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Rock Guitar Lessons: Phrasing

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All right.
We've come to the phrasing part of our
course, and
you might wonder why did I put phrasing at
the end?
You think you know, phrasing, that's where
we play slow,
that's when we do simple things.
And why did I put all these complicated
advance techniques before it?
And that's because I think phrasing needs
I think phrasing a combination of slow
things and fast things and
quiet things and loud things and stops and
lots of playing and, and it's just, it's
the finished product.
It's, it's all the things that,
all the musical ingredients put together,
finally, into music.
And the main thing, because you know a lot
of notes now and
you know a lot of places to put your
fingers, is I want to talk about rhythm.
And rhythm in a way is invisible.
It's harder to see rhythm than it is to
see notes.
You know, if we wanna look at an A note.
We can see one here.
We're gonna look at a G note.
We can look at it right there.
But how do you see the and of three.
And, you can hear the and of three.
One, and, two, and, three, and.
That's where it is.
But, and of course you can write it.
But, I'm not much of a sight reader.
So, I need a way to have these,
these rhythmic accent and rhythmic ideas
in a way where I can access them.
And I think the best way to do that,
to build that rhythmic vocabulary, is to
practice rhythms.
Now, when I say rhythm, a lot of times
guitar players will think,
oh that means rhythm guitar.
That means I'm gonna play chords.
Or I'm gonna play something chunky down
low like this is a rhythm.
You know, when I want to play solo.
the solo I just played also had a rhythmic
That's what I want to talk about.
No matter how low or high the note is that
you play.
It has the potential of having a rhythmic
structure, and I hope that you put
one in because that's going to make your
note a lot more powerful.
And where do we find these structures?
Well you can just make them up in your
head, one metaphor I like to use
is the bongos, I'll turn my guitar over
and just pretend that instead of a guitar.
All I've got is bongos.
And the first thing I need is, I need a
tempo, so
let's say my song is going at this tempo.
[SOUND] The next thing I need is a key,
say it's an A.
[SOUND] Something like that, just cooking
along at A, medium tempo and
suddenly someone takes away my guitar and
all I've got is a set of bongos.
What do I do.
Well, the first thing I could do is I
could just go the same tempo as the foot.
[SOUND] At least know I'm in time.
And then I add some notes to it.
I could go one, two, three, four.
And I kinda stylize those notes.
I slid into one [NOISE] that was the first
And the other is I hit staccato, and I
kinda hit them hard.
Now that sounds a lot different than.
So I'm already putting some
stylistic things in there to make my bongo
solo into something interesting.
But let's, let's try some other things.
Let's try some syncopations if we went.
Listen between the beats.
So I could go like.
[SOUND] All those notes were
in between the beat.
Now, if you only choose one or the other,
it might not be so
interesting, so it's nice to have a
So let's do some, some downbeats and some
I'll just think one up, if I go [SOUND].
That's three downbeats and a couple
syncopations after it.
So I could go.
Standing notes,
but you can try other notes as well.
We keep the rhythm the same.
gonna do that one again because I want to
get that bend.
Even those bends can be in time.
Now still, that's really playing slow.
So I wanna add some eighth notes, which
would be [SOUND].
But, I don't wanna do continuous eighth
notes because it's, my ear gets worn out.
So I wanna do a couple of eighth notes and
maybe a couple of syncopations like you
All right so
this is where we come up with our rhythms
now we can even do triplets like.
[SOUND] That was kind of a cool one.
Or maybe, a slower shuffle, so
we could go like [SOUND] triple it triple
it triple it, like that.
Let's try that, and we'll see, let's just
do them by themselves.
One, two, three, four.
So we have, so many rhythmic tools.
Let's try some more, let's go faster.
Let's do we did the eighth notes, let's do
some sixteenths.
I'll just do a couple and then stop, like.
That's kind of cool, two sixteenth note
phrases and a triplet so.
Let's try that.
So let's see if I go.
All right,
so this is an example of how to think like
a bongo player, and add the notes that
you already know using the techniques you
already know to make phrases.
And I think this is one of the most
valuable ways you could every practice.
Is taking the, you know,
you're using the tools that we've built up
through out this course.
But now we're starting to use them to
improvise and to phase.
And the way to do that is to have a good
rhythmic vocabulary.
And how do you build it?
Just take simple rhythms and search
through all the notes that you know.
And see which notes fit that rhythm.
Another way to do it, and
this is a great way, is find your favorite
rhythms inside songs that you know.
You know, you might take a song.
This is a, a tune I like, it goes one,
two, three.
let's just take the rhythm of that, it
starts on the and of three.
Which is a really interesting place to
So it's goes one and two and three and
[SOUND] that's the pure rhythm with all
the notes taken out.
Now, I'm going to just try some simple
notes using that rhythm strictly I
don't what to improvise with it at all I
want to do that exact rhythm.
One, two, three.
But my own notes.
Now that's only one idea.
I can take that rhythm and do a lot of
different ideas.
One, two, three.
You'll, what you'll find
is you'll run out of phrases and you'll be
very motivated to build more.
And there's lots in there.
There's so many phrases.
If you just pick a rhythm, you could find
endless cool phrases to do.
And this is really the way to use a scale
and make it come alive,
is to add rhythmic structure to it.
Three, four.
So, that rhythm.
That's a really cool,
set of syncopated rhythms.
Oh, it comes in between the beat.
Let me see what happens if I put my own
notes in there.
One, two, three, four.
Suddenly I've got my own phrase.
And, this is the best way to practice
phrasing, you know, take either songs that
you know that you can take the rhythm out
of and add your own notes, and, or
get in the habit of just coming up with
your own rhythms by,
playing the imaginary bongos on the back
of your guitar or in your head.
And you can sing the rhythm.
So you have this tempo you could go dap
dap a dap bap, dap dap a dap bap.
right there I just added some notes to it.
And it doesn't have to be real notey, you
can even stay on one note for awhile.
You can go dagatagat dat dat dat gat dah
You know, one note is fine.
That's the thing you want to explore and
that's the thing,
you're never going to be in a rut, again.
I know like, in my life as a guitar
player, playing lots of scales,
lots of arpeggios, lots of techniques
sometimes I would just get in a rut and
I'd think, what else is there to do, you
know, I can play this, scale up and down.
And you know, I can play fast.
What else is there.
This, is [LAUGH] is what else there is.
It's rhythm.
Adding rhythmic rhythmic structures to
your playing, to your solos.
So, no matter how high you play, and if
you're doing.
Dig a di gah,
guh dig a dig a dig a dig a, dag a dig a,
dig a di gah, gah dig a bah.
You know, that's the, the rhythm that I
had in there.
So, all the, the techniques that we did
where we've stopped,
which we did a lot of, that's gonna be
hugely useful,
those techniques that you already have for
So I think you're gonna be good at this
right away.
All right.
So that's my general philosophy about
I just want you to visualize that you've
got two boxes of tools.
One is full of notes.
And scales, and arpeggios, and things that
you can see when you look at the guitar,
but the other is rhythm, and those are
more difficult to see, but
they're not difficult to hear, and they,
they feel great,
and that just comes from practicing,
rhythms you come up with in your head or
rhythms that you hear from your favorite
They're in guitar parts.
They're in drum parts.
They're in vocal parts.
You know, one of my favorite drum parts,
John Bonham of course is.
Most legendary rock drummer of all time.
He loves to do a riff that goes.
So I came up with.
It's one of our, we've done this phrase,
tech, we've done this technique a million
times where we do one,
and one.
if I wanna imitate my favorite John Bonham
drum fill.
All I have to do is add phrase.
And there I've got it.
So, you know, listen to drummers, any
Every instrument there is has rhythm,
every style of music has rhythm.
So there's such an amazing, you know,
store of places to get inspiration from.
From pop music to rock music you know,
anything it is it's gonna have some rhythm
and keep your ear out for it.
Keep your ear out for, songs that don't
start on one.
I think that's so cool.
Listen to Beethoven's Fifth Symphony.
That, that starts, the same place that,
that like on the end of three.
If we go one and two and three.
One and two and three.
[SOUND] You know, so
whether it's classical music, rock, it's
all got rhythm.
And the reason I'm talking about it so
passionately is I am passionate about it,
because it's helped me become such a
better guitar player.
I know it's gonna help you.
And after this we're gonna get into some
specific ways that we can, apply these
rhythms to our guitar.
But I want this, philosophy to invade your
soul, and
I want you to get ready to play some
rhythm inside your solos.
All right.
So my first step to making great phrases
on the guitar
is I want to know every location where I
can bend the note,
as what I mean by that is where the good
notes are.
What are the good notes?
To me the good notes are the chord tones
so the chord tones are the roots.
The 3rd, the 5th, and the 7th.
And they're easy to remember because
they're the odd numbers one, three, seven.
And if we just play those without bending
That's what they sound like.
All right, that's the one, the three,
the five, and the seven.
Now to bend them of course we have to go
below and then bend up.
We have to know how far to go below, so
for the root, I'm gonna give you
the answer, because I'm sort of keeping in
this minor blue's dominant kind of sound.
So I wanna go down to the minor 7th, the
dominant 7th, and
I'm gonna bend up a whole step.
[SOUND] Now that's a big bend there,
because this is the D string,
it's a wrapped string.
And it takes a lot of power to pull that
Or pull the pitch up.
To get that A note.
Let me see if I can do it without vibrato.
I'm gonna hit the pitch first so I know
my, sonic goal.
There it is.
Little vibrato.
All right.
That's, that takes some strength, but you
can do it.
All right, the next one is the 3rd.
So, I'm gonna go down a half step, because
I'm, wanna do the from the ninth.
[SOUND] Let's do it without vibrato first,
we're gonna hit the note so
we know what our, our goal is.
And then we're gonna go below.
And do it at half bend.
We've done some of this before, but
I just wanna review it, because it's
really important.
We do a vibrato version as well.
All right, let's go to the 5th.
Now I'm gonna,
play the fifth here, because this is a
really common and good place to bend.
All right, I'm gonna play it.
I guess in a way these are all unison
It's just a way of getting to know how to
bend your intervals.
And we have our 7th.
And I wanna bend from the major 6th.
Let's hear it again.
There we go,
now, that's one octave of those intervals,
but I wanna know these everywhere.
I wanna be able to look at the fretboard,
and my goal is I wanna be able to see,
in advance, where the good spots to bend
And, for example, I wanna know in this
part of the neck,
where are the notes that I can bend in
this key we're in, A minor, or A.
Yeah, let's call it A minor, because we're
doing the minor 3rd.
So I wanna bend to the minor third here.
And that's it.
The minor 3rd is the.
One, two, three.
There it is.
I wanna find it up an octave higher.
I wanna find it down an octave lower.
I wanna,
I wanna just be able to visualize those
bends everywhere.
And really it just takes practice and also
it really helps, if you write them out
on some neck diagram paper and take a look
at at where those are located.
It's just a matter of memorizing the
You probably know a lot of them already
just from, from playing around, but
I really want to know all of them.
I want to know where that major 6th to the
7th is up here.
I want to know where it is here.
I want to know where it is here.
Where it is up here.
Every position I can think of I want to
know where to find that bend, because
those are so important for
phrasing is good places to start good
places to end.
They're the, they're really the meat and
potatoes of my phrasing.
I wanna know where the octaves are.
We will find those all over the neck.
I wanna be able to find the the minor 3rd.
We already did that at the beginning.
But it's good to review.
should be able to find this everywhere.
Once you know where they are, then when
you start the phrase,
you can make sure you're really aiming for
great notes.
That was all bending up to chord tones
that gave me those phrases.
So lemme give you one lick that we can
practice that's,
that's gonna be a good way to sort of.
Practice this in time.
Let's try this one.
We're just gonna go, just what I did.
let's see, for our rhythm I'm gonna do it
on one and two and three and four and.
On the and of four.
I kinda like that.
One and, two and, three, and four.
one of those phrases begins bending up to
a chord tone.
And actually.
We didn't put the 7th in yet.
So let's put that in somewhere, let's
figure out where to stick that in.
One and two and three and four.
Oh, I like that.
We'll put that on the end.
Let's do it an octave lower.
One and two, and three, and four.
All right.
Let me show you the details of this.
This is gonna be cool.
So, the first one
There it is,
starting with your 3rd finger.
Next one is gonna begin with your pinky.
On the next string.
And then we got the third finger again.
And then a root.
All right.
That was pretty easy.
Then we have our bend
from the major 6th to the minor 7th, and
back to our 7th going to the root.
So all through this course I've been
talking a little bit here and
there about intervals, but this is really
how I use intervals.
I use them to find what I consider to be
the best notes.
And you know, that's, that's what music
theory tells us.
It picks out the best notes and says play
them, these are the core tones, play then,
they sound good.
All right, let's try this and octave lower
and see what the shapes are.
So these,
I gonna take a little more power from the
left hand, because.
We're closer to the, closer to this end of
the guitar.
that takes a little more power from your
This one.
I'm using all my four fingers to pull
that down.
Towards the ground but up in pitch.
And then this one,
down towards the ground, up in pitch as
Heading into the 5th.
Then we have our, 6th to 7th.
And a 7th to the root.
All right, so
let's try those two together, real slow.
One and two and three and four.
Octave lower.
I'm digging this one.
All right.
Let's speed it up a little bit.
One, and two, and three, and four.
All right, you can try it up an octave.
One, and two, and three, and four.
This is such satisfying guitar playing,
to do lots of bending, and
to bend the notes that fit inside [SOUND]
the chord that you're playing in the song.
So, we chose a minor one in that key, but
obviously there are songs that are in
major, songs that are in different keys.
So, we have to always look for those chord
tones, and how to bend to them.
But I think minor is such a common sound
in rock
that it's useful to practice this a lot.
All right, I'd love to hear you play this
This is really gonna improve your playing.
I like how it starts on the end of four,
make sure to count it in so
I know where one is.
And go one and two and three and four
[SOUND] and
give me that first note on that, on the
syncopated beat.
And I'd love to hear you play that.
So send me a video, I'll reply to you with
some advice, and
I'll just be happy to hear some strings
That's a great sound.
All right, so let's play that one and I'll
see you soon on video.
I think that every shape on the guitar has
an inherent tendency to make certain
And so I seek them out.
If I find a certain shape,
I get really excited about because it has
rhythms inside of it waiting for me.
For example, I love this one, I love
starting on the blue note in the key of A.
And doing, we've already done this one but
I want to show it to you again.
I think that's such a cool one.
I can just feel that.
Up an octave.
Now that's just an example.
Of a phrase that, I'm not thinking of it
in terms of like starting on one, and
playing it up and down as fast as I can
like an exercise.
I don't wanna go
I wanna play it as it's triplets, and
it's starting one, two, three, bop, right
on that.
[SOUND] On that syncopated shuffle one,
two, three.
One, two, three.
One, two, three.
Two, three.
Two, three.
Two, three.
That is a cool sound to me.
So every shape that I find I'm looking for
rhythms that fit inside of it.
And I found one particular new place to
play in A minor and A blues.
That has had so
many good rhythmic possibilities that I
really want to share it with you.
And it was inspired by one of the masters
of guitar phrasing, which is B.B. King.
And the thing that led me to is I was
jealous of B.B. King's finger,
because he can do the most amazing
vibrato, with that one finger.
And he does it on the first string.
And, you should see his hand.
It's going around like crazy.
And I tried it, and
the first thing that happened was just
I didn't have a callous in that part of my
And so I thought okay, I'm gonna check
this out, see if I can do it.
And the, the place where I began to have
success, and I'm gonna show it to you,
my starting point, it's gonna be yours as
Is to play this two notes.
I'm gonna play A here, and
I'm gonna play the D right on top of it on
the next string.
All right,
listen two nice notes in the key of A.
But then B.B.
Bends it up a whole step with one finger.
And that takes some callus.
All right, this is worth doing.
And I've actually scientifically started
counting how long it would take to build
a callus.
Because I started with nothing I had all
kinds of other calluses but
I didn't have one in that part of the
And it took six weeks, so that's how I
came up with my six week number of how
long it takes to build a callous.
And I just did a little bit every day.
Ow, ow.
[SOUND] You know, no blood, not too much
pain, just enough to build it,
and you know gradually it got better and
And finally by the end of six weeks.
I can do it and it felt great, and it
sounded very nice to me.
All right,
and that opened up so many phrasing doors.
Now I rarely use a whammy bar so to me,
whenever I end on my first finger.
I have this, this vibrato problem,
because you know usually I use my giant
finger if I want to do some vibrato.
If I go like.
You know,
that's fine because I've got, I got a lot
of callous there.
And a lot of fingers to power that bend
and that vibrato.
But when I only have one finger.
Before, I was stuck I would just sort of
sit there.
[SOUND] And I'd be stuck, but not anymore.
Six weeks of just some simple bending and
you'll be able to really work that note
with one finger.
[SOUND] Oh, that's great.
So I can't, I can't tell you how, how much
it is improved my playing and
my phrasing to do that.
Now, once I had done that, I wanted to
build notes around it.
Most guitar players, including me.
Play pentatonic in, I guess it would be
root position.
So if I'm in the key of A, my eyes and
my fingers tend to go to the fifth fret
where these two As, where those As are.
That's a really common habit of guitar
And that's a good habit.
There's good notes there.
So I like that sound.
But even if I take the same notes and put
them in a, in a different position.
It changes the way I phrase because the
notes where my first finger might have
potential to do some bending notes,
it's a, it's a lot easier to bend the B
string and do a vibrato there.
Then it is on the high E string.
I'll, I'll actually, I don't want to give
you all the details by saying them.
I want to give you the details by playing
So let me show you what I found in this
awesome new position of
the A minor pentatonic scale.
And a couple other cool notes thrown in
like we did before.
So the first one is the bend.
Now eventually, I want to come down.
then I want to add two notes at the end.
The third and the root.
Those are both on the B string here.
There so it's going to be your pinky.
Now let's do
it with that rhythm where we go.
[LAUGH] Let's see if that starts on
one or not.
One, two.
Now it didn't start on one,
I think it started on one, two, dun, dun,
One, two, three, two, two, three, duh,
duh, there.
One and a duh, duh, duh.
Let's just try that beginning so
we know where we're coming in.
So, one, two.
Oh, that is a beautifully phrased intro.
One more time.
One, two.
I love that sound.
So that's really gonna get that callous
And the next thing I want to do is this
really makes this work so
please pay attention it's just two notes.
The two notes are.
Those two.
It's the root.
And the third, the minor third below it.
That's one, two, three.
That's so you know it's the third.
Now, the trick with this,
they're both playing with your first
And to get there you have to jump, you
have to skip a string.
So, let's take a look at my left hand.
That jump, you have to do, and
that's a little tricky to get used to.
And in the first note, why am I doing
I'm doing it because first of all I like
the notes, and
then these are good sounding notes,
but also,
when we play pentatonic in the easier
position down here,
the reason I call it the easier position,
I'm about to explain.
It's because our first finger always ends
up on the fifth fret.
That's very convenient for
our first finger.
It doesn't have to think, it knows I'm
always here.
I never have to go anywhere else if I'm
playing that scale.
Now with this one if I play the same notes
I have to shift, down to a different fret.
And you know eventually we'll go there but
it's a lot easier if you don't have to
So my solution is to just skip that string
go down to that note on the same fret on
the other string.
It's a great note to go to, it gives me a
nice wide interval.
And my brain doesn't have to juggle this
shape, where I've got to suddenly change.
All right, that's the sound I like.
All right,
now what I want to do is i want to do
these four notes.
these four notes are actually only two
I'm going the third and the root in one
octave, and the third and
the root in the next octave.
Now the third and the root, they're best
Those are the strongest notes.
Those are the notes that really tell the
What key you're in.
These are real, these are just the best
notes you could have.
So that's why I want to play them a lot.
And I want to know where they are.
So let's take a look at them again, and
this uses that jump.
Of the first finger.
Jumping over that string.
It's not something I wanna bar.
I definitely wanna jump that first finger
And then at the end.
So I wanna try this in a shuffle groove,
like a.
One, two, three, four.
to make it stylish I'm doing a little bit
of a bend on those thirds.
Little bit that sounds great I think so
let's try that again with a little bit of
bend on those notes.
Three, four.
Now this is so
slow, I'm not really concerned with how
you pick it.
There only picking consideration is how
you get over [SOUND] those two you know,
on that jump.
You gotta make sure not to accidentally
hit the G string.
Lets see what I'm doing just naturally.
picking actually works if you just go down
up, down up, just like you'd strum.
That's gonna work fine.
The next
variation I want to give you is this one.
We're going to do a chromatic scale.
Starting on the D note, and we're going to
go up one note with our pinky and
the reason I'm doing this is I think
chromatic is really easy to visualize.
It's just basically all the notes in a
I'm getting my brain used to those frets.
Just the idea that that's where my fingers
then I'm gonna do one tweek to make sure
the notes are better.
I'm gonna drop my pinky down to this note
So this is the same fret,
just a lower note.
All right, so let's try this phrase.
I wanna do the first triplet a couple
times, and then end with that note.
I'll go like, and this is a shuffle groove
as well.
One, two, three, four.
Here it comes.
That's a nice sound.
This is so simple but it locks right into
that shuffle.
That's what I love about this, this whole
pattern is so
good for rhythms and phrases.
That's why I'm showing it to you.
So, let's also reverse this.
This time I'm gonna start with a pinky.
And then go up the chromatic scale.
These are actually notes out of
the blues scale.
I just used chromatic as a, as a visual
So you know where the fingers go.
So let's try this.
We're gonna go.
Again, this fits right with the shuffle.
One, two, three, four.
Oh, that's a good sound.
All right.
Now, I wanna show you a couple more things
in here.
It's, they're simple but you're, you're
gonna get them.
Now this one, I wanna go back to our root.
Just remember that's where the root is.
This is all in the key of A.
Even though my hand is up here what, in
what normally looks like D.
This is an A.
All right.
So, let's do this.
I'm going to finally play a note on the G
string, we've been ignoring that string.
There are some good notes on it, but what
I'm going to play is this one.
That's a major sixth, kind of a nice note,
and what I'm going to do is I'm going to
use that shape and I'm gonna slide into
it, like that.
So I'm starting by picking the G string.
Sliding up, doesn't matter where I start,
I just want the motion of going up.
Then I'm gonna play the notes twice.
Then I'm gonna play my high third.
And then I'm gonna play the low third.
Now this one you got to do that skip with
the first finger.
the technique you got, you got to get.
All right.
I want to put those in the shuffle as
So I'm gonna go like, one, two, three.
These are such good phrases.
One, two, three.
I'll do the rhythm.
You can play.
Now I'll try it.
All right,
my goal here is I really want to get you
visual comfortable with this position.
By showing you lots of cool rhythmic
phrases that all exist around this area.
All right, let's see what we got if we put
some of these things together.
If we go like.
Oh, there's some good sounds there.
The very last one, this is an amazing
All right.
This one we're gonna hit the fifth, One
two three four five.
But I'm gonna bend up a minor third,
all the way to this note [SOUND] that's my
target [SOUND] but I wanna bend it.
All right.
So, we're gonna go up and down.
All right,
once we've done that we're gonna go down
our blues scale.
All right.
Let's do that rhythm [NOISE].
That such a cool rhythm.
Imagine if a drummer did that.
That really is so
much it makes more exciting to me than
just playing.
All right these,
these rhythms are really making this shape
come alive, and there's so many in there.
And again, if [LAUGH] you have to try
these out because I've had so
much success.
It's transformed my playing.
Discovering this area that B.B. King uses
all the time.
And now I've made it my own as well.
And I hope you make it your own.
Let's review one more time.
We have the first finger bend.
We've got the shuffle, third, root, and
third and root.
We've got a chromatic shape, with the fir,
with the pinky going down the lower string
to give us the blues scale.
We have a reverse
version of that where we start with the
got our slide up using the major six.
Going to the target notes with the thirds.
And we've got our big bend,
starting with the fifth.
Bending it up on the minor third, all the
way up to the seventh.
Back down, and down our blues scale.
All right.
This will get you in a band, and
you will play some serious stadiums with
these licks.
These are awesome, and I can't wait to
hear you play them.
Make sure to me a big one, two, three,
four with your foot.
And maybe play them over some kind of
groove you know,
[SOUND] a shuffle groove is always good.
All right.
I hope you enjoy those and, give it six
weeks to build that callous, but
it will work, I promise you.
All right.
Have a great time with phrasing and,
you're gonna do great.
One, two, three.
One, two, three, four.
One and two and three and four.