SUPER SIMPLE Method to Sound Great - Every Time!

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[@MarkZabel]

Honestly, this is one of those things that most players assume they know how to do, but don't. (How to end a phrase on time ... right place, right time.) Stop learning scale patterns and do this if you haven't explicitly done it before. It will make an immediate difference!

[@azbluesdog]

This technique can be a lifesaver. I was invited onstage to play lead guitar with a band and a guest vocalist I’d never played with before. There was a big crowd and I didn’t know the tune at all, just the key we were in. I improvised a simple melodic lick for the song’s intro and kept coming back to it throughout the song. The guys onstage were grinning the whole time. Damn, that was fun!

[@MarkZabel]

Absolutely. Sounds like a blast!

[@44scoots]

Nice video. Nice Charvel. Thx.

[@MarkZabel]

Thanks for watching!

[@user-sd8sm5ye7u]

Mann... your a great teacher !!

[@MarkZabel]

Thanks!!

[@clarkridlen1966]

Being a garage band maestro I just learned songs. We'd learn about 50 songs and go out and gig. I do regret not knowing a lot about music. Once they start dancing you realized that ideally you would extend the song and really make it jam. Just playing Rock songs the way they were recorded was not going to be enough to get the most out of it. Then there's Mark Zabel who is an extended jammer!

[@MarkZabel]

Thanks brother! Hey, it's all good if you're having fun and the audience is dancing!

[@joev4483]

Nice! Thank you

[@MarkZabel]

You're welcome, and thanks!

[@Z_333_]

I love this idea! Such a great channel. You keep giving us gold and on behalf of my fellow subscribers, Thankyou so very much! ✨🎸🙌

[@MarkZabel]

You are so welcome! Thanks for your kind comment!

[@trioguitar]

Good, practical tip. 👍

[@MarkZabel]

Glad it was helpful!

[@aminahmed2220]

Absolutely fantastic have a wonderful day Mark ❤❤❤❤❤❤😊😊😊😊😊😊

[@MarkZabel]

Thank you! You too!

[@user-hm1cq9wr2o]

Great lesson (again)! Thanks. Your idea here is great for us struggling with "The Box". I heard another idea that coincides with yours about landing on the Chord Root each time the chord changes (for example, using the barre chords I-IV-V in A). I guess you could add your simplified lick in each of the 3 chords? Anyways, thank you, sir.

[@MarkZabel]

Thanks! That would work too of course. Eventually you want to be able to do it without the crutch of a "Lick Fragment". The exercise is really to train your rhythmic sense to feel the measure click over - chord change or not.

[@juliochingaling5824]

Great video. Blessings.

[@MarkZabel]

Thank you!

[@midnightrambler4580]

Very nice

[@MarkZabel]

Thanks

[@danielsmith7902]

Satisfying our instinct for resolution. Great tip!

[@MarkZabel]

Yes! Thank you!

[@krisstieghorst7415]

Thanks for the lesson Mark ,you always bring concepts to us that are easy to grasp that are useful.👋🖤🦋🖤

[@MarkZabel]

Thank you Kris!!

[@bobnat2]

Brilliant!

[@MarkZabel]

Thanks!

[@j.p.7708]

BINGO👌🏻👌🏻👌🏻

[@MarkZabel]

Glad it clicked with you!

[@shaunlovett1565]

Good lesson

[@MarkZabel]

Thank you!

[@kbradford2270]

Mr. Mark have a queshouldn't that a sort of ask you about before which you answer? Is correct in one aspect, but I'm talking about the phone midnight rider and the intro. But there are actually 2 intros to that song with Greg. Arman, play like lead acoustic guitar into it. I get what you're doing with the regular d minor th minor thing, but there is another intro, and I'm trying to use that, can you help us out mark? Thanks for all that you do. You're the best bro trusting trusting. You had a great Easter.

[@kbradford2270]

Mr. Mark, I just read what I wrote to you a few minutes ago. And oh my God, so much and correct spelling. So I'm taking my ti'm with this one. Maybe you can make heads to tails. Have to what my question would be In the song midnight rider there are actually two versions of the song that has two different distinct intros is the one that you showed on the video starting basically with a d chord back and forth from DC DC but there is also the other version of the song that has a little bit of lead work before getting into the back and forth with the DC and hoping that you can help with that intro would greatly appreciate pointing me in the right direction appreciate everything you do mark I'm trying not to be a pain in the butt but unfortunately I've heard I'm quite good at it LOL at times but again thanks for all you do mark

[@MarkZabel]

Thanks. I'll see if I can find the version you're talking with, and if I do I'll give it a listen. If I can help, I'll give it a shot!

[@Predney]

Kinda reminds me a bit of GF Heartbreaker. At least at the start. If I remember it correctly.

[@MarkZabel]

Interesting.

[@Jonathan-sy7od]

Could you please do a video on each Lynyrd skynyrd's guitarist role

[@MarkZabel]

Happy to consider it. Thanks for the suggestion.

[@stephenzimmerman5517]

Do you play live? I would love to listen to you playing live. There's an old axiom, these that can do, those that can't teach.

[@MarkZabel]

I do. I play locally, but also 2X per month on KZbin livestreams. (And don't believe those old axioms. They're mostly wrong.)

[@castleanthrax1833]

Some of the best teachers aren't great at "playing, and some of the best "players" aren't very good teachers. The two things don't necessarily correlate. Being a great teacher is more about the ability to impart knowledge and inspire the student... especially with music.

[@MarkZabel]

Yes, it's not 100% correlated, but the "those who can't do, teach" significantly underestimates the connection between the two. Playing experience and teaching experience often support each other. Your last comment is spot on for sure.

[@waynegram8907]

I'm not sure if its called a Lick fragment when ending a phrase and Its also not called a cadence so not sure what to call it when resolving the phrasing

[@MarkZabel]

Here's the definition of cadence: www.britannica.com/art/cadence-music I call it a "Lick Fragment" because it's a piece of a lick - not the whole part. It's really just a crutch to use to overcome the issue of not finishing your phrases. It takes the guesswork out for players and forces them to end properly. It's like a sentence fragment, like "... and they all fell down." It's not the only way to end a sentence, but it is a way to end a sentence. So learners can say, "They went up the hill ... and they all fell down." Or, "They ran all the way across the field ... and they all fell down." And so forth. It's not theory here. It's all about helping people play better.

[@waynegram8907]

@@MarkZabel I'm not saying it's wrong, I'm just curious what the correct terminology its called

[@MarkZabel]

@@waynegram8907 Ok

[@stephenzimmerman5517]

The key to making a good solo is composition. The truly great guitarists aren't pandering to scales and runs.

[@MarkZabel]

I don't know. Most of my favorites were improvised rather than composed. (Kid Charlemagne, Aqualung, Since I've Been Loving You, The Allman Brothers' One Way Out live at Fillmore and many others.) Agree about the scale runs though. Great solos come from musical ideas - melodies (whether composed beforehand or on-the-spot).

[@krugu1]

@@MarkZabelI think it is important to learn how to transpose melodic ideas from your head to the fretboard. And a lead guitar or the guitar in general is a melodic instrument that wants to be played like that. Many people see it the other way around and play what is convenient to play (for instance a pentatonic or a three notes per string scale). Of course it’s absolutely fine to play patterns or pentatonics, but I think the focus should be on creating a melody with the instrument that embellishes the mood and timber of the song

[@dr123hall]

This is a valuable concept, in fact we can’t learn tonality, phrasing and timing fast enough!

[@MarkZabel]

@krugu1 Thanks for your comment. What you suggest is quite important, and in no way is that skill limited by, say, learning a scale. I find the issue is that far too many players start by learning scales (and other theory), usually the usual pentatonic box, and then get pressure to "learn the 5 positions" or "now learn the 3NPS system". Music isn't about those artificial constructs, or about fretboard patterns, or muscle memory. It's fundamentally about rhythm, melody and harmony. I could go on for a long time about this, but teaching melodic playing directly, for example, with instilling the practice of singing what you play in order to develop one's ear, rarely will a student adopt it - especially those who have played for 30+ years and have been at the same place for 29 of those years. They learned a pentatonic pattern in the first 30 days and that's what they're convinced they need to expand upon. It's tough to break through. Rhythm is equally neglected, so that's what this technique is aimed at. People think that if they can count to 4, they're covered for rhythm. It's unfortunate. In any event, it's a fun thing to work with someone who is open to doing more than just play through scale position drills - to develop their own ideas and then make music with them.

[@MarkZabel]

@dr123hall Agreed!