FIX YOUR LEGATO TIMING WITH THIS ONE EXERCISE - I teach this one to ALL my students!

Now you could start on the first finger on the G string.

2 3 4.

Hi there guys, Tom Quail here. Hope

you're all doing very well out there as ever. In this video, I want to show you

ever. In this video, I want to show you probably the best exercise that I've ever found for really helping you to develop your sense of rhythm when you're

playing legato. Uh, this exercise is a

playing legato. Uh, this exercise is a variation on something I've taught on my channel before, and I will link down to the other exercise down below, but this one's actually a little bit more straightforward in terms of the concept

of it because the other exercise involved some improvisation. You had to come up with the material. This one is very predetermined and is really, really useful. So before I do anything else,

useful. So before I do anything else, before I say anything else, I'm going to play the exercise for you. Got a

metronome on here at 80 BPM. And this is what the exercise sounds like. And then

I'm going to break it down for you and show you why it's useful and what problem it solves. So let's do that now.

1 2 3 4 2 3 again. And

last time 3 4.

So that's the exercise. It's really,

really straightforward. You might be thinking, what on earth are you showing me this for? This is super straightforward. I can easily play that.

straightforward. I can easily play that.

Well, hold on a second. Let me explain a little bit about what this is solving.

So, as you could hear there, I had four beats. So I was in 44 at 80 BPM and I

beats. So I was in 44 at 80 BPM and I had a clap and a kick on beat one and then a kick on beats 2, three and four.

And I was playing 16th notes. So 1 e and a 2 e and a three e and a 4 e and a one.

And you could hear there I was playing actually 17 16th notes. And this is where this is similar to the other exercise which is linked down below. Now

1716 16th notes gives us a full bar of 44. One eana 2 eana 3 eana 4 eana and

44. One eana 2 eana 3 eana 4 eana and then the 17th 16th note is beat one of the following bar. Da da da da da da da da da da. It's a very specific sounding

rhythmic cell or rhythmic framework. Da

da da da da da da da da. Okay. Now, with

legato, what we tend to do is we tend to play three notes on each string because that is the way that we can get the most fluidity on the guitar or the most uh fluency if you like by getting this

smooth hammer on pulloff sound. By

playing three notes on each string or sometimes four, but usually three, we can maximize our kind of liquid sound for our legato. So, as we're playing like

a lot of that legato stuff is based on three notes per string. Now, this is great except that a weird phenomenon happens with guitar players where they

associate the number of notes per string with a particular rhythmic grouping or cell. So, when we play three notes per

cell. So, when we play three notes per string, in this case with this exercise, we're picking the first note on a string and then hammering the next two. We

perceive that as a group of three. Now,

this is something I've talked about on this channel before, and all of my legato master classes and all of my legato tuition material that's on my website talks about this, too. It's like

a fundamental once you've got the technique down, this is like the 101 of rhythmic control. We have this kind of

rhythmic control. We have this kind of weird scenario where the number of notes per string tends to determine the rhythmic grouping that we feel. And that

kind of makes sense because think about it physically. We play the first note,

it physically. We play the first note, the lowest note on the string. Then we

have two more notes on that same string.

And then we shift to a new string. So

visually and physically we have a group of three. We get this.

of three. We get this.

So that is bound to feel both well visually and orally uh like a group of three. It just makes sense because as I

three. It just makes sense because as I say, visually, physically, and orally, it sounds like a group of three.

As we move to the new string, and I'll explain what I'm playing in a second. As

we move to the new string, we get another group of three, and we're even accenting the first note because we've changed to a new string, and we're picking. So, we're even more getting

picking. So, we're even more getting this feel and visual kind of response uh or feedback of groups of three. So, 1 2

3 1 2 3 1 2 3 1 2 3, which is sort of like triplets. So, da da da da da da da.

like triplets. So, da da da da da da da.

So we get stuck in this weird groups of three that are physically based like this or visually based and then we hear those three so we associate it. What's actually happening

associate it. What's actually happening is because we're starting on the first finger and end ending on the little finger on each string. We always want to play that full grouping. Now if we do

this the exercise basically goes four five seven or F sharp G and A on the D string and then four five seven on the G string which is B C and D. Okay so four

57 457 and I'm going pick hammer hammer pick hammer hammer. Okay so like this and what a lot of guitar players will do is they will cycle that round and round

and round to develop the fluency and the speed. So you end up with this.

speed. So you end up with this.

And what that does is it reinforces this association between the physicality of playing three on each string and the oral and visual feel of playing three on

each string as well. Especially when we pick the first note on each string and get a little accent.

Now, when we're playing 16th notes against an 80 BPM metronome, they don't divide into threes properly. They divide

into fours. So, each beat has four in it. So, we get dagger dagger dagger

it. So, we get dagger dagger dagger dagger dagger dagger dagger or one e and two e and a three e and a four e and not dagger dagger dagger dagger dagger

dagger. Those are triplets obviously.

dagger. Those are triplets obviously.

They don't work together. Now, I've said this many times on this channel. I say

it in all my master classes. If you are playing 16th notes and you accent groups of three on purpose, that's super cool.

It's a really cool technique if you do this.

So, here's our 16th notes. Da. If you do this, that sounds pretty cool because I'm intentionally grouping them in threes.

The problem with legato is you're hearing and feeling these groups of threes unintentionally.

You're doing it because of the physical nature of the instrument. Basically, now

when you pick, this is not a problem because you can accent the first of every group of four like this.

Now I'm really exaggerating those accents but so I can start to perceive those groups

of four like 1 2 3 4 1 like that. I can

accent them. But when we play legato, first of all, you're very unlikely to be able to do those accents. You'd have to really like slam the finger down with hammer ons or

uh pull off really hard with pull-offs to get the accent. But secondly, you're going to be naturally accenting those pick strokes as you move between the strings. So you're going to get those

strings. So you're going to get those groups of three kind of automatically.

So we need to learn how to feel groups of four and remove the accents and stay in time and have really good rhythmic control and know where we are in the bar

when we're playing legato. And that's

what this exercise is designed to do.

So, what we're going to do is we're going to reframe how we're thinking about our hands and the subdivision to feel groups of four as we play through this exercise. Okay? And again, this is

this exercise. Okay? And again, this is one of the first things I teach when I'm teaching legato once people have got the main technique down. This is the rhythmic exercise that I will teach them next. So, it's super useful. So, what

next. So, it's super useful. So, what

I'm going to do is I'm going to reframe how I'm thinking about this. So instead

of going da da da da da da da da da da da da, I'm going to think in groups of four very very slowly. So I'm going to try not to accent the string changes. So

I'm going to pick very lightly and I'm going to go 1 e and a 2.

That is where the second beat occurs within this phrase on my second finger.

Okay, I'm going to make a mental note of that and just practice that getting up to beat two. So we might do this. 1 2 3 4

3 4 and 1 2 Say the numbers as well. 1 2

3 4 1 2 Now you might need to do this slower. This is still relatively fast.

slower. This is still relatively fast.

Okay. So da da da. What I'm going to do now is I'm going to map out in my mind how do I get to beat three. So as I get to the end of the phrase, I'm going to come back around to the beginning again.

So we're just repeating four five seven.

Okay. And picking each string change. So

1 E and a 2 E and a three. So beat three is there on the little finger. So 1 2 3.

Okay. Again, I'm trying not to accent the string changes to throw myself off.

So let's do that with the metronome.

3 4 1 2 3 1 2 3

1 2 3 Okay, no counting.

Four and Okay, let's get to beat four. So 1 e and a 2 e and a 3 e and a four. Okay. So

beat four lands on the first finger, the first part of the of the kind of uh note

grouping if you like. So 1 2 3 4 and 1 2 3 4. Counting out loud like this is the

3 4. Counting out loud like this is the most useful thing you can do. And you

might need to do it very very slowly at first. So it might be like 1

first. So it might be like 1 2 3 4. And you might need to count every

4. And you might need to count every single 16th note. So 1 e and a 2 e and a

3 e and a 4. Okay. So

now I'm really perceiving 16th notes.

Okay. not these

these groups of three that are sort of reinforced by practicing this way.

We're really separating the subdivision from the number of notes per string here. We're sort of doing the opposite.

here. We're sort of doing the opposite.

So now let's get all the way through this back to beat one again. So we get dagger dagger dagger dagger dagger dagger dag. Sounds like this.

dagger dag. Sounds like this.

Now look where we finished within the phrase. We finished on the second finger

phrase. We finished on the second finger or not the phrase but the physical grouping of threes. We finished on the second finger here. Now whenever I do this with students or with people in

master classes um or whenever I'm talking about this what tends to happen is people go and they really really struggle to not put that little finger down at the end of the phrase. Okay. But that would mean

that we're on the second 16th note of beat two. Sorry of bar two. Not beat

beat two. Sorry of bar two. Not beat

two. part two. Have you listen to the actual subdivisions? 1 E and uh 2 E and

actual subdivisions? 1 E and uh 2 E and 3 E and 4 E and 1.

2 3 4 and Okay. So, let's do it with the metronome

Okay. So, let's do it with the metronome

slower. And 1 2 3 4 1 2 3 4 1 2 3 4 and

slower. And 1 2 3 4 1 2 3 4 1 2 3 4 and

1 2 3 4 1 2 3 4 Okay, let's try a little bit quicker.

1 2 3 4 2 3 4 2 3 4 1 2 3 4 1 That's hard to do. 1 2 3

4 1 It's hard to say the numbers at the same time.

And this is where you start to really break down, you know, not break down, but pull apart the subdivision from the number of notes per string. And then you don't get lost anymore. So if you're

improvising Okay. Okay. And I can feel where B1 is.

Okay. Okay. And I can feel where B1 is.

Now, let's just push this a little bit further. Okay. So, let's go back down to

further. Okay. So, let's go back down to something sensible. That's about 90

something sensible. That's about 90 something BPM. Okay. So, what we can now

something BPM. Okay. So, what we can now do is we can start on the second finger.

So, instead of starting on the first finger, okay, like this, we can actually start on the second finger.

And now the rhythmic grouping finishes on the little finger on the G string. So

1 2 3 4 1. I'm still cycling around. 4 5

7 4 5 7 when I actually get back to the beginning again. But in this case, I'm

beginning again. But in this case, I'm starting on this fifth fret or the second finger. It's more about the

second finger. It's more about the physical groupings than it is about the actual notes that you're playing. Uh you

can play any series of notes. Sorry,

whatever you wanted to. It doesn't

matter as long as you got three notes per string and we're feeling 16th notes.

So, we're separating the subdivision, as I say, from the number of notes per string. Okay? So, you can start on that

string. Okay? So, you can start on that second finger and you would repeat the exercise. So,

exercise. So, 2 3 again and 2 3 4. Now you can start on the little finger. Now you would immediately

finger. Now you would immediately transition to the G string after the first note.

Now we finish here.

Now you could start on the first finger on the G string.

2 3 4.

Now on the second finger on the G string 2 3 again. down.

Now the little finger on the G string again. 3 4.

again. 3 4.

Okay. And cycle that around in that way.

This is really going to tell if you've got any rhythmic weaknesses within your legato playing. Now the other thing you

legato playing. Now the other thing you could do is obviously you could do the same thing now with pulloffs. So in this case, what you would do is start on the little finger and pull off like this. This is much harder.

like this. This is much harder.

2 3 4.

Now start on the second finger descending.

Most of you will find this harder.

Now start with the first finger on the G string and descend.

Oh, we're going to do that again. That

was terrible.

Now on this note here.

Now on the second finger on the D string.

Then on the first finger, so on and so forth. So there is an exercise that you can use to really strengthen your sense of time when you're playing legato so that you're not basically being controlled by the number

of notes that you play on each string.

That's kind of defining the rhythmic groupings and the subdivisions for you, the way you're perceiving the subdivisions. You are in control up

subdivisions. You are in control up here, not this being in control, your fingers basically. So it's a really

fingers basically. So it's a really really useful exercise. Now this

actually comes from my modern legato series or lessons that are on my website. So, if you want to take this

website. So, if you want to take this further and learn how you can really push the envelope in terms of both improvisation and also rhythmic control as far as legato playing goes, check out

Modern Legato parts one, two, and three that are on my website and also the ultimate legato practice toolkit. All of

which are linked down below. I'm going

to offer 20% off those using the code that's down below in the uh description.

So, check that out. Get 20% off. Take

your legato to the next level. All

right, guys. So, I hope you enjoyed that. I hope you find it useful. If you

that. I hope you find it useful. If you

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endeavors. All right, guys. My name is Tom Quail. Thank you very much for

Tom Quail. Thank you very much for watching and I will see you all in the next one. Goodbye.

next one. Goodbye.