Do you ever find yourself getting tongue tied when you try to explain something to someone?

Think about the last time you couldn’t find the right words when you were having a conversation…

you might stutter, you may keep repeating yourself…

you could say the wrong thing altogether…

but finally (if you’re like me) you’ll throw your hands up in frustration and give up.

Does that sound anything like your soloing at times?

You stutter in the sense that you kind of randomly hit notes without really being sure of whether or not they are the right notes.

You might find one little thing that does sound good so you repeat it over and over hoping some other little nugget will jump out (it rarely does, by the way.)

And often times you really might just stop playing and let the band go on without you (I’ve done it too, it happens.)

But this is where there’s a big difference between talking and playing – when you talk, you have a large vocabulary to draw from so if you can’t make your point one way, it’s possible you can try a different angle and still get the idea across.

If you don’t have an idea you’re trying to get across when you solo, then there’s really no other option for you so it’s not going to go anywhere.

And the single biggest thing that causes this is failing to really absorb a lick or phrase or idea.

You can’t just learn the notes and call it a day… you have to know 3 important things about any lick or idea you’re going to play:

  1. What beat it starts on… words aren’t said at random times and neither are licks. Playing a lick without knowing what beat it starts on is like trying to hang a painting in space with no wall to support it.
  2. What beat it ends on… if you don’t know what’s going on with the band when you get done with your lick (what chord is playing, for example) then how will you know what to prepare to say next?
  3. Why certain notes occur at certain times… and in particular on downbeats or chord changes. Why are those notes chosen, is it because they are in a certain scale or a certain arpeggio that sounds good at that point in time?

You really have to put on your Sherlock Holmes hat and dig into your licks. And if you really want to dig into this sort of thing further check out my course, How To Improvise Blues Solos, or this video about the 4 Qualities Of A Lick (which is a big part of improvising…. see how that works?)

If you watch the way I break down a solo in 5 Easy Blues Solos or Blues Guitar Unleashed, you’ll notice that I always give you those key pieces of information. That is not an accident and if you’ve let those things pass you by as you learned the lick, then you missed a big part and you’ll want to revisit those licks before you try to get too much further.

And in the future, take your time with each new idea.

I heard this saying that most people overestimate what they can do in a day but underestimate what they can do in a year. Apply that to your guitar playing and don’t worry about making giant steps today. Make small steps every day and watch them turn into giant leaps over the course of a few months or a year.


    40 replies to "Do You Get Tongue Tied?"

    • Alexander

      great advice Griff, I have some of your lessons and I’ve recently started slowing down and really understanding the concepts in which you are explaining a lick on the 5 easy blues solos or any of the other courses I have. I feel it really makes a difference in the long run.
      Thanks
      Alexander

    • Jumpin Jack Flash

      I have all these courses and they are full of great technics and many cool licks….I go over them constantly and get INTO THE ZONE….GREAT COURSES

    • BubbaG

      Hey Griff,

      I’m glad you hot-linked to “4 Qualities of a Lick.” I remember and really appreciated this video when you first sent it. In the video, very near the end, you mention and I paraphrase, “…I will show you how to…in tomorrow’s video.”

      Have you sent the [assumed] second installment of this wonderful video? (I probably missed it or did not make the mental connection if you did.)

      peace, Rick

    • David

      Griff, I love your lessons & courses. Having successfully completed some of your courses such as BGU & working now on the blues CK, I’m trying to learn to talk with my solos. I’m attempting with difficulty however now, to get my head around how, when you’re at a given beat & bar in the 12 bar progression, you choose on the spot which lick to play, being aware of which beat it’s supposed to begin on etc.I guess it is like learning to talk in the speaking sense, where your timing & word choice is instinctual, but only after you’ve learnt the basics. I’d be very interested in your thoughts on this.

    • Kenny Bounder

      Hi Griff, Iv’e been playing pop groups most nof my life,always providing vocal harmonies and rhythm guitar. Having retired from all that I decided to do a bit in the local pubs.I never ever thought i would try a bit of leadwork, but since purchasing your BGU and a load of practice Iv’e astonished myself.Not bad at the age of 76.Thanks Griff

      • Chaplain Ed

        76? Wow you’re old. I’m only 75 and learned the same thing!

    • alan

      Griff is trying to help a 40 year player and a 40 day player all at the same time and during a very good job…..try it yourself.

      • dan

        Good comment. Gives me hope

      • Jim

        Well said Alan.

    • slo-blu

      yes !

    • Larry

      Very well said Griff, thanks for sharing. Sometimes it’s not easy to just let go and let your fingers “talk”.

    • tony

      I have been playing guitar very much since well over fourty years , I have blues guitar unleashed . I only covered the parts I believed to be where I needed improvement. Since I am really a rock and roll guy there wasnt much to draw from. Thats what I thought ,but, rock and roll was created from the blues . See the problem . While I am at this I will also say that yes Griff You can solo ,but, I am not seeing the connection of how you actually connect all the scales together. Now I am not saying You dont do this ,but, I have been a follower for at least eleven years. I dont see it . Why dont I see it ? I watched a video of a shredder the other day and he explained this connection in about 25 minutes. Call it simple stupid . I got more out of that in so little time I just wondered what the heck I missed . He went over the A minor penatonic scale all five scales and how they connect which I found a real possibility of great outcome . I guess You should look back and look for the key things Your missing if anything .I been wrong about stuff and just remember this is My opinion. I am going to go back and see if I am right. May You have continued fortune . Oh yes the shredder was a teacher for many years. So he said ,he can move his fingers like no one I have ever seen . Last note there is alot of compatition out there. Some are or were famous. I have met many guitarist in My life . Been in the music scene and played out for a long time with the least amout of knowledge with good results . This one guy said he closed his eyes and said he thought Carlos Santana was there. Hows that cool beans er what!

      • Can you give me the link to that video

        Could you send me the link to the shredder

    • Raytuned88

      Never do fingers get tired,and if they do ,then I let the guitar play me ,instead of me playing the guitar ,love ya Griff …. Hope Laura and gang are rockin on until then happy strumming! Raytuned88(N.Y)

    • Paul Warner

      Most all your lessons and videos are really good but one thing I have never read on any blog or video you have done, is how to relax your hands. I am teaching myself to play keyboards along with the guitar and I notice that those who are really good, and get the sounds that they want, their hands seem really relaxed and loose. I do know that repetitive practice helps with this but I was watching a video the other day where the teacher was actually trying to teach how to relax your hands. I would be really curious as to your thoughts on this….

    • Neil Shaw

      Exstreemly helpful, I’ve always tried to learn and do too many new moves at a time. And, yes, I definitely get finger tired, I seem to run out of rifts and don’t know where next. Thanks a ton.

    • Anthony Ingoglia

      I have noticed that it is more important NOT to play at the wrong times as opposed to playing at the correct time. Unless you are playing a very-well known riff, you can get away with a lot. If you are trying to avoid playing on beat one and you start a little later than you “should” have it doesn’t sound bad. Or if you want to end on a note at the end of a 5 chord in a 12 bar blues and you start it a bit too early, you can hold the note, or not. It still sounds cool
      I used that method and it helped me with the transition of being where I wanted to be, when I wanted to be there. I heard pros many times play the exact same riff in the sequence of 12 bar chord changes, by playing them at different times with in the allotted chord and different speeds.

    • Jerry.

      You guys talking about Grifs teaching way cool we have all been there or experience it at practice. Just keep on and soon you will get there.

    • Michael Chappell

      Hey Griff,
      I quite agree with your 3 points, I agree with Greg and others BGU V2 Rocks everyone needs to get this, it will inspire you and show you How to play Blues Guitar. Also I have the course of 5 Easy Blues Guitar Solos and Griff is certainly true to his 3 points. Check it out and get this course as well.

      Great Tips Griff.

      Michael- Sydney Australia.

      • Russ carre

        Good advice

    • Alex Mowatt

      I am always pleased to read your pearly words of wisdom. Yet again you succinctly hit in on the head, it were, by outlining the obvious that we lesser guitar mortals might forget at times. Thank you.

    • Greg

      This reminds me of the story about how to eat an elephant. You cannot eat and elephant in one bite, but you can eat a whole elephant one bite at a time, and before you know it, you will have eaten the whole elephant. So pass me that elephant ear (I’ll take mine sprinkled with a little confectioners sugar too, if you don’t mind!) Thanks again Griff and for the those who want to know BGU 2.0 ROCKS!

    • Kevin

      Griff – yet again what you say rings absolutely true, particularly about making progress over a longer span of time. For instance my understanding of the pentatonic scales & boxes and how they interlink across the fretboard.
      On another note. I do feel a bit miffed that there’s a new version of BGU – having bought the original not so long ago. Couldn’t you allow those who bought the original version, say within the past 6-9 months, be offered version 2.0 at a further discounted price? With all your ‘online’ students you must have made a decent profit (well deserved) but we all have to be selective about which courses we can afford to buy…..

      • Paul

        tongue tied? I call that a senior moment.LOL. 🙂

        • MrJay

          Kevin, I don’t know how old your post is but when BGU 2.0 came out I received an email offer exactly what you asked about, discounted price for the new version as I already had 1.0. Contact customer support.

    • alan

      Hi Griff great thought excersize. Also just received 2.0. Outstanding. I was half through your first. I immediately went to 2.0.

      Thanks

    • michael samaritano

      Your advice is always great i play 200 shows a year and i use your advice a lot

    • Bruce

      l am somewhat amazed at how Griff seems to be able to intelectualize as he plays these 1st beats ,or not on 1st beat, and other beats in real time. As for me l try to understand what he means , but l am one who does better by the organic feel of the beats , or rhythm as it flows, but l know Griff says “No” count so l try , but boy its so hard as my instints are to just match the licks with the flow, or rhythms.

    • Bert

      Persistence and consistency are the keys.

      BTW, I bought your BGU 2.0 upgrade. Well done!! I sold my version 1 for $60 so I got 2.0 free!! way2cool

      Bert

    • Allan Bramley

      Hi Griff,

      I am a student in the UK and slowly making progress with your BGU at 64.
      This is not a comment on the topic but a general one.

      I am often frustrated that the fingering is not shown in the printed notatation. It is sometimes possible to work this out from the video but this involves swapping between the screen and the printed notation.

      In any future upgrades would it be possible to include left hand fingering?

      All the best Allan

      • Steve

        Great stuff! But I play slide due to having my left ring finger cut off in an accident. So chords and fingering is very difficult for me. How bout some slide solo vids??!!!

        • chris clemans

          Griff does have slide videos and a DO BRO COURSE. I have all and there great check them out. Keep on slidden

    • Bob

      All good points, Griff. I find that the equivalent to tongue tied is, for a guitar player, finger tied. It seems that no matter how long I practice a scale, riff or chord change sequence my fingers will sometimes fail to work and I mess it up. Maybe I’m thinking about it too much. Also, I know you are big on counting and I know the importance but it doesn’t seem to work for me. I can’t play and count at the same time or worse I count 1, 2, 3, 4 then continue with 5, 6, etc.

    • Eric

      Vital points And thanks. I am new to this soloing and do have trouble knowing what notes fit leading to the chord changes. Eric

      • Andre Jarreau

        Eric,

        Counting can be learned. If you are having trouble playing and counting put the guitar down for a moment and count. Do this:

        One and two and three and four and one and… you get the idea.

        Do this like a rhythm and not a count. Hum it. Simply because it you can hum it you can play it.

        Do this until it becomes natural each day. You will see a difference sooner than you might expect.

        Pick up your guitar after a few minutes of practicing counting. And play.

        The same technique can be used for triplets… one and a two and a three and a… And also sixteenth patterns… One e and ah two e and ah three e and ah etc etc etc.

        Remember slower is always better than faster… always! …I think so anyway.

        Hope this helps.

        Andre/BlindManDrey

        • dan

          I agree. Counting is the key to good rhythm. it is what I struggled with the most. Once I gave in and started counting it became so much easier. However, it will feel, when starting, that you are taking a step back. But once you get the hang of counting and playing you’re in turbo mode.

    • Pete from philly

      This is too weird. This was just happening last night as my buddy and I were playing. Usually, he will take the lead, being the more experienced. But I took over on this new tune we’re doing and damn if I couldn’t put it together. When I practice alone, I’ve been nailing it. Turns out, your advice is dead on again Mr. Hamlin. I see what was going wrong for me clear as day. Students, listen close to this guy. Your playing will always benefit from all he teaches. Thanks Griff. Talk later.

    • Anthony Ingoglia

      Although I find what you say is, of course true, I see the problem at another level. When I jam with players that are not used to playing with others, I see a common problem. It isn’t that they don’t know when to stop or start, or that they don’t know the “correct” notes. It is that they have a difficult time both playing AND listening. You can see they have practiced hard learning a particular riff. Their heads are down, staring at their hands. The group has already played the 12th bar turn-around and they haven’t finished their riff.
      The singer is starting the next verse and the bewildered player now looks up totally lost. I learned to do it correctly by playing to jam tracks at home. It is a skill that doesn’t come naturally for most of us. I play very simple riffs that allow me to listen without it being a distraction.

      • Pat

        Playing with jam tracks or songs by your favorite artists is great practice. I am always amazed at 1. how fast they play. 2. how I forget everything I know and my fingers lock up.
        Try single note fills around the vocals to start.

    • Mark Arnold

      Great point Griff sometimes I get caught up with wow I’m just not getting anywhere just sounding the same day after day but then I have to stop and look back more than a day or a week or a month for that matter and this seams to clear things up a bit and I say wow it’s Coming along I guess it’s like keeping in mind the big picture !

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