Intro to Phrasing a Guitar Melody Video Lecture - Guitar Become a Pro (English)

so if you're an English teacher you
understand that the phrasing is
important for example did you eat
grabbed did you eat ramble so if you're
a guitar player much the same rule the
pie oh yeah for sure so they're talking
about phrasing so what is phrasing
Justin so phrasing is the I guess the
the way that you play something right
now it's not what you're playing right
especially like it I think moving me
playing it yeah booklet yeah I think you
know we have a bar of music or it's four
feet and so you feel like you have to
fill that bar right and so a lot of
times when you start playing lead or you
know when you run your pentatonic
everything is like right on the downbeat
right of noodling around whatever it's
like it okay really no phrasing when you
start
that's refer me to was it yeah and and
for some people they're never there
never is you know you get you get stuck
into patterns and habits and so you know
what what ends up happening is you're
not playing efficiently and you're not
playing thoughtfully here you know
there's like a disconnect but guess what
we're here to connect the dot that's
right yeah so I think first you know
we're going to identify two really
simple arpeggio shapes that are hiding
within the pentatonic scale right root
them out that's right by them and then
Sean's gonna play some total wall tee
chords again anymore and then we're just
going to write like a melody line over
it so you guys can kind of see the whole
process right so let's play it first
sure okay
[Music]
cool right
so I heard there was very important in
your phrasing was when the chords
changed where you were in your anything
yeah yeah absolutely
so let's well first we're just going to
show you you know the we're using the
the bottom half of the position one
minor pentatonic right so it's you know
we're starting on the fret of the
d-string right we're moving over to the
g string and we're getting the same rode
over the B string hitting the food we're
moving over to the high E string
I'm a deacon right everybody knows that
she and I was actually everybody's heard
that shape but you played a lick that's
similar to that no I know what he's
doing right and I can like break the
immersion for your listener you know
that's right we're telling a story
I'm not telling a story I'm really old
right so the first arpeggio is really
simple you know we're going to do an a
minor actually we'll do the C major
first guys what comes to as far as I
played were C major to a mine that's
right that's right
so you know the first little arpeggio is
a C from the right and then you're going
to play these fists fret of the B string
and then the eighth fret
here in the lathe right here right so
you so it can it can be kind of easy to
you know bar these notes and inflate
like hold down two strings at once with
your index finger and your pinky or
maybe your ring depending on your skill
level so but then you have them ringing
out so you have to decide as a musician
if you want you know or if you want them
to bring out so that's the first circuit
you
yeah and those are just the notes in the
chord I'm playing on acoustic guitar one
at a time together so for the for the a
minor it starts on the seventh fret of
the d-string
right let me go to C which is the fifth
fret of the g string
Martini's a flat seven because it sounds
really good great which is going to be
the eighth fret of the B string and
we're gonna hit an octave okay on the
fifth fret of the high E string right so
the reason I like the flat seven in
there is it instead of like it makes it
sound a little less like a straight
forward or peji especially since we're
coming off of the C major which they
share the same notes right so the GAC E
and red overlap there that's right and
so if I included slide 7 which is the G
the five seven of the a minor arpeggio
is G which is the five of BC so what
we're doing what Shawn mentioned is that
as he changes chords I'm using notes on
borrowing notes from other arpeggios
right and then moving towards that
accord at the same time and it just kind
of creates like a glue of melody that's
right that those two pieces can kind of
sit together in that mm-hmm alright and
I think that's something that you should
kind of be thoughtful about especially
when you're like as at the beginning of
new bars kind of like like you can kind
of feel let's try to get to like one two
three four five six
[Music]
[Applause]
[Music]
again Lord is like happening together
and that's just because it's thoughtful
phrasing you're not just really
mindlessly noodling around right yeah
yeah I mean like I don't know if you
know it's kind of like when you when you
first start cooking you know I don't
know if anybody cooks but like let me
tell you something some of the hardest
things for people to learn is to let
something cook you know just leave it
right it's like they don't constantly
flip it and don't constantly stir it
with it so you know in this in view in
our guitar playing we want to let the
the phrase kind of sit there for a
minute you know so - yeah you don't have
to fill in every every sit of your space
let it marinate these are terms I've
heard and from yeah I'm cooking yeah I
you know it's because there's cooking
require heat is that definite like a
definition of cooking man because if it
does I don't cook at all yeah that's a
really good I combined that you press
your perhaps you print a predator you
creative you are you prep oh I'm a cop
so no no for you you man thanks Justin
Oh boss asked you up fewer now that I
think of it as the breaks here okay okay
so now that we've identified these
arpeggio shapes and we've identified the
concepts between moving with these
chords I'm going to show you the small
melody line that we've written that says
no embellishments no bends no slides
just the straight forward so we have the
C note right and then we're going to go
to which is on the fifth fret of the g
string right so then we're going to
switch to the B string with our pinky or
a ring finger to put on your skill level
we're going at the eighth fret fifth
fret
and we're gonna go to this a up on the
fifth fret of the high e suis have right
and that's our first pause that's the
first kind of breathing right and then
as the chord changes back to a we're
going to hit the seventh fret right of
the g string and they're in the seventh
fret of the D string which is right and
then I did a few different things but I
think that the best thing to do in
between the a minor and the C major
chord is to play the fifth fret here on
the B string and then the seventh fret
on the g string and then the eighth fret
on the B string and then the seventh
fret on the g string again right so we
have
[Applause]
[Music]
together that's it yeah it's all because
of that phrasing where you timed kind of
just landing out things
voice you know if you kinda if you are
one of those the Noodlers there's
nothing wrong with that oh yeah well I
think the best thing to do is start
introducing pieces of phrasing instead
of having to be thoughtful a little
thing yeah so you've got to be busy
within those bars and for sure as long
is but I think once you start thinking
about where those chords are and landing
on the downbeat yeah it will immensely
improve your lead playing all right and
then so like let's say if you want to
add it out of binge somewhere you know
you have like you know like every third
time fire yeah anything the exact you
shred it in-between though right right
just hit down down beer that's right I
don't be like that guy it was thoughtful
about what he was doing exactly so like
any any of your favorite blues look you
know or whatever your favorite you know
metal riff is you know you can work
those into their spaces where you're
breathing but maybe not all the time you
know people sure just just dab exactly
that's what we preach here
thoughtfulness right all right so until
next time grandma
until next time grandma