Strumming counter to another guitarist

Hey, quick question as the oppurtunity actually just arose. Let me phrase the question in a more elaborate way: In a setting with two acoustic guitarists where one is playing a set, but sometimes changing strum pattern, how does one go about playing in-between the first guitarist's strums?

Of course, i'm the obvious answer is to just listen and attempt to play a note say between two quarter notes. If you guys know more about this, that would help. All i'm doing is backing up another guitarist on an acoustic and I want to try this out. I'm just unsure as to how to approach this method.

play the backbeat or play quarter notes, or break up the measure between you rhythmically (as you suggest let him play quarters and you lay the 8th note 'ands' between) OR stay out of dudes way and play bass instead

Well, you can "serve the song" and just play backing chords of what hes doing, giving him all the glory.

What I WOULD do is play a mixture of backing chords and melodies to his. These guys do a great job working 2 acoustics together. Check them out.

You would be playing the guy on the right's part. Think Bass guitar meats strummer.

https://www.youtube.com/watch?v=SQUdhxMQN-o

except neither of them is doing much strumming, if someone is going to pluck with their fingers in a classical vein all bets are off

The guy on the right strums about half of the time.

Is this a paying gig or for pleasure?

Precisely. Think Wolves by Bon Iver. He did this with most orher songs where recorded his guitar twice and just layered the two together. Of course, the intro of the song doesn't have much happening, but those few moments where one guitar alternates between the other is a really good method.

I think I have a good idea of what to do. Once I meet up o practise, we'll see what we can do. Any more responses are welcome. I appreciate the help, guys!

Church doesn't pay musicians.

oh lol. Well, you wont need to use any tricks then when playing. modern contemporary Christian music puts more emphasis on the vocals and lyrics than they do the playing of the instruments. I would bet that they are expecting you to just back him with gentle strums.

I would recommend writing your own song at some point though and playing it for the church if you want to get your artistic side out. You can impress people easily when they are used to less technical music.

Yeah, about that...

We're sort of deviating from the regular model, however difficult it is. Either way, what i'm describing isn't really supposed to override the vocals. It's just meant as creative rhythm playing to support what is an average four chord strum pattern.

I dunno, my style of 'lead guitar' is more like rock chord melody with a mix of truncated chords or tasty extensions with minimal 1s 3s and 5s and licks interspersed with the passing tones that support the vocal without strictly doubling much of the rhythm line, but its based on years of big band jazz experience and I couldn't coach anyone how to do it in les than a year, especially a beginner. but it would work well for what you are trying to do if you could do it....

I would interpret all the passing chords if I were you, maybe reharmonize the main chords for interest and then work out counter rhythms so you have both rhythmic and harmonics differentiation. A song is just a melody, the 'chords' are just one possible harmony and anything that works is fair game if it fits the mood of the lyric. Okay? then at show time I might throw caution to the wind and just play it however I felt it at the moment...

also, 'strumming' is kinda washy and lame, be precise, use your fingers like the guy on the left or do something to change the attack so it doesn't wash with the guy strumming away with his pick like its a boy scout weenie roast

if you want to rehamonize or discover passing tones by ear try singing or playing a couple diatonic harmonies to the vocal line by ear and then use the notes that are NOT in the main chords to generate the passing tones (off beat chord changes between the main chords) and to reharmonize/extend the chords as written, avoid ANY notes being covered by the main rhythm line as much as you can, especially 1 and 5... then you can rehearse it a few ways, put it all in the back of your mind, and then try playing it with your gut for a little and see what comes out. maybe almalgamize a few versions of your part to make an ideal line

at worst you won't get anything out of my suggestions but experience, and really that's more important than getting it 'right' sometimes

most importantly, whatever you decide to do, do it with conviction and passion because connecting with the audience is more important than musical technicalities unless you're in an orchestra performing Stravinski or something and even then passion is as important as proficiency