Palm Muting HELP!!! Video Lecture - Guitar Become a Pro (English) - Music

what goes down must come up a sentiment
as true as it is in the world of physics
as it is untrue with Bitcoin speculation
but today we're gonna talk about
palm-muting and how it's kind of like
the direction of your stroke relates to
palm-muting because a lot of times all
questions like you know my downstrokes
and palm beating are fine but how do you
palm you an upstroke okay so we're gonna
talk a little bit about that and maybe
come up with some exercises that you can
do to help really solidify like some
good palm muting techniques and you're
playing so quick refresher on palm
muting which I'll link you to another
video that goes more in depth but
basically it's just a way to deaden the
strings and get a totally different
really cool tone out of your tire
whether it's an electric guitar an
acoustic guitar alright so basically the
sound of like a sustained chord it's
like that okay palm muting lets you kind
of control the sustain of that chord and
it really it deadens the sound okay like
even like with a Electra lotta a lot
high-gain an electric guitar has like
really cool nasty kind of like effect
you want to try out all it is is you
take the side of your hand it's not
really so much the palm is it just kind
of like beside your hand
judo chop the bridge and then now when
you hit the strings you'll have a dead
end effect okay sustain muted the amount
of mute can be increased depending on
how much you kind of really choke up in
here but again a lot of questions that
people have are they can down stroke
palm muting but they can't really get
the same effect when they're going up
okay and that really comes down to
really having the proper technique with
your wrist and kind of like your thumb
joint and having everything work
together okay so if you notice a lot of
times maybe beginner players when
they're first starting out on palm
muting they almost do it as like a
percussive hey which works it sounds
fine you know if you made I'm just gonna
make this C major chord a lot of what
we're gonna do is this chorus the C
major with your ring finger on the third
fret of the E string and your pinky on
the third fret of the a string so three
three - OH
open hi so here's our quarter gonna be
working with lofty sounds and maybe like
the first palm you get you might have
even accidentally learned this it's just
kind of have this percussive thing where
you kind of come down hard with the down
stroke and you're really kind of muting
it the strings that you're hitting on
the way down I see a lot of players kind
of play like they really get that kind
of clicky sound which if that's what
you're going for it's really cool but
that it is a little bit limiting how you
can do it what you want to do is you
want to be able to create a repeatable
motion with your wrist and your thumb
joint so if you look at my my strumming
hand right here you'll notice that my
thumb is kind of straight on and my
wrist is locked or my arm is locked by
this right here to the body of the
guitar and that's really important
because it's kind of hard to Palm you
out in space you want some kind of
anchor point but you can work off of
them alright so got my arm locked in
here my thumb is straight now without
moving my wrist I can actually kind of
just move my thumb joint like that and a
lot of times that gives me a very
repeatable stroke that for this is about
two strings wide on this guitar getting
different guitars might have different
with next stuff like that but this
usually works and a lot of times what
you might want to start out with doing
is this palm muting power chords okay
and you can do that a lot of time just
with that joint of your thumb in
collaboration with your wrist okay so
it's something that you really kind of
want to hone in because if you're just
doing the Picasso thing once you come up
and off you're getting a sustain all
right now again that can be good for
some types of playing well we're gonna
focus on is coming down and then being
able to mute that upstroke - alright
it's gonna be really hard to do unless
you have this anchored down here over
the bridge okay and again something that
I did is something a lot of players do
when they first start out and they're
doing it kind of incorrectly and in my
estimation is they're not actually
muting enough of the strings maybe
they're actually just kind of getting
the lower three strings on the bridge
and then there's actually kind of
floating a little bit up like this you
really want that kind of judo chop thing
to hit all the strings that you're gonna
eventually strike with your pick
otherwise you might only mute the lower
three strings
and then give a sustained high which
sometimes you might want that again it's
not always a bad thing but you want to
have total control over what you're
trying to play okay so the more that you
kind of eliminate the space in between
your palm and all the strings the better
that's going to be at first that might
be a little uncomfortable kind of like
really digging down into the bridge but
eventually yeah and you kind of get all
of these data that unbound and upstrokes
and you can see it's really just I get
my arm is locked the wrist is going down
and then they kind of like full down
stroke is really just getting all six
strings that it's kind of like most
extended peak and then kind of coming
back up all right so this movement right
here is really a pretty efficient way to
do it because you're not wasting any
time
you can actually increase your speed a
lot if you train this into your muscle
memory because you're not going far
beyond the strings where you have to
come back up even that little space
makes a difference when you're playing
kind of like higher temple stuff right
so one of the things we're gonna start
to do to maybe work in those like an
exercise on how to start incorporating
some of this in your playing is we're
gonna take these lowest four strings
because we really want to work on
getting away from just muting the lower
strings and kind of getting more into
like this g-string area right here we
can hit this at a Down stroke or an
upstroke and have it be dead because
what we're going for
okay so again in this chord my ring
fingers got the third fret of the
e-string I think he's got the third fret
of the a-string my middle finger has the
second fret of the d-string
and the g-string is wide open okay
sometimes you can almost create the
illusion of a palm muting effect by just
muting deadness strings by releasing the
pressure okay or the reason that we're
using an open string in this exercise is
because we don't want to achieve it and
think that maybe we're accidentally palm
muting one or not just by using your
fretting hand to kind of release some of
the tension so I'm gonna be picking hand
a technique right here alright so this
is gonna be it we're gonna hit this core
one string at a time we're gonna go e a
g d a so the direction of this is gonna
be down down up up up okay so it might
be a little bit different if you're used
to alternate picking but I think this is
kind of like really helpful way to try
to start working this into your playing
down down up up up e AG da I'm new to do
it sound like this
and then muted okay so once you get that
down slower down down up up up and you
notice when I hit that up stroke you can
hear that muting it's coming strictly
from my palm right here you can really
extend this to maybe more like the B
string like the e string but it really
is a good way to kind of focus in and
making sure that you're getting tone
even if it is a deadened tone from all
the strings you have like total complete
control over your palm beating right so
we've got e AG da e AG da I'm kind of
swinging it to make it a little more
musical what you can do too is you can
slide it two frets higher to make kind
of like a D major type thing okay if you
want you can kind of go down up to get
more of like all the strings and if you
want to be less precise again it works
in a couple different ways just to kind
of like give an example what it would
sound like if you did the more the
progressive
[Music]
you can hear the accent is this where
you're not muting so again maybe that's
what you want that's cool
but if not you want to be able to kind
of focus on down the strokes and
upstrokes
and be able to get the same kind of
tonality from really again anything that
you want to do so I think this is a good
kind of exercise that'll really kind of
help lock your wrist or your palm or the
side of your hand in the proper spot so
there's a lot of different ways to do it
this is just one way that I think really
helps me and hopefully it will kind of
help you work on some of your strumming
because even if you're not into muting
you don't want to incorporate palm
muting into your playing as much as some
other people and that's fine it's really
a good way to kind of tighten up the
length of your stroke because again
you'll see you'll notice that your speed
you know gets a lot faster your dynamic
strumming you get a lot faster once you
work this length of the stroke into the
muscle memory in the particular string
set of your guitar I think it's really
important so anyways I hope that was
helpful you guys have any questions hit
me up in the comment section Instagram
Twitter the website I'll talk to y'all
soon
thanks a lot