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Rock Guitar Lessons: Time Squeeze

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All right,
it's time to do the time squeeze.
Now in the example so far, we've had one
note on a string.
And we've had two notes on a string.
And we've had three notes on a string.
But there's one thing we haven't had.
And that's three notes on a string, twice.
You know, we've done three and two like.
one, two, three
and one, two.
Down and up.
But, we haven't done three and
three which would be like one, two, three.
One, two, three.
Playing notes from E natural minor.
if we do this with our usual system of
starting on the top note,
going all the way down, and then coming
back up, let's hear what we get.
We get.
And the problem with this is,
there's ten notes inside this phrase.
One, two, three, four, five, six, seven,
eight, nine, ten.
And it starts over.
And ten, doesn't easily fit into our 16th
note pattern.
It also doesn't fit into our triplet
It's just, the, we're having math trouble
So, the way I solve it, is I take those
ten notes, and I squeeze them into eight.
I'm still playing the ten notes, but I'm
squeezing them into the same time.
That will play eight notes.
And let's hear how this works.
Now the trick to solving this, is to make
sure the first note,
[SOUND] always comes right with the down
So I want to play kind of fast first,
because that's the way it works best.
One, two, three, four.
All right,
so with that, I still give you this sense
of where the tempo is.
You still felt
That tempo.
Let me try it again.
One, two, three, four.
there's, there's really no problem with
It sounds good, I think.
Now, what's happening, I'm gonna play the
eight notes again so
you can compare the feeling.
So the eight notes I'm going to leave up,
I'm going to take that C note and
discard it temporarily.
So, we're going to go back to this pattern
that we've done before.
We did that down in A,
but we've done this before.
So here we go.
One, two, three, eight notes.
You can hear how that launched right in.
Now I'm gonna do the ten.
One, two, three, four.
you can tell there's a little bit of
It's a little more organic actually.
There's a, there's a certain like a, small
amount of controlled chaos in it.
I'm still playing it accurately, but
I'm messing around by squeezing a couple
extra notes in there.
And I find that happens a lot, if I have a
lick that I've developed, and,
I love the lick, but it doesn't quite fit
into the groove I want.
Just use the time squeeze and squeeze it
on in there.
So, let's learn a couple of examples.
This first one that we did.
Three notes on the string,
and three notes on the next string.
Going down
and going back up.
All right, let me take a look at how
we're gonna play this with the picking and
the hammer ons and the pull offs.
All right, I'm gonna
pick everything except the second and
third notes which are gonna be pulled off.
And after that,
I'll start with a downstroke and go down,
up, down, up, down, up, down up, I think.
Let's see.
Yeah, that's right.
So, actually, when, after we loop it a
couple of times, or even loop it once,
it's gonna start with that upstroke.
All right.
So, basically, all alternate picking,
except those two notes are pulled off.
Generated by the upstroke,
and powered by your left hand.
After that, it starts with a down.
And there's alternate picking, all the way
till you get back to that one.
So this one really relies on the fact that
you can play it fast.
Slow, the slower you go, the stranger it's
gonna sound.
And the, you know,
unless you really have a, you know a band
that's keeping together that rhythm.
But just with my foot.
This is gonna work best at a faster tempo.
I'm gonna try slowing it down gradually,
just to find the threshold of where our
ear starts to pick up the fact that
there's too many notes in here.
So I'll start at this tempo, and we'll
slow it down and just see what happens.
One, two, three, four.
I'm gonna kick my foot double time.
That way we have a better sense of where
the time is.
One, two, three, four.
So, at that point it's really,
kinda stumbling around like it's, it's a
drunken lick.
But as you speed it up, everything sorta
gets okay.
The ear is willing to forgive those extra
And I use that all the time, I really like
that technique.
It sorta adds a little extra controlled
chaos that I like.
All right.
So, I wanna show you a quick example that
is almost exactly like this and
will give you some more mileage out of the
This one is gonna sound like this.
really, the same picking, almost the same
But this time, instead of going to the B
string, we're gonna go to the G string,
and use notes from string skipping.
So again, we're using three notes, this is
three and three.
One two three, [SOUND].
And one two three on the G string [SOUND].
Those are the three [SOUND].
All right, so we can do exactly the same
Start with the upstroke, do the two pull
offs, and then do our alternate picking,
starting with the down.
[SOUND] And there we are with the up
again, getting ready to loop it.
All right, so let's listen to how this
sounds fast.
I'll slow it down until it falls apart.
One, two, three, four.
All right, that's kinda fun.
The drunken lick.
But again, fast is pretty cool.
One, two, three, four.
That's pretty ferocious.
I dig that.
All right,
and the last one I'm gonna give you, is
another time squeezed lick.
This one is descending fives.
Now all the licks we've done so far in
this section are going down and
back up again.
This one is only gonna go down, but it's
gonna repeat.
And I use this one so much that I really
wanna share it with you.
All right.
This one I'm gonna use notes
out of E natural minor.
We sorta have that sound in our heads
And this one's gonna begin.
With this note.
So, it's gonna be.
This is actually gonna be a one, three,
one lick.
We're gonna do one note.
Three notes.
And one.
And it's gonna sound like this.
So that's five notes.
One, two, three, four, five.
All right.
Let's look at the picking, we're starting
with an upstroke [SOUND],
on the down beat.
We're doing a downstroke [SOUND], two
pull-offs, there we go.
And then one downstroke,
at the end.
Now when we loop this.
We gotta start over with that up.
So let's practice that trans, let's
practice that transition.
I just wanna go [SOUND], let's do that
One, two, three, four.
A little pause.
That's nice, three, four.
One, two, three four.
All right, now if we loop this.
Again, keep in mind these are five notes.
One, two, three, four, five.
So it's not gonna fit exactly into a four
groove, cuz five is different than four.
It's also not gonna fit exactly as a
triplet, which would be a three or a six.
So let's just hear what happens.
If we loop it over and over and
lock in [SOUND] that upstroke with the
first finger with the foot.
So, I'd go.
One, two, three, four.
I'm gonna crank up a little bit.
One, two, three, four.
That's an awesome lick.
Now [LAUGH] let's slow it down until we
find that threshold where it's
sorta drunk.
One, two, three, four.
And I sorta find this different rhythm as
it gets slower.
So these are licks that really transform
depending on where the tempo is.
And they are obviously licks that take a
lot of technique.
If they only work at faster tempos you
really have to have your
technique together.
But I think all the things we've been
working on so
far will allow you to play these
techniques without much practice.
You basically already have all the
techniques you need.
And you can experiment with these.
Just make sure that they're, that the that
first note has to lock in with the foot.
then you can make it faster and the ear
will start to be fooled and
think that those five notes are four, but
it'll have that cool feel.
One, two, three, four.
Right with the foot.
Let's try it, quiet, and make it loud.
One, two, three, four.
That's a great lick.
One of my favorites.
I use that all the time.
And a lot of different shapes.
Again, the format is one, three, one.
And so anything you find that has that,
that format of one note on a string.
Three on the next, and one on the next,
will work with that technique,
with that lick.
You can use the same picking patterns,
same order of hammer-on and the pull-offs.
So this is really expandable.
This, I would consider this to be a core
technique for a lot of fast playing.
All right, so thank you for listening to
my ideas.
I would love to hear you do this, but make
sure you do the other ones first.
Because this is a fairly advanced
We really need to have the speed in order,
in order to,
in order to fool the ear to make those,
not quite accurate number of notes fit in.
To squeeze them in into those into those
rhythmic spaces.
All right, so I think you got the idea.
I'd love to hear you play it and practice
a lot.
All right.