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Rock Guitar Lessons: Outro Speech

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[MUSIC]
All right, congratulations.
You are now and expert phraser at the
guitar.
You've got vibrato, you've got rhythm,
you've got lots of places to bend.
And you've got great musical experience
from practicing all of this a lot.
So I'm very excited to hear you play.
Please send us some videos, so I can check
out what you're doing.
I can give you some advice and ideas, and
I just wanna hear you bend those strings.
All right, so my last thing I'm gonna do
to wrap up this idea of phrasing.
Is an idea I came up with called one take,
and
you've probably heard, you know, people
say you know, he got that in one take.
And I'm just borrowing that phrase, to
help you remember, some goals,
that I think every musician should have,
when they play music.
And here they are.
I'm gonna start with the number one, and
these are all.
Pieces of information that you need to
tell your audience when you play.
You need to tell them where one is.
Now, of course, we talked about, when you
count.
One, two, three, four, one.
That's where one is, and as the rhythm of
the song goes, one, two, three, four, one.
That's where one is.
And somehow when you play you have to make
sure your audience
is still able to hear where those beats
are.
Now let me give you an example.
If I play something like this.
[MUSIC]
[MUSIC]
I like that.
That's a nice piece of guitar but, as a
listener,
you're gonna have no idea where one is.
I have no idea where one is.
That was basically free form, non-rhythmic
guitar.
That can be nice in its place like as a
guitar solo and the whole band stops and
you go whiddly whiddly and there's some
glorious, playing out there like that.
You know, Van Halen's Eruption is like
that,
some of the greatest guitar solos in the
world are non-rhythmic, but I think it's
really important that to realize that the
majority of music is rhythmic.
Is things we wanna lock in and you wanna
tell the audience through your guitar,
this is your tool to tell the audience
where one is.
That's an easy thing to do if you just, if
you just concentrate on it.
You know, if you tell the audience okay.
One, two, three, four.
[MUSIC]
One,
one, one.
[MUSIC]
One, one,
one, one,
one, one,
all right so.
That's one message you have to give your
audience.
Where is one?
Now the next thing in my one take plan is
the tempo.
You wanna be able to tell your audience
how fast the song is.
Sometimes you can rely on the drummer to
do it but
if you can develop that skill with your
guitar as well, that's fantastic.
You know, and, and how do you do that?
You do that by playing with rhythmic
structure inside your solos.
Again.
If I do sort of, some non-rhythmic guitar,
if I go,
[MUSIC]
[LAUGH] That's one element that I like,
but it gets old fast and what I really
wanna hear is where the tempo is and
that didn't tell me anything, it gave me
no tempo information at all.
But if I, and I won't tap my foot, I won't
give it away, I'll just gonna give you
tempo information purely from what I play
on guitar, so I'm gonna go let's see.
[MUSIC]
[MUSIC]
[MUSIC]
All right.
So right there you could tell that the
tempo was there.
Like this.
[MUSIC]
And that's the stuff that really works.
That's the stuff will, that you'll be
playing all night.
You know, you might get a second where the
band stops and
you get to go whadalawhadalawhadalaw whoo,
but.
[LAUGH] I really wanna have the tempo be a
main force of your,
of your guitar soloing, and of course the
rhythm.
Okay, so that's the T of take.
What is A?
A in take is accents.
I want you to be able to tell the audience
where the accents are.
For example let's say that your song has
an accent on the and of four.
So it'd be like one and, two and, three
and, four.
[NOISE] And, one and, two and, three and,
four.
[NOISE] And, one and, two and, three and,
four.
And [NOISE].
With your solo, I want you to be able to
hit that and of four and
tell the audience where it is.
So, one and, two and, three and, four.
[MUSIC]
[MUSIC]
All through that I was going.
Bah.
[SOUND] [INAUDIBLE]
That takes a lot, it's actually,
it's not any more difficult than you know,
than just playing fast things, but
it's something you have to work on, you
have to be just aware of it.
If you just think of it, you can do it.
We've definitely given you all the licks
to do this kind of stuff.
All right, so we have let's see, one take.
So we did T-tempo, A-accents.
K is the key.
You have to tell the audience what key
you're in.
And for that, we've got lots of good
scales to use,
lots of good chord tones in our arpeggios.
So that when you bend, you gotta bend to
those chord tones, so
the audience knows what key you're in.
You can't just bend to anything.
[SOUND] [LAUGH] You gotta bend to some
good notes.
[SOUND]
[MUSIC]
That way your audience
knows what key you're in.
And the last thing, the E is an ending.
You've got to give the people an ending,
so they know,
and, and you need an ending too.
You can't stay up there all night.
You eventually you've gotta go home.
So, how do you end your solo?
And I wanna have it be a really, you know,
an ending that you, like you mean it.
So if we're going, let's see.
One and, two and, three and, four.
[MUSIC]
You know,
when you do that ending, maybe even give
it a, a giant strum.
[MUSIC]
You know, hit it hard.
That's a great technique for phrasing,
too,
is once in a while try to hit a note with
a full arm extension.
Just, you know, it could be the beginning
note.
You can go one and, two and, three and,
four.
[MUSIC]
You know?
[LAUGH] Then you're really, visually
telling the audience what's going on.
And that feels great you know, that's
something that really work live, and
people go whoa what an awesome guitar
player, all right, so
use the full arm extension if you can and
give them an ending.
[MUSIC]
[SOUND]
All right so that's it, one take.
Tell them where one is, what the tempo is,
what the accents are, what the key is and
give 'em an ending.
If you've done that you've done your job
as a musician and you should absolutely be
paid in fame and everything good so if
nothing else you'll
feel great about it cuz it feels great and
you'll be really locked in with the music.
And the kind of things that communicate to
people with the guitar.
So, that's my message, and congratulations
again.
There's been a ton of things that you've
gone through, and I'm so
glad and just hope you've had some good
ideas.
I've had a great time teaching you about
my ideas of guitar.
I love guitar so much and.
I hope that some of that has come through,
and inspired you to,
to get deeper into the music that can come
out of your guitar.
So, this is Paul Gilbert, and thank you so
much.
Rock and roll, give them that big ending!
[MUSIC]
[MUSIC]
One and, a two and, a three and, four.
[MUSIC]