of 2 and the “&” of 4)

Up-strums only, muted-bright. Pair with a bass on 1 and 3 and you have reggae.

Pattern 6 — Country shuffle

In shuffle feel:

D — D U — D — D U (with the long-short swing on the eighths)

The basis of most blues and country backing.

Building your own

To invent a strumming pattern that suits a song:

1. Start the down-up motion of your hand on 16ths — keep it constant.
2. Sing the vocal melody. Strum where the singer breathes — those are good “hit” moments.
3. Always include the downbeat 1 unless you’re being deliberately syncopated.
4. Leave space — silence is part of the pattern.
5. Loop one bar until it feels natural; then play it for two minutes straight.