Remember those old commercials where the 2 sides would argue about beer and whether or not it tasted great or was less filling?
OK well today’s video is my attempt at the note vs. rhythm thing.
Some people think the notes are more important… some folks think it’s the rhythm. You’ll see what I think in the video, but after you watch it I’d love to hear what you think is more important in the comments below.
Need to download this video – MP4 | WMV
153 replies to "Tastes Great! Less Filling!"
This just explains my “other” instrument, the Harmonica so well. Although I play guitar and Griff is my instructor, harmonica is my voice. The way a harp is set up, there are many notes just not there. OK, experts can get more out of the 10 hole diatonic than most harp journeymen, but for the most part improvising and soloing involve few notes, just like Griff does in the 2nd example. Another piece just fell together for me. Thanks Griff
Great lesson. So simple but useful both ways. Combining the two approaches turns into a real solo. Nice.
Love these short videos you do with great punch in the idea dept. Thanks Griff!!
Great Griff it shows how you can take one note and turn it into lick or a solo, you are also working on bends and the all important timing rhythm will follow I have seen this before beats has it hands down it has really improved my rythm and timing thanks Griff this lesson is spot on! Think of it only 1 note!!
too many notes not good best to maybe use 6 or less . going up and down scale is repeating the scale tones. yes it can be BORING. try to repeat but try playing the 6 same notes on a different part of guitar neck.using the same root note of course. also I think you put a part of different scale in there confusing for some i`m sure . how many others saw that ? I know you cover this also somewhere later. i did get the part about the note is the same if you bend it up . or maybe tickle it like BB did. cool !
Interesting thoughts about notes vs. rhythm, Griff. I never really enjoyed noodling around on the guitar. It seemed like playing tennis without the net when I ran through the scales. What changed the game for me was playing over backing tracks. What that did was force me to add rhythm to my playing! Now Iām starting to understand the difference.
I thought the one note had quite a bit to say, meaning you will never hit a wrong note. I think the one scale (or box) is also interesting, but I learned more from the one note idea. I love your courses, and I also love that you take time for these short lessons that are an incredible bonus. Thanks for your time and your interest in your students.
I think a lot of us are prone to playing like the first example until we learn to put taste and feel into our list of options. We are consumed with learning scales so our playing tends to sound like it until we become “comfortable” in realizing we know what to play and cane do so with confidence and feeling.
Hi Griff, Great examples. To me it is essential to take heed of both aspects: note selection and rhythmic variation.
Cheers
Eric
Interesting concept , l thought both sounded pretty cool.
I like this concept. Once you have the rhythm,timing should come easy in my opinion .Thanks for the input.
Definitely the one note version grabs me!!!
I know I’ve done that for 2 or 3 bars at time, but so far, never all 12 bars….but for sure I’m gonna try it!
Thanks for the confidence builder Griff!!
Very informative Griff…keep ’em coming!!!
The lightbulb in my head was just flipped to “on”.
You did it again Griff, explained the importance of an essential aspect of playing. I remember being told at school that each and every person in the room could write a letter and they would all be different. Simple, yes but true too.
As musicians we strive to sound different or at least, if trying to emulate a hero, to sound as close to their interpretation of a piece as possible. What sets the great from the would be great is, their ability to make the playing sound faultless and entertaining without being too flashy and, in my view in sincere to their craft. Rhythm is vitally important and should take centre stage every time. Thank you Griff.
your right Griff. its the rhythm and the timing. That’s the way I’ve always played which is helpful since I’m not that fast.
Jimi would approve š
Wow — with one note, who knew? As a older guy who has been a self-proclaimed 3-chord master since 16 years of age (as long as those cords are e-a-d) I’ve challenged myself to a ‘deep dive’ into blues lead. Not there yet by any means – but this helps! Thanks so much…
Back in 1960’s at Santa Fe auto race track during the break they had a band play.The guitar player Sang and played rhythm,then during the bridge he played the lead. It was him and the drummer.He had the place jumping.I never found out who he was.But as I remember I thought the two of them did a better job of many of the bands making records at the time.THERE WERE ONLY 2 PEOPLE PLAYING WOW. We didnt notice that there was no base at the time. By the way one of the local bands was named Kilroy.Now I know you know who that is. My point is he was a 2 man band so notes and rhythm were both needed.
Brilliant one-note solo! I’m going to study those rhythms! A great lesson.
Great lesson. I also found that not only the root note works but also the fifth note of the scale works great as a one note solo. Combining the 2 you can really do a lot.
Hey Griff, I think this is the most important of all times for someone who want to construct a solo.
Hi Griff, my question is, what if you combine the one note and rhythm together, is that also an option. Again many thanks.
First great lesson as always, My question is WHAT IF YOU COMBINE THE ONE NOTE AND RHYTHM TOGETHER,is that also an option.
How to relieve the pressure on soloing, and also rhythm, in one easy lesson!!! Pretty much everything you hear played as a demo on the web seems to involve lightning fast licks or blistering scale runs. But frankly, many of them don’t sound all that musical though. Let’s face it, all of us are capable of playing much better music thanks to the fundamental point made in this lesson. We all know the notes but we need to keep it simple. Thanks Griff.
You never disappoint! always on point and deliver. Thank you thank you thankyou!
best lesson of my 4 years of Griff.
I heard the difference and preferred the one note. My jam buddy has stated that keeping things simple works and I now hear that with this demo. It seems to me that if one takes the rhythm method and combines that with the scale, it will open an enormous amount of music up. Does that ring true to you? Another eye opening lesson. Thank you Griff!
LB
Thanks Griff that made a lot of sense , personally I needed that point you just made , Im doing so much better now , you have made a huge difference in my knowledge and understanding how I should be doing all this , all though I have learned so much from you that now Im trying to make it all come together lol , I guess we will see in ArrowHead lol , cuz Im there this year , last year I was still way to sick to attend but I wanted to be there , very excited for this year , just hope I don’t fall on my face lol . or just freeze up , no no not that lol
Real eye opener Griff.
Great lesson
That was wonderful. As still a beginner, it will be refreshing to focus on playing fewer notes. Even when reading tab, I’ll try picking and choosing the most important notes at first ( because currently, most of my focus is directed at changing notes quickly ). Now I think that I will sound much more musical by focusing primarily on the rhythm initially when learning a song. That in itself could be a driving force in quicker mastery.
Actually this might be curriculum in itself as a whole new approach of teaching guitar.
Great demonstration. It really got the message across to me. It’s a duality of expression. I can use this! Thanks.
Thank you sooooo much !
The most important thing is not what to do but How to do it …
Griff…I really like this video,it is were I am at.Thanks.
Great lesson Griff, I have found that if your rhythm is on point you don’t need to speed through phases. You can take your time and articulate and really come up with some impressive work. Thanks for the lesson.
Hey Griff,
I heard an old guitar story one that takes place in the Bible where little David (who was a songwriter and musician), was picking on his lire (guitar) and someone came by and ask him ” hey David why are you just picking one note. All the other players are all over the place playing many notes real fast” To which he replied “those other players are still searching, I already found it” Ha ha.
JIm
Best lesson ever.
Cheers Griff
For the lesson the single note solo had more feeling
I know you’ve been told this a million times. But I’ve gotta tell you again. You’re a SUPERB teacher thank you soooo much.
Thanks, Griff. Eric Clapton once said it was his ambition to play an entire solo on one note. He certainly could play frugally when he wanted to. I think of “Sunshine of Your Love” when he basically played the melody of “Blue Moon”.
Your one note solo was awesome and showed that it’s really all about the spaces. Punctuation is key. Thanks again.
Blessings, Ian.
That may well be your most profound contribution ever, Griff. Your also principle applies to all communiation… the unprinted space in an advertisement, the soundless spaces used in comedy, and what is not said in oratory. As your student for several years now, I just gained a new insight. Oh, and thanks for the scale boxes; they are the heart and soul of all my music.
I like the 1 note g rhythem real well for 12 bars sounds cool but I would like to hear whats after the 1st 12 bars? then what?
Hi There,
A guitar mate that I jam with, shared your video with me. I agree with you that the one-note, rhythmic variation sounds more pleasing. I would describe the first track as “mechanical,” and the second track as “free-form.” The latter style being at the root of all great blues and jazz music. Thanks for the tips.
John
Without a doubt, playing just one note while altering the rhythm sounds far more musical. You can create musical sentences that way. Years ago, I used to think I had to fill every beat with solo notes but have realized the last few years that that’s all in vain; it’s the breaks and emphasis that creates the musical texture, the “story”, if you will.
Griff, this is why I buy as many of your courses as I can.
Interesting. I think combining both approaches might be interesting, too.
Hey Griff,
Watching this video, it looks like your left fretting hand is choosing the notes to play and your right picking hand is causing rhythm and timekeeping. So, I think once you know your pentatonic scale thoroughly, it’s all down to your right hand for rhythm. Please let me know if this is true. Many thanks.
I agree. I get more out of a slow blues solo than a flurry fast fusion solo. Slow with Soul!
Yeah it is best to listen to whats going on here. I had gone to play at a buddies house and did almost exactly what Your saying . What I did was use two notes ,but , what You got going on is that You are actually using two also not one . The bend or tickle is what I call it is a sharp NO. So in short of really digging this is if I add the tickle or sharp I will have three notes. I also stumble into somethig new when I play guitar with my buds. It just comes to Me when I play . I got Griffie to thank for the advancement in my guitar playing .
I played in a six member band a long time ago and we quickly learnt it was where we put the spaces that created great music!
The spaces were the most important thing of all…
You knocked this lesson outa the park Grif!
Brilliant!
It really puts this in perspective. I will never listen to BB again without remembering this video. I just simply did not think of this musical relationship, in this manner. Thanks Griff
That makes a lot of sense. Thanks.
Great stuff Griff – sometimes Less is more! Its Like that computer word “KISS” that pops in my head all the time – Keep It Simple Stupid
There’s a One Note Samba; ain’t no eighth note anything; ’nuff said.
Hi griff ive been following your sessions for some time im amased at my own progress and understanding ,I thankyou for your patient videos all I need now is a bit more confidence and get up there
Wow! What an eye opener. Never thought of it quite like that before. The rhythm is hugely important – you could feel the excitement even with one note, whereas the 8th notes were so bland. Excellent lesson as always.
Kind regards, Andy (in the U.K.)
Hey Griff, Point taken. A wise man once said, “its the space between the bars that holds the tiger and it’s the space between the notes that makes the music” Thanks
Boom!
Hi Griff, A wonderful demonstration! That eighth note tune would suit most elevators very well:) thanks. God bless you and your family. Dick
Brilliant lesson, it’s got to be rythm
Hi Griff,I love this,its very interesting,it shows how pro you are,making one note sound so great,thanks.Len.
All things in moderation!
Always a great Idea to , PLAY LESS & FEEL IT MORE. JB
An excellent example of altering the rhythm of a song would be “A Taste Of Honey” by Herb Alpert and Tijuana Brass. He took a folk song and altered the rhythm and became very rich. š
To me the rhythm is a voice, even on one note itās saying something. The whole scale is somehow, anonymous.
Hi Griff,
Its the notes in rhythm and by watching this, I realised how important it is to learn and practice the speed of the Blues Pentatonic Scales.
Even though I have learnt most blues scales from another teacher as a beginner, I now think it is time to buy your version of the Pentatonic Scales & Mastery because now I see how to use the diversity of the notes in a rhythm.
So my vote would be ITS THE NOTES IN RHYTHM…. Still learning my 2nd year hope my thoughts are helpful.
Michael -St Andrews NSW-Australia
Hi Griff,
This is a great refresher even though I have seen this lesson before about a year ago, I now understand what you are doing more so maybe I have progressed.. I keep saying to myself keep practicing the Blues scales for Boxes in different Keys and that is what I do.. I split the day learn a New BGU Lesson after a Scales warm up… Then in the afternoon practice that lesson until I get it down pat.. It’s simply amazing.
Michael- Sydney- Australia 28th Feb 2017
Its the Rhythm for me, articulates the demonstration of light and shade, and shows that the space between the note is as important as the note!
Hey Griff,
Most DEFINITELY the RHYTHM change…one note. 8th notes got tedious after 8 bars. Great lesson and idea!!
All The Best,
Ricky P.
I got a lot out of this little demo. Thanks
Hi Griff, I enjoy the demo. thank you. I have to work on my counting.
Hi Griff,
This has to be one of the best tips evr, I just tried it out with 3 notes, and had one of the most bluesy sounding solos for about 5 rounds of 12 bars without even thinking about it. Love these little snippets they help so much Thanks!
Thanks again Griff, for all your ongoing teaching. Can’t keep upometimes. I’m interpretting this tip whilst delving into ’52 Rythym Fills and Variations’. Great course ! 52RFV and todays tip pulls a whole lot of stuff together at an uncannily coincidental time. Your remote student, for…6 years I think it is now.
Hey Griff, it’s got to be the ‘ ONE’ note, so much more feel conveyed to the listener and that’s part of the attraction of the blues……right?
Keep it blue………unless it’s a ‘red house’!!
For me at least, these little quick hit lessons are the glue that help me connect all the skills and stuff I learn from the larger lessons into something useful. The fun of the blues is makin’ stuff up (that also sounds good). This lesson nails it. I can’t wait to get home and try it out. My only decision will be acoustic or electric? Maybe I’ll record both and see what happens?
Great way of putting it. You made clear the duality of two elements of music design. Being aware of them leads to endless possibilities. It is the same with visual art (I am also an artist (watercolor, oil, airbrush). You have brought forth the gateway to a way of creative expression. I’ll pick up my ol’ Gibson SG right now!
Very compelling. I have been spending a lot of time just seeing what I can do with G. Reminds me of 4 step brokedown set of lessons you were featuring a month or so ago. More with less.
Hey Griff,
I’m a big fan of David Bromberg and I once heard him say that a “rest” is a “note” and I think that interoperation goes along with the two examples you just provided. The rest between notes provides a sense of drama that causes the listener to wait in anticipation of what might be coming next. In comparison I’m also a fan of Joe Bonamassa, blistering speed, amazing articulation of the fretboard, a true virtuoso of blues guitar technique but at the end of the day I find that I enjoy listening to Bromberg’s style forever while after on hour of Joe’s I’m thinking “that sounded a lot like the last piece”. I think that a single note played and “placed” well can be more effective and more pleasant to hear than a flurry of notes is capable of providing. I know this is getting long winded but, consider the difference between two speakers, one a politician, the other a Baptist minister. The same words however the politician’s rendition will “feel” informative or mechanical, the ministers will “feel” inspirational, and the only difference in the two is the presentation. The “cadence” (or rhythm) creates the feeling. I’m 63 yrs old and have been playing since I was 13, I have several of your courses and always recommend them to friends and family and I hope one day you will do a video based on the “feel” of the Gospel style rhythms in blues music. It’s not about religion but about technique. Saying more with fewer words, or playing more with fewer notes.
An awesome lesson as usual! Griff, you never disappoint and your lessons always seem to coincidentally shed light on a particular area I am wrestling with… in this case, overdoing it with the pentatonic scales.
Maybe not the best comparison, but perhaps one worth noting for an example of less “and” more (note I didn’t say “versus”) is the difference between Stevie Ray and Jimmie Vaughan! Brother’s and both phenomenal guitarists, but distinctly different.
Hi Griff, I have always struggled with rhythm & timing. This video really shows that it can be simplified for us mere mortals. Can’t wait to get practicing, could be a break through here. I suspect a combination of the two approaches in a conservative way could be the answer? Thanks again.
You are consistently the best and most intelligent guitar teacher on the web.
This simple demo (along with the demo of a riff containing many wrong notes, but CORRECT rhythm a few months back) really shows well how important/effective timing is. Great stuff. Many thanks for the nudge.
My private teacher tells me all the time that I play too many notes and I tend to (at least I think I do) do that more during the lesson (to show him I know the scales) than I do when I’m at home but between what he told me yesterday and this lesson really drives the point home about how much better altering the rhythm sounds as opposed to playing a bunch of 1/8 notes (and like you suggested as a practice exercise he has had me play 1/16 notes without stopping which I found to be a good exercise because when you do stop and phrase it does sound a lot better). Of course the moral of this story is that I should be practicing (most of the time with the exception noted above) what sounds better because that’s what will come out when I’m playing for others.
Altering rhythmically definitely sounded better, even when I tried it,lol. Thank you Griff, that was great.
Hi Griff. Good explanation. I did think that in your first example you gave the eighth notes a bit of a swing feel which enhanced it. Still agree the single note option sounded better.
Hi griff interesting lesson running up and down the miner pentotonic like you did
Was so boring clearly your usuall style is so much more professional sounding
But it did show all your disciples ( pun) the difference using one note was much better but
It made me think that two or three notes on the one chord with a bend same on four chord same on five chord would sound awesome gonna try it when I get out of bed but here’s the thing griff you make me think about whAt I’m doing and why I’m doing it you been an inspiration for me many times griff thanks for blues in a gig boss and Rthyams fills an a couple of solo courses I have all really good thankyou
hey griff great lesson, the one note sounded good hadn’t thought of using that one note playing. as always you amaze me with the way you teach!!
What a great lesson Griff.
That was amazing how the one note sounded
So much better to my ears than all the other notes.
I was really suprised. I Started to get bored with the others. I didn’t know you could do so much with
Just one note. Your an excellent teacher
I envy your students. Thank you for all your hard work.
O! Effin’ (can I say effin’ on this very polite forum?) BRILLIANT! Griff, you really think about half the folks watching would prefer that 1/8th note horror?? I doubt it. I couldn’t stand any more by half way through the 12 bars. BOOOOOORING! The G-note solo, by contrast, was amazingly musical. Clearly a combination of the two is where you are pointing us, but let me say this…I have a bunch of your courses, they’re great. I have a bunch of your email lessons, also great. But this? Well, just effin’ brilliant! I think you have distilled what it is to be an artist and not just a technician in only 9 minutes and 29 seconds. I haven’t ever commented on the forum before, but this lesson was an epiphany, my friend. Thanks for all your great work in the past, and thanks for this gem in particular. Griff rules!
Wow! What an ear opener. Thanks Griff!
A music instructor once got me to listen to music as if it was conversation. The one note seems to interact with the backing track much better, the the 1/8 notes which sounds like a babbling brook. Zzzzzzzzz.
Very sensible approach Griff. We all benefit from that lesson. Thanks!
Love it! One note it is! Love the way you teach!
Griff,
I love it! They both create tension in the music. The 1/8th pattern was getting on my nerves. The single note was creating that musical tension. A lot like SRV when he plays that second ride in “Tightrope” (In Step) – The changes roll around and he will NOT let go of that note – it goes over the bar – it goes over the edge! You think its time to change. He strangles that note – you are waiting for it to change and I start kind of squirming in my seat and a big smile comes over my face!
That is genius. Thanks for pointing out the tension.
Hi Griff,Love it,I like more is better,ha Len.
Just finishing BGU lesson 4 and love what you are showing here. I have been told I have pretty good timing and rhythm (as a singer who mostly accompanies himself) and can see huge possibilities where I could come in with those little one notes between lines and for fill ins! Just added more excitement to my lessons! Thanks Griff
Great demo Griff – it also points out to me the problem I have with a lot of jazz guitar leads. Too many sound dull and flat, though technically adept. Maybe there’s a jazz rule not to use too much inflection or emotion?
Like Al DiMeola? Technically perfect but bores the hell out of me personally.
Thanks again Tater,
Another mind bang !
It’s the notes … no wait :
It’s the rhythm ! Hmmmmm …
Maybe just 4 notes (well, 5 really with the bend) š
A.B.
Terrific…
This just re-started my whole guitar world
Hi Griff. Another piece of food for thought. I don’t play much, but I enjoy your video lessons while I am working. At least I learn ideas and maybe learn something by osmosis š
Many Thanks. Les
Its so cool Griff its understandable thnkz 4 dat video
very cool Griff. that video of BB King and Gladis Night, i watch and listened to BB play. he did a lil comp during the vocals to the rthum of her voice. playing 1 note with a bit of a tredlde. the solo , you where on spot, just 3-4 notes . this type of soloing i call from the soul. play with the beat and comp with the rthum. very nicelly done . thanks my friend.
Thanks for another great lesson – I always learn something.
GREAT VIDEO. I WAS ABLE TO UNDERSTAND WHAT YOU WERE TEACHING.
Thanks as a new player I have no rhythm, Need lots of work. Now I have a way to work on it
This is great stuff Griff so many times I get trapped in the vertical stuff and I think the balance in between the two is what I want to hear like the second one G more with the vibrato sounds BB ish ! Thanks so much for what you do for us !!!!
Excellent Griff. Some combination is my preference. But too many notes makes it way too busy. Thanks for the instruction
Te felicito el video es muy bueno. Que tengas un feliz dia del Amor y la Amistad
That’s a really good lesson….Very well put….I swear Griff sometimes I think you read my mind…I have been trying to figure this whole “solo” thing out lately and bang you send out a lesson dealing with those questions….this really helps….
I appreciated this demo. Because I still struggle to be on time with the next note; you made it clear for me that I can produce something interesting by working on my rhythm. So far in my learning curve, I have focused on the increasing clutch of chords which lack the character found in the rhythmic enhancements in the sound.
Great demonstration of your point, you are simply one of the best at explaining and simplifying guitar, music theory etc, into meaningful chunks, thanks so much!!!!
I like both ways, but to stay with one note or just all eighth notes both of these will where out. So I think by setting up the one note to blend to eighth notes or the other way around would have more interest to the listener.
Great. Just little pointers like that really bring out the creative juices. Rhythm and stops and a few notes nice start.
I love the way you make every note sound groovy. I also like to pick up on the placement of notes on which fret (have a hard time remembering past the first 3 frets. Keep it up as it really sounds teriffic.
The rhythm is so so important, music is rhythm, its not what we play its how we play it. less is more (lots more)if its got rhythm, that’s why the 4 note solo sounds so good (and Griff can make a solo out of 1 note). How many times have we heard a great guitarist play just a few simple notes and get the audience transfixed and clamoring for more, execution that’s why. It doesn’t matter how many fancy or complicated licks we have they wont sound good unless we deliver them rhythmically. Its far easier to learn a lick than it is to make it rhythmic. I now don’t strive to learn new licks, I try to work rhythmically with what I already have. I believe that rhythm is not a natural talent, it has to be learnt, its not easy its hard graft and it takes time and patience. Work, work, work, practice, practice, practice.
Less tastes great…it’s fulfilling! IF you keep it IN TIME!
Hi Griff,
The points you brought out we’re well taken. Depending what the rhythm is, is what line of notes you can use. The one note that was used and textured to the rhythm was cool, because how the note was changed rhythmically. Playing eighth notes for a short period sounds good, beyond that it’s tedious and frankly boring. Personally, I like to mix it up on both counts. It sounds good in using both types (one and eighth notes), add a few bends, you have a cool solo behind a good rhythm section. Once again, I love you lessons, because I’m always picking up something new, regardless for being a seasoned guitar player. Keep up the good work and faith.
Gregory A Burrow, Guitar/Vocals, Tommy Ray & the 4 Diamonds
Griff, Point taken! Tank you for this valuable lesson! If I were to be honest, I would have to say I still struggle with counting/timing, more tan anything. Thank you for this, and all the great lessons! John.
Thanks Griff, Rhythm is King! It’s not how many notes you play, but which ones and why. How many notes did Miles Davis play? Listening to “Kind of Blue” always helps settle me down š The unspoken factor, voice or timbre or tone wedded with articulation is also key. Keep on keepin’ on all y’all!
Sorry, no preference , both would get old quickly, BUT, combine? Like mixing two paint colors to come up with a beautiful end pruduct. Thanks for all your time and expertise. You are truly an amazing teacher, you inspire
Thanks for confirming that modifying the counting is OK. I have 4 of your courses and have been impressed with the need for counting, but when I applied the strict unvarying count to my practice it became mechanical and boring.
At one point I tried to apply the Swing beat (1E and a) to La Bamba and could not make it work until I cheated the timing.
The courses that I have bought are doing exactly what I wanted, but the FREE stuff you send out work as a catalyst to the purchased course.
THANK YOU
Griff,
thanks for posting this video, I cant wait to get my hands on my guitar because I think you just made the light come on for me. I struggle with playing lead all the time, my greatest challenge seems to be following the changes in a progression and knowing where Im at in it while playing lead. I so focused on what I’m playing that I lose track of where everyone else is, so maybe if I use just one note and anchor to it for each chord I will be able to tell where the changes are thru my leads.
Steve
Kind of reminds me of a Keith Urban song where he only plays ONE single chord the entire song. That is what the song is about too, although after a while it gets old the song is still interesting with the timing involvement.
Enjoyed the lesson greatly! I like the single note solo the best which is really a simplified version of the four note solo you promote. Another great Griff lesson! Thanks
When I was much younger I used to watch the lead guitar when I was much younger watching amateur bands and in most cases the rhythms were very good but when the lead guitarist took over 99% of them were disappointing and a lot of them shoved lead phrases you could recognize from radio play of popular songs at the time. I got tired of going out and watching bands on this aspect alone. Every once in awhile I’d see a lead guitar player who would really hang on a note, or he would play something on the off beat, these guys I would watch develop their ideas, so I realized pretty early that finger speed was not everything. I was a huge fan of Santana. Tasty guitar work and worth learning.
The one-note piece – another great example showing that less is more and how to achieve it musically. Shades of BB there.
Music is 90% rhythm.
When we were all learning to play we were taught the G,C, and D chord (maybe the Em too) and were told we could now play thousands of songs.
While the order of the chords were important what made the chords sound like the music we knew was the strumming patterns aka rhythm.
The solo of 1/8 notes had no phrasing. Like a run on sentence. No chance to take a breath, no anticipation, no idea when the end was coming, no crescendo. Just notes out of a faucet. After just a few seconds it sounded like an exercise a student would begrudgingly play.
The single note solo, while only one note, contained rhythmic dynamics which made listening enjoyable. It was music.
Hitting a log with a stick is just hitting a log with a stick until you add rhythm.
Great video. I’m picking up a lot of info. Thanks. Keep sending me this stuff. Have a great day.
Best advice ever! Somehow your lessons fit right in with my progression and the rest of us tend to agree. Nicely done!
I was listening to B.B. King playing Everyday I have the Blues and I noticed how little he was actually doing. He mainly kept hitting the route note in a rhythmic way that sounded great. Great lesson. Now how about a video on licks between vocal phrase’s? I know it’s simple. But I’d like to hear the way you would do it.
Hi Griff
Thanks for another great example of how important both rhythm and timing r to each other. Though I loved the movement and seemingly complex box 1 sound, which intrigued my sense of your guitar artistry.( I’ve yet to learn what box 1 is) The single G note lick amplified the need for both the rhythm and the precise timing to pull it off. Totally cool. If I were in a pub I’d order one of each and mix-em up. Why settle? It’s all good š
A teacher of mine, as a drill, would make us play our solos with just 2 notes. It definitely improved my sound. I practice it all the time. I realized there is a third element you can add- dynamics (i.e. soft and loud and in between. Try to pick two very soft then two aggressively for example. With my tube amp, if set up correctly playing with the gain, or pedals, the softer picking is clean and the aggressive is dirty (distorted) which add another element. Then at the end I play it with my teeth and set it on fire like Jimmy,lol.
most important to establish a groove first . as far as notes 5 tops but return to the root note . yeah like the KING you can groove on just one note almost forever. change the pitch once in awhile as demostrated,( I think you did). Griff you tend to love that G note . š
Griff, definitely an effective lesson. Rhythm and groove definitely better than throwing a lot of notes without any rhythm. Seems like a simple idea – and I guess most good ideas really are – but so many people try to fill their playing with too many notes. Watching the greats like B.B., Albert King, etc., a few notes can be so much better. Thanks.
Totally agree Griff, I think you could have the best note choice in the whole world but if your rhythm is boring and repetitive, it’s not going to sound like much of anything. On the other hand if your rhythm is emotional and interesting, your note choice can be extremely simple and the solo will sound fantastic.
sounds…..good….to….me…later.
cowboy
Wow….
I sound exactly like example-1.
As Salieri from Amadeus said….
‘Just cut a few notes’
Just received my 52 Rhythms DVD……can’t wait to get rolling!
Thanks for your help Griff.
Drew
great video for a great point!!
I’m definitively an “altering rhythm” guy!
I agree with you Griff, people use to forget the importance of silences between notes. It is as important as the notes themselves.
It reminds me the Jazz manouche players and Django Reinhardt. They all are great technical players, but Django’s playing was so unic because he was also able to integrate in his choruses some great single notes that blew you away…
Thanks again for this great video š
Great lesson as usual Griff. I use the one note solo often when I’m gigging and sometimes add a harmonic note with it just to be that wee bit different as well
Griff,
Nice demo of of the 2 extremes and great insight for us “newbies”. I will add the rhythm altering as I play with the jam tracks!
Grif, I have only been following your videos for a short period of time but I have watched many others and you are by far the best instructor. My wife says I have spent too much money on guitar packs in the past but the extra money I get will be used to purchase your material from now on. I really appreciate the variety, the simplicity and the explanation. Keep up the good work.
AL
I hope this helps Bob Romeo. The notes Griff played in that scale are: G, D, Bb, F, & C !!!!!
We have 12 notes,that’s a giving. Rhythm is what we have to get down to make the notes sound good !!!!
hi Griff,well I have been receiving email lessons from you for quite a while.i thank you for all that you do,i am sorry to say I have not bought any of your lessons,so if you will excuse my asking,is it possible for you to write up some tab on what notes you play while soloing.i have just started this soloing thing and it is rather confusing.i am an older gent and trying to retain all this information is baffeling.
thanks for all you do
bob romeo
After watching that video,less is more. I had a construction accident and had a below elbow amputation. My prosthetic hook didn’t work for my pick so I had one made. Picking individually is a slow process. What I just heard in your clip sounded clean and great. Thanks for the lesson. Your teaching has helped me tremendously!
Interesting video Griff,
I see the two lead solo versions as two extremes – ultimately both are going nowhere if played continuously for several choruses.
Now combine the two with some slides, hammer-ons, trills etc… and that would be the basis for a good blues solo. Perhaps you could do this for us in a follow-on video – your personal take on a solo for that backing track.
Thanks Griff.
excellent, thanks for all your lessons they have made me think and changed and improved my playing
Gday griff, you are a very wise man, it would be great if you lived in Australia. Maybe cum for a visit, cheers
Hi Griff, I interesting demo, I’m learning blues on tenor/baritone uke and this is exactly where my music teacher is with me showing how just using one note and getting rhythm variations with a backing track adds a different quality as opposed to the scale in a different sequence ……. Many thanks for doing this
I liked the one note. Shows you less is sometimes more. I added two more notes to it.