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Electric Country Guitar Lessons: Playing in the Pocket

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Electric Country Guitar

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This page contains a transcription of a video lesson from Country Guitar with Guthrie Trapp. This is only a preview of what you get when you take Electric Country Guitar Lessons at ArtistWorks. The transcription is only one of the valuable tools we provide our online members. Sign up today for unlimited access to all lessons, plus submit videos to your teacher for personal feedback on your playing.

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X
X
X
[MUSIC]
One, two,
three, four.
[MUSIC]
>> Okay, so
that's just gives you a little example of
how some of those phrases are connected.
And how you can kinda hear,
just take those and
use those as ideas of just going
from one chord change to the next,
and flowing through there.
And having a little something
to say over each one,
you don't just want to be
playing a lot of licks.
They are licks, but they're developing
this wide vocabulary of licks.
Enough to where you've got your go-to
stuff that you know is going to be cool,
but then being able to improvise as well.
And you can see how on kinda
like on some of those,
[MUSIC]
I'm really working on hitting those,
trying to get those in
the pocket as much as I can.
And even some of those
are a little behind the beat,
like
[MUSIC].
It's almost a lazy
approach to that shuffle,
because it is this
[MUSIC].
It's this kind of loping along thing,
so you don't wanna be too far ahead of
the beat, you wanna do some stuff
that's really in the pocket.
When you do your bends, like
[MUSIC]
I'm really drawing some of that stuff out,
and that's a big part of country music.
I mean, some of the stuff is
done with a little bit of,
almost like a vocal kind of draw.
So just keep all that in mind, and
use these as some examples to reference.
And you should be able to pick up a lot of
the stuff now that we're at this advanced
level, without having me explain
everything I'm doing here.
I'm giving you examples and ideas now,
versus teaching you exactly what
fingers to put where, because we've
covered that on so much stuff here.
Of course, if you have any questions,
I'll gladly over all this stuff with you.
I'm just saying, I'm not gonna
describe this stuff as in depth,
as far as what exactly I'm doing over
these chord changes, we've covered that.
These are just ideas of the phrasing and
the timing and
how I'm linking all this stuff together.
So we're going to do a couple other
exercises with this in mind, and
then we're going to move on.
[SOUND]
>> One, two, three.
[MUSIC]
One,
two,
three.
[MUSIC] One, two, three.
[MUSIC]
[MUSIC]
Okay, we're back, and
we're gonna work on playing
in the pocket right now,
which means playing in time,
in the groove.
Maybe working a little bit like
playing some stuff behind the beat and
how to drag out a couple of things.
Add a little feel to your
playing with this kind of stuff.
There is no metronome exercises
on this lesson program.
But what we do have are these great
backing tracks that are cut to
a click track.
And you got some great Nashville
session guys that I put
together to play on these backing tracks.
Acoustic rhythm guitar, bass and drums.
So really nice, just good sounding
tracks that you can practice along to.
So anything we do with timing,
practice along with the tracks.
So with that being said, we'll get to
some examples here in a minute, but
I just want to describe to you a little
bit about when we start phrasing up tempo,
like some country soloing over
train beats and stuff like that.
And landing on the right place,
and on the right notes, and stuff.
And knowing how to kind of connect this
stuff to where you can do this without it
being confusing or
wondering why you're not sounding right.
So, it's just these phrases, and
it's almost like you're
having a conversation.
So, over one chord,
you're creating a phrase and
then when that chord changes you're
starting like another phrase.
So it is very much like communicating.
You don't want your sentences
all to run together like this,
where nobody is gonna know
what you're talking about.
So you're starting, and
then you are stopping in these
phrases to where it makes sense.
And that's super important.
That really defines your plan almost more
than anything else because this will be
the conversation that you have, and
this is what you're saying on your
instrument, so this is very important.
And this all goes back to connecting
all these chord shapes as well.
Because this is gonna enable
you to have the freedom
to create the phrases that workout in
the timing of the song you're playing, or
the music that you're playing.
So real crucial kinda stuff here too.
So, what I mean by that is,
if I'm gonna play something
over a chord change,
I'll probably start out like
if something's like this.
[MUSIC].
Yeah, that's a phrase.
[MUSIC].
It's like call.
[MUSIC].
And then like an answer.
[MUSIC].
So over the four cord you're
creating this other little phrase.
[MUSIC].
And then back to the one.
[MUSIC]
You go to the five.
[MUSIC].
This is just an example.
When we play off the tracks,
it'll be much better.
You'll really understand what I'm
saying more, but that's the idea,
it's like playing something.
[MUSIC].
So those are three phrases in time,
over those three chords.
And you can see,
I'm not just going.
[MUSIC].
I'm still playing over those chords but
there's no holds there,
there's no conversation.
And there's times when you can play,
if you build your solo up, and
you're really going for
it, you can play more.
But especially when you're starting
out at the beginning of a solo,
you can just hit like a couple
little things building up,
to get people's interest in it and
be able to build to where you're
eventually kind of burning on the guitar.
So with that being said,
another thing too is when
you're in the back pick up and
your doing this chicken pick and
run through like a.
[MUSIC].
And land really in the pocket.
[MUSIC].
So those really,
they're landing on the down beat.
[MUSIC].
So you gotta put these phrases together to
where they're landing on the right spot.
And that's just it, it does take practice
and it's creating those phrases and
being able to hear,
having a little call and response.
If you do one of these licks
that kinda spans three octaves.
[MUSIC]
that's a phrase,
[MUSIC]
that's a phrase,
[MUSIC]
that's a phrase.
So it's just these thought out kind of
licks in your vocabulary on the instrument
that create how the conversation goes
with what you're playing over that.
Okay, you're playing on the A chord,
now you go to the four chord.
That should be a little spot.
And then have a hole there,
to be able to think about what you're
gonna play going to the next chord.
So I wanna go ahead and
play just some tracks here.
And kind of give you some examples
of what that sounds like,
just this kind of building these solos and
these phrases to what you're playing,
sounds more like music.
And that's of course the whole goal here
and we're all working on that as well.
But I'm gonna give you some
examples now and then don't forget,
play with all these tracks.
We've got tracks in multiple tempos,
in every major key.
So, utilize those, they're great.
All right, here we go.
[MUSIC]