Active Melody

Learn to play blues guitar.

How to improve your lead phrasing: Sing with your fingers! – Guitar Lesson – EP616

Description

In this week’s guitar lesson, you’ll learn how to create a lead with vocal-like phrasing, all using the Major and Minor Pentatonic scales.

Part 1 - Free Guitar Lesson

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Comments

  4. Henry P says

    I’m loving this, Brian. Just got a new guitar – Godin Grand Concert Multiac Duet Ambiance (long name). Saw a guy playing it on a cruise and had to have one. This lesson is so smooth on the nylon strings. Have to adjust a little on the full bends, but it works and sounds great. This lesson has a whole new feel. Thanks.

  5. San Luis Rey says

    This is really cool Brian! Just thru part one and it opens up possibiplities to improving with these shapes. Lately I find myself going off on my own and then having to find out what you’re doing. Great backing track btw. 😊🎸

  7. Dale G says

    Love the tempo and vibe of this one. You’re right for those of us that can’t sing great I can make my guitar sing. Love all the little nuances you come up with. Will add this one to favorites. Thanks again.

  16. Imerio A says

    Hi Brian. I’m following you for several years now here from Rome. Looking at the chords in this lesson and remembering your lessons on modes and modal playing would it be correct to consider the song technically in E?
    Or maybe I don’t have my ideas clear on that?

  19. James S says

    Great stuff Brian. I’m finding that I can use this framework to create different lines on the fly, which feels great. Question: What would you call that B to A progression seeing as A is not in the key of B?

  21. Stewart K says

    I’m sure someone out there can help me. I struggle with timing and rests. I’ve watched videos but can’t seem to find exactly what I’m looking for. I have had this question in other lessons but have been afraid to ask. So in this lesson we have measure 1 which I believe to be an 8th note B chord (is that one?) then a 1/4 rest, then a dotted quarter note A chord, then a 1/8 rest and then an 8th note. In the second measure is similar but different. Same 1/8 note B, then the 1/4 rest, then the A chord but it isn’t dotted and the e note on the second string (I’m thinking that is 3) but then a 1/8 rest which doesn’t seem to make 4 beats per measure. What am I doing or thinking that isn’t correct? How do you count these? Thank your for any help you can provide.

    • Imerio A says

      In the second measure you have 3 beats made by the quarter rest and the two quarter vale played notes ( A cord and E note on 5 fret 2 string). The other quarter beat is made by the eight value of the b chord and the eight rest.

    • Lynne R says

      1/8 B chord is 1
      1/4 Rest and2
      Dotted A chord and 3 and
      1/8 note rest is 4
      Slide to F# is and

      Or when tapping your foot the A chord is played on the up beat of 2
      The slide is on the upbeat of 4 and counted as the and of 4

      Second measure
      The Achord is played on the and of 2
      The E is played on the and of 3
      The rest is the and of 4

      I know it is confusing . an 1/8 note or 1/8 rest is just counted as 1
      a 1/4 note or a 1/4 note rest is counted as 1 and
      Hope this helps

  22. Leonard L says

    Brian! Thank you very much for bringing me back into the six string. For the last two years I’ve been playing bass on my worship team, which is very good BUT, this lesson really “poked the bear!”

  23. Jim C says

    Hi Brian, I’ve been subscribed for years now and following your lessons has dramatically improved my guitar skills. I have a quick question: you rely heavily upon the CAGE system so I assume it would be advisable to learn the CAGE patterns for every key across the fretboard. If that is a correct assumption – do you have a recommended method to learn and memorize each position? Thanks and keep the great lessons coming!

  28. Stewart K says

    Brian, I think we all understand that playing 4 qtr notes per measure in a scale like fashion, as you said you found yourself playing years ago, is boring and lacks soul (if that is the right word). But what I’m missing is why you phrase the things the way you phrase them. Why use the dotted qtr notes and dotted rests? Why have the rests where they are? When to use runs vs. more single notes. Maybe this is another lesson, I don’t know. Maybe your answer is “well that’s just what I hear in my head” and that’s fine. I will eventually learn the notes and timing but I kind of feel like I’m just memorizing your phrasing without actually learning the why of it. If I try to play with the jam track on my own, I inevitably end up just hitting some notes in the pentatonic scale without any creativity at all. Not criticizing at all but would really like to know how you moved on from playing robotic scale like leads to this. Unfortunatly I won’t have thirty more years of practice to get there so if there are some basic rules or best practices that would help. Thank you.

    • Brian says

      I create the tab after I play the thing… so the dotted quarter notes / rests / etc… all just happen based on feel, not something i plan out. i wouldn’t have a clue how to even think that way. I have to put rests in the tab to make it all time out correctly.

      • Stewart K says

        So you seem to be confirming that you just play what you feel and what you hear in your head. That wasn’t unexpected. I know there is no easy button for learning the guitar and some are born with a feel in mind and fingers that i will never have. Somewhat depressing but I need to be grateful for the talents that I was born with. But damn I would just like to rock out on stage just once and blow people away. Thanks

        • Brian says

          don’t overthink the timing stuff – you use it all the time when you speak. knowing when to pause, when to speed up – when to be loud, etc. music really is no different, try phrasing things like you’re singing them..

          • Stewart K says

            Well, there’s thirteen hundred and fifty-two guitar pickers in Nashville. And they can pick
            more notes than the number of ants on a Tennessee anthill. Yeah, there is thirteen hundred and fifty- two guitare cases in Nashville. And any one that unpacks his guitar could play twice as better than I will. – John Sebastian

            I’ll keep trying

  31. Ken says

    A great lesson, but a bit confused.
    Just a thought for me to understand this chord progression, I see it as B Mixolydian. The B major pentatonic scale is the same as the G# minor pentatonic scale which is in E M, the rest of the licks can be covered by the e minor scale.
    I just can’t get my head around an A major chord in the key of B, technically speaking.
    I just want to keep my understanding of theory straight.
    Maybe I am missing something.

  35. Nick T says

    I really like this – some good ideas for the lead melody fitting over the simple backing.

    I have always appreciated the sound of your first finger vibrato, typically at the end of a lick or phrase. Do you do this differently from the vibrato with the other fingers? Have you covered this anywhere?

  36. Bill M says

    Your instructional style and approach are just really valuable, Brian. I wish I would have started your lessons many years ago but am getting to be a better guitar player as I approach 73!

  37. Carole M says

    Hi Brian,

    Thanks for this one. Once again you nailed it. More of these types of lessons would be highly appreciated. Could we hear you sing a bit too? We all have unique voices!

    Have a blast.

    Cheerio.

  39. James A says

    Hey, guys. Stupid problem here [sorry]. When I print out the tabulature, my printer always leaves out the right side of the page. I’ve tried everything I can think of – reduced the size; tried to ‘move the page over’ – but it always prints out with the right third missing. Any suggestions on how to overcome this? Thanks!

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