Editing Funk (section)

====Electric guitar====
In funk, guitarists often mix playing chords of a short duration (nicknamed "stabs") with faster rhythms and riffs.<ref name=Learn254/> Guitarists playing rhythmic parts often play sixteenth notes, including with percussive ghost notes.<ref name=Learn254/> Chord extensions are favored, such as ninth chords.<ref name=Learn254/> Typically, funk uses "two interlocking [electric] guitar parts", with a [[rhythm guitar]]ist and a "tenor guitarist" who plays single notes. The two guitarists trade off their lines to create a "[[Call and response (music)|call-and-response]], intertwined pocket."<ref name=Bortnick>{{cite web |url=https://www.premierguitar.com/articles/Rhythm_Rules_Call_and_Response_Funk_Guitar |title=Rhythm Rules: Call-and-Response Funk Guitar |last=Bortnick |first=Avi |date=12 March 2013 |website=premierguitar.com |publisher=Premier Guitar |access-date=13 April 2019 }}</ref> If a band only has one guitarist, this effect may be recreated by [[overdubbing]] in the studio, or, in a live show, by having a single guitarist play both parts, to the degree that this is possible.<ref name=Bortnick/>

In funk bands, guitarists typically play in a percussive style, using a style of picking called the "chank" or "chicken scratch",  in which the guitar strings are pressed lightly against the [[fingerboard]] and then quickly released just enough to get a muted "scratching" sound that is produced by rapid rhythmic strumming of the opposite hand near the [[Bridge (instrument)|bridge]].<ref>{{cite news|url=https://www.musical-u.com/learn/the-funky-ones-what-makes-funk-guitar-what-it-is/|title=The Funky Ones — What Makes Funk Guitar What It Is - Musical U|date=August 15, 2016|newspaper=Musical U|access-date=October 24, 2018}}</ref> Early examples of that technique used on rhythm and blues are heard on the [[Johnny Otis]] song "[[Willie and the Hand Jive]]" in 1957, with future James Brown band guitar player [[Jimmy Nolen]]. The technique can be broken down into three approaches: the "chika", the "chank" and the "choke". With the "chika" comes a muted sound of strings being hit against the fingerboard; "chank" is a staccato attack done by releasing the chord with the fretting hand after strumming it; and "choking" generally uses all the strings being strummed and heavily muted.<ref name=Gress/> 
[[File:NileRodgers2012.png|thumb|left|200px|Guitarist [[Nile Rodgers]] is best known for his performances with [[Chic (band)|Chic]].]]

The result of these factors was a rhythm guitar sound that seemed to float somewhere between the low-end thump of the [[Bass guitar|electric bass]] and the cutting tone of the [[Snare drum|snare]] and [[hi-hat]]s, with a rhythmically melodic feel that fell deep in the pocket. Guitarist [[Jimmy Nolen]], longtime guitarist for James Brown, developed this technique. On Brown's "[[Give It Up or Turnit a Loose]]" (1969), however, Jimmy Nolen's guitar part has a bare bones tonal structure. The pattern of attack-points is the emphasis, not the pattern of pitches. The guitar is used the way that an African drum, or idiophone would be used. Nolen created a "clean, trebly tone" by using "hollow-body [[jazz guitar]]s with single-coil P-90 pickups" plugged into a [[Fender Twin]] Reverb amp with the mid turned down low and the treble turned up high.<ref name="bogdal1">{{cite web |url=https://www.stringjoy.com/funk-guitar-history-techniques-gear/  |title=Funk Guitar: The History, Techniques and Gear Behind the Groove |last=Bogdal |first=John |date=20 July 2017 |website=stringjoy.com|publisher=StringJoy |access-date=19 April 2019 }}</ref>

Funk guitarists playing rhythm guitar generally avoid [[distortion (music)|distortion]] effects and amp overdrive to get a clean sound, and given the importance of a crisp, high sound, [[Fender Stratocaster]]s and [[Fender Telecaster|Telecasters]] were widely used for their cutting treble tone.<ref name="bogdal1"/> The mids are often cut by guitarists to help the guitar sound different from the [[horn section]], keyboards and other instruments.<ref name="bogdal1"/> Given the focus on providing a rhythmic groove, and the lack of emphasis on instrumental guitar melodies and [[guitar solo]]s, sustain is not sought out by funk rhythm guitarists.<ref name="bogdal1"/> Funk rhythm guitarists use [[Dynamic range compression|compressor]] volume-control effects to enhance the sound of muted notes, which boosts the "clucking" sound and adds "percussive excitement to funk rhythms" (an approach used by [[Nile Rodgers]]).<ref>{{cite web |url=https://www.guitarplayer.com/technique/licks-tricks-and-riffs-for-a-variety-of-effects |title=Licks, Tricks and Riffs for a Variety of Effects |last=Kolb |first=Tom |date=20 March 2019 |website=guitarplayer.com |publisher=Guitar Player |access-date=19 April 2019 |archive-date=April 19, 2019 |archive-url=https://web.archive.org/web/20190419234724/https://www.guitarplayer.com/technique/licks-tricks-and-riffs-for-a-variety-of-effects |url-status=dead }}</ref>

Guitarist [[Eddie Hazel]] from [[Funkadelic]] is notable for his solo improvisation (particularly for the solo on "[[Maggot Brain]]") and guitar riffs, the tone of which was shaped by a [[Maestro FZ-1 Fuzz-Tone]] pedal.<ref name="dearcangelis1"/> Hazel, along with guitarist [[Ernie Isley]] of [[the Isley Brothers]], was influenced by [[Jimi Hendrix]]'s improvised, wah-wah infused solos. Ernie Isley was tutored at an early age by Hendrix, when Hendrix was a part of the Isley Brothers backing band and temporarily lived in the Isleys' household. Funk guitarists use the [[Wah-wah pedal|wah-wah]] sound effect along with muting the notes to create a percussive sound for their guitar riffs. The [[phaser (effect)|phaser]] effect is often used in funk and R&B guitar playing for its filter sweeping sound effect, an example being the [[Isley Brothers]]' song "[[Who's That Lady]]".<ref>{{cite web |url=https://flypaper.soundfly.com/play/guitar-pedal-tone/ |title=Finding Your Ideal Guitar Tone: Guitar Pedals |last=Anbar   |first=Elyadeen|date=10 October 2015 |website=flypaper.soundfly.com |publisher=Flypaper |access-date=19 April 2015 }}</ref> [[Michael Hampton]], another P-Funk guitarist, was able to play Hazel's virtuosic solo on "Maggot Brain", using a solo approach that added in string bends and Hendrix-style [[feedback (music)|feedback]].<ref name="dearcangelis1"/>