Using Marks In Licks To Speed Up Learning And For Better Time



either everyone Grif Hamlin here from blues guitar at least welcome and thanks for joining me today in this video we're going to talk about something that's very much timing related but I'm hoping that you can use this to help you to learn your licks and use them more effectively so what we're going to do is we're going to use a fairly simple lick it actually comes from my blues guitar leashed course it's the second lick in the third solo example and it's a fairly straightforward lick so let's kind of walk through it and I'm going to show you how to use what I call marks to just sort of help you make sure that the notes are in the right place all right let's check it out the lick itself like I say it's it's an A right out of good ol a minor box one I played it you know in as the video started I was I was playing a little bit and I use that lick so you've heard it what we're gonna do is we're gonna take a look at the notes that appear on beats okay so the way that I can tell that the is looking at the beams that connect the notes together so the first note is that a at the fifth fret of the first string the second note the G at the eighth fret of the second string is right on the start of the second beat if you just look up above that note that tab note you'll see the traditional notation there and it's the first note in a beamed groove okay so the next note the e and the following note the D bends or not but the following note the e at the fifth fret of the second string is also if you look right up above it it's the start of a beat okay the next note is the a I'm doing the Albert King finger roll here back to E and then I'm gonna strike AC which is again right on a beat and then I'm gonna strike the fifth fret a at the first string and while the next note I don't strike it I hold it through that next beat so I'm gonna make a note of that because if I happen to be striking something at that point then I know I'm doing it wrong okay and I'm gonna hold that through that whole beat and the very next note the G here at the eighth fret of the second string again is on a beat if you look up you can see that it's the beginning of the the beamed group then I'm gonna have my seventh fret Bend and release and the next note after that the C at the fifth fret of the third string is also on a beat and finally the last a is also on a beat okay so I have several notes that occur right on a beat and I can use that information to help me so what I'm gonna what I want to be able to do is I'm going to kind of tap my foot as I play this and I want to make sure that one – I want to make sure that I play that note on the beat that note on the beat that note on the beat nothing there right there right so if I keep track of all of those notes one I can just kind of keep a steady pace going and at least as long as the right notes land on the beat the likelihood is that it's gonna be pretty close to right you know it may not be exactly perfect but if you can at least get the notes that fall on the beats to fall on the beats the rest of it is likely to start to fill in a lot quicker a lot more quickly a lot faster and you know you if you look at things like okay I've got three triplets okay well if they're all the same note value then they should be evenly spaced so if you find yourself playing a triplet and instead of sounding like it sounds like then it's not a triplet because again the triplet should be fairly evenly spaced so you can as long as you know okay this notes on the beat and dis notes on the beat and all the notes in between should be evenly spaced it's not too it's not as nearly as much of a challenge to kind of put this whole thing together right so I hope you can see that it's not you know this is not something that's gonna be foolproof it's not like counting in the sense that if you count out loud you cannot possibly get it wrong because if you if you count out loud and you play each note on the correct count you know as long as the note that you play matches what you say with your mouth you can't possibly be wrong okay but there are some times when we get you know these large flurries of notes particularly when you play a slow blues and there might be like six or seven or eight notes in one beat you're looking at some transcription of like some Johnny Winter or something there's like you know ten notes in that beat that's you can't count that it's not reasonable okay but if you know that hey this notes on the beat and this notes on the beat and I just gotta get all those other ones crammed into that amount of space you can start to put those kinds of things together it's not easy and I don't want to make it sound like it is and and counting is still absolutely super super important but this can help and be a little bit of an additional crutch or an additional shortcut that can help you to learn your licks faster and keep them in time the weight they need to go okay so I hope that makes some sense I hope you got something out of it as always if you dig the lesson feel free to share it with your other guitar playing friends and my name is Griff Hanlon I will see you real soon take care

3 thoughts on “Using Marks In Licks To Speed Up Learning And For Better Time”

  1. Understanding the timing in tab has been an issue but this does indeed help by seeing the notes grouped together and or singularly above in standard music notation… I never knew that about standard notation…

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