How to pick 2-note-chords?

Some players only play the 3 and 7 of a chord, often on the D and G string. Do they play only those 2 strings, or do they mute the other strings for a rhythmic effect?

Both work, it just depends on your style.

For me, when I'm doing that, I'm dropping out everything but those two notes, trying to keep the harmony simple to keep out of the way of the melody, so I'm hitting just those two. Mostly tight strums with the bridge muted with my palm, but sometimes I'm hybrid picking with a pick and middle finger.

I just hit those 2 strings with pick and middle finger as mentioned above. I believe Gatton touched on that method in his STRICTLY RHYTHM video.

Depending on the song (I play mostly jazz), I use the 3rd and then whatever adds color - 7, 9, 11, 13, altered notes, etc. for a maximum of 3 notes. I only play the notes that I'm using, concentrating on the middle strings for the notes. At least for jazz, this approach leaves more space for other instruments and can keep you from clashing with the bass, piano, or other rhythm section instruments.

For the primitive take on this.... "Jumpin' Jack Flash," in either standard or G tuning. Get six beer, play same thing for hours, achieve that kind of right hand control. But that's just the "two at the same fret" diad.

When I'm just playing straight parallel thirds (two strings next to each other), I mostly pinch down with my thumb and up with my forefinger. When I play straight parallel sixths (two strings with a string between them), I usually pinch down with my thumb and up with my middle finger.

When I'm playing double notes on the high strings and bass notes on the low strings, I go down with my thumb and claw-hammer up with my forefinger and either my middle finger or ring finger.

I don't think I dampen any strings. I just don't play them.

I'm left-handed, and my right hand is pretty stupid. So mine is a lazy player's approach. Now let's hear from some more folks who do it right....

PS - I wouldn't limit myself to the D and G strings. It works on all of them. You'll get a bigger sound and have easy access to more notes if you use all six. Sticking with D and G would be like trying to play a melody on one string. It can be done, but what for?

(I know this is different than Kurt's approach, but I don't play jazz. What he's saying makes sense for the combo situation he's describing.)

I actually ran into some voicing problems on the last theatre show I did, due to the book containing lots of sixth diads with a string between and the melody note being the higher one.

I was playing the entire show with a flatpick, but couldn't properly balance those sixths, due to the fact that I'm a compulsive nail-biter, to the point where my nails are pretty far from extending past the fingertip.

Other than trying to break a 20-year-old gross habit, any suggestions beyond wearing a fingerpick?

I actually ran into some voicing problems on the last theatre show I did, due to the book containing lots of sixth diads with a string between and the melody note being the higher one.

I was playing the entire show with a flatpick, but couldn't properly balance those sixths, due to the fact that I'm a compulsive nail-biter, to the point where my nails are pretty far from extending past the fingertip.

Other than trying to break a 20-year-old gross habit, any suggestions beyond wearing a fingerpick?

Folks like a variety of stick on and acrylic nails. If you had thick plastic coating on some of your finger tips, you might could forebear biting those.

I'm a compulsive nail-biter, to the point where my nails are pretty far from extending past the fingertip. Other than trying to break a 20-year-old gross habit, any suggestions beyond wearing a fingerpick?

I'm a reformed nail biter - I quit in my thirties. Now I have to find my Vitamin N elsewhere.

The good news is, you don't need nails to finger pick. I play with my fingertips, not my nails. Other TDPRI folks have said the same thing in other threads, so I know I'm not the only one.

FWIW, 2-note chords have some of their history from the piano. Especially for bebop, piano players adopted a style (left-hand shells) where they typically started with root and 7th then root plus 3rd then root with 7th and so on. For many standard progressions (ii / V7 / I), this creates very effective voice leading. For guitar, this approach presents some problems because it's hard to play 2 notes when they are far apart. So, for guitar, it involves compromises, but it's helpful if you try to keep voice leading in mind so that the progressions are smooth.

Thanks Guys... I think Freddie Green often would only let one string ring, all the others was muted and strummed for a rhythmic effect only.

"The essence of Green's 1950s style came from playing 'chords' that contained only one clearly sounded note."