Editing Rhythm guitar (section)

==Jazz==
Rhythm guitar has been especially important in the development of jazz. The  guitar took over the role previously occupied by the banjo to provide rhythmic chordal accompaniment.

Early jazz guitarists like Freddie Green tended to emphasize the percussive quality of the instrument. The ability to keep a steady rhythm while playing through complicated chord patterns made the guitar invaluable to many rhythm sections. Jazz guitarists are expected to have deep knowledge of harmony.

===Jazz harmony===
[[Jazz guitar]]ists use their knowledge of [[harmony]] and jazz theory to create jazz chord [[Voicing (music)|"voicings"]], which emphasize the 3rd and 7th notes of the chord. Unlike pop and rock guitarists, who typically include the root of a chord (even, with many open chords and barre chords, doubling the root), jazz guitarists typically omit the root. Some more sophisticated chord voicings also include the 9th, 11th, and 13th notes of the chord. A typical jazz voicing for the chord G7 would be the individual notes B, E, F, and A. This voicing uses the 3rd (the note B), the 7th (the note F), along with the 6th (the note E) and the 9th (the note A).

In some modern jazz styles, [[dominant 7th]] chords in a tune may contain altered 9ths (either flattened by a semitone, which is called a "flat 9th", or sharpened by a semitone, which is called a "sharp 9th"); 11ths (sharpened by a semitone, which is called a "sharp 11th"); 13ths (typically flattened by a semitone, which is called a "flat 13th").

Jazz guitarists need to learn about a range of different chords, including [[major 7th]], [[major 6th]], [[minor 7th]], [[minor/major seventh|minor/major 7th]], [[dominant 7th]], [[diminished seventh chord|diminished]], [[half-diminished seventh chord|half-diminished]], and [[augmented chord]]s. As well, they need to learn about chord transformations (e.g., altered chords, such as "alt dominant chords" described above), [[chord substitution]]s, and re-harmonization techniques. Some jazz guitarists use their knowledge of jazz scales and chords to provide a [[walking bass]]-style accompaniment.

Jazz guitarists learn to perform these chords over the range of different [[chord progression]]s used in jazz, such as the II-V-I progression, the jazz-style [[12 bar blues|blues progression]], the minor jazz-style blues form, the "[[rhythm changes]]" progression, and the variety of chord progressions used in jazz ballads, and [[jazz standard]]s. Guitarists may also learn to use the chord types, strumming styles, and [[effects pedal]]s (e.g., [[chorus effect]] or [[Distortion (music)|fuzzbox]]) used in 1970s-era jazz-Latin, jazz-funk, and jazz-rock fusion music.

===Big band rhythm===
In jazz [[big band]]s, popular during the 1930s and 1940s, the guitarist is considered an integral part of the rhythm section (guitar, [[drum]]s and [[Double bass|bass]]). They usually played a regular four chords to the bar, although an amount of harmonic improvisation is possible. [[Freddie Green]], guitarist in the [[Count Basie]] orchestra, was a noted exponent of this style. The harmonies are often minimal; for instance, the [[root (chord)|root note]] is often omitted on the assumption that it will be supplied by the bassist.

===Small group comping===
When jazz guitarists play chords underneath a song's melody or another musician's solo improvisations, it is called ''[[Comping (jazz)|comping]]'', short for ''accompanying''. The accompanying style in most jazz styles differs from the way chordal instruments accompany in many popular styles of music. In many popular styles of music, such as rock and pop, the rhythm guitarist usually performs the chords in rhythmic fashion which sets out the beat or groove of a tune. In contrast, in many modern jazz styles within smaller, the guitarist plays much more sparsely, intermingling periodic chords and delicate voicings into pauses in the melody or solo, and using periods of silence. Jazz guitarists commonly use a wide variety of [[Inversion (music)|inversions]] when comping, rather than only using standard voicings.<ref>{{cite web |url=http://eden.rutgers.edu/~pfelton/inversions.html |title=jazz guitar - advanced chords/inversions |website=eden.rutgers.edu |archive-url=https://web.archive.org/web/20110930075616/http://eden.rutgers.edu/~pfelton/inversions.html |archive-date=September 30, 2011}}</ref>

===Gypsy pumping===
[[File:La Pompe.png|thumb|''La Pompe''.<ref>Natter, Frank (2006). ''The Total Acoustic Guitarist'', p.126. {{ISBN|9780739038512}}.</ref> {{audio|La Pompe.mid|Play}}]]

[[Gypsy jazz]] is acoustic music, usually played without a drummer. Rhythm guitar in gypsy jazz uses a special form of [[strumming]] known as "[[la pompe]]", i.e. "the pump". This form of percussive rhythm is similar to the "boom-chick" in bluegrass styles; it is what gives the music its fast swinging feeling. The strumming hand, which never touches the top of the guitar, must make a quick up-down strum followed by a down strum. The up-down part of la pompe must be done extremely fast, regardless of the tempo of the music. It is very similar to a grace note in classical music, albeit the fact that an entire chord is used. This pattern is usually played in unison by two or more guitarists in the rhythm section.

===Jazz chord soloing===
Jazz guitar soloists are not limited to playing single notes by their instrument. This allows them to create "chord solos" by adding the song's melody on top of the chord voicings. [[Wes Montgomery]] was noted for playing successive choruses in single notes, octaves and finally a chord solo. This technique differs from chord-melody soloing in that it is not intended to be used unaccompanied