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Rock Guitar Lessons: The Seeds of 16th Notes

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[MUSIC]
One, two, three, four.
[MUSIC]
This is such a good lick, let's listen to
it.
[MUSIC]
It's all picked with alternate picking,
so this is a good picking exercise.
But the order of the notes is kinda
interesting,
because I'm playing two C notes.
[MUSIC]
In a row.
Down, up.
[MUSIC]
And then I'm going to a lower string.
[MUSIC]
And playing the A and the G and that's it,
four notes.
[MUSIC]
I want to play the muting.
And let's see, I'm gonna do it twice I
think.
[MUSIC]
Then just end with that simple
pentatonic phrase of the third.
[SOUND] And the root.
[SOUND] So.
[MUSIC]
Then do it down an octave.
[MUSIC]
It's the same fingering, but
we're on a lower fret to get those notes,
so we're in third position now.
[MUSIC]
To get those same notes an octave lower.
Let's go up here now to get the notes two
octaves higher.
[MUSIC]
So it's the same lick in three octaves.
[MUSIC]
Then I
just did some slow triplet scratches
[MUSIC]
Triplet, triplet, triplet, triplet.
[MUSIC]
And I did two of those, triplet,
triplet, and then an A power chord.
That's our looping exercise here.
Let's listen to it one more time all
together, three, four.
[MUSIC]
One
thing that's really helpful to your
technique about this exercise.
Is that each time you play on different
strings,
you have to make small adjustments to your
picking technique to get the right tone.
Because the tone on the lower strings,
[MUSIC]
You know, those are like scratch heaven.
You get so much scratchy sound.
[MUSIC]
Out of those, but on the high strings.
[MUSIC]
There's not as much
scratch potential there.
So you have to, you know,
work with the pick angle, to get the tone
that you really like.
[MUSIC]
You know, are you gonna mute it?
Or you're gonna have it open?
[MUSIC]
In this case,
I'm muting the other ones so much.
I think I'm gonna mute these as well.
[MUSIC]
But you also have to mute the other
strings, so to have to travel between the
middle strings, the two lowest strings and
the two highest strings.
Requires all kinds of small adjustment to
make those all sound good and all work.
Adjustments of pick angle.
Adjustments of muting.
And a lot of it is gonna, just gonna be
intuitive.
If you hear something you don't like.
At this point you know all those
techniques and
you can adjust them to make them work.
But let's slow it down so we can really
listen to the details and the transitions,
we're gonna go one, two, three, four.
[MUSIC]
Now, this is alternate picking.
And we worked a little bit with alternate
picking in our various exercises.
But, this one, I want to take a look at
it.
And again.
It's, the motion of it is going to be
somewhat of what we were doing when we
were strumming.
Cuz basically strumming is alternate
picking.
Up and down.
I should say down and up cuz down is
first.
That's the motion.
But in this case we have to focus it onto
a single string instead of all
the strings when we strum.
So we gotta do smaller motions and of
course our new way of holding the pick
that we've been doing is gonna work well
focusing in,
[MUSIC]
on those accurate,
on those accurate string,
[MUSIC]
techniques.
So let's have a look at this again.
It's gonna be down up, [SOUND] and then
down up [SOUND].
Now what could we do to I suppose the
smallest we could make this is to
just to do a piece at a time.
For the first two notes we can go.
[MUSIC]
I love doing this
because I love to find the part that's so
easy that it's just I just feel confident.
I feel like that's indestructible.
I can't screw up going.
[MUSIC]
I'm always gonna get that right, down, up.
Just puts me in a good mood to know that
that lick is indestructible.
All right, so once I'm in that good mood,
I'm ready to add one more note.
Let me add an A note, so I'll go three,
four.
[MUSIC]
It's feeling pretty good.
But if that's a little bit challenging I
want to practice it until I can actually
feel myself relax.
I can feel like okay, it feels,
maybe at first you have to concentrate a
little bit, have to worry about it.
But the more you practice it the more you
can relax, you can start to breath,
you start to feel like something you're
really in control of so.
[MUSIC]
And then that's all right I can do
it everything's cool got the tone I can do
it loud or quiet.
I got control.
I can do it with my eyes closed looking
around looking down.
Looking up,
[MUSIC] everything's cool, [MUSIC]
with the foot,
[MUSIC]
keeping in time.
[MUSIC]
That's when you know its indestructible
and you're ready for the next note.
[MUSIC]
So let's do that, one, and
let's do it slow cuz we're going to make
sure that last note is an upstroke.
And to really make sure of that I want to
do it kinda slow.
So we're going to go one, two, three,
four.
[MUSIC]
There we go.
[MUSIC]
And I know that last note is an up.
And at that point, I just wanna practice
it some more.
[MUSIC]
With the foot, in time.
Its kinda fun when its in time.
I got a groove going,
when that starts to feel good then you can
take out the space and loop it.
[MUSIC]
But I don't want you to get trapped in the
vortex of 16th notes.
[LAUGH] So, that's why I put in the
rhythms and
ends to these, so I wanna just do two.
And that's such a relief to hear a
slightly different accent come in.
You know, then it's just become more
musical.
And then do it down an octave.
[MUSIC]
You know, that,
that space just let's it breathe.
And the high one.
Three, four.
[MUSIC]
And then some nice triplets.
[MUSIC]
All right we definitely have the details
of this in our ears and in our fingers
now.
So let's play it together at a nice tempo.
One, two, three, four.
[MUSIC]
>> All right.
Fantastic.
I'd love to hear you do this one.
This one is so useful for phrasing.
It's just such a cool lick to throw in
with all your phrases if you're going.
>> [MUSIC]
So, there was an example of it thrown in
here and there and some improvising.
But I know you're gonna have good results
from this one, so play it a lot.
[MUSIC]
[MUSIC]
[MUSIC]
[MUSIC]
One, two, three, four.
[MUSIC]
[MUSIC]
[MUSIC]