Discovered this guy probably less than 2 weeks ago, looking for reviews on the Line 6 Pod Go and HX Stomp. I must admit than I am flabbergasted by his playing and the sounds he creates with this gear. It corresponds exactly to the style I’ve been after for years. I think whatever he uses becomes gold after he works his tweeking magic. The sounds he comes up with are fantastic and his playing makes it bloom even more. The Line 6, Fractal Audio and Neural DSP of this world should pay attention to what he says because he makes their products shine. They owe him big time, as far as I am concerned.
Agree, 3NPS is absolutely essential. 👍 The other thing that was a huge breakthrough for me was recognizing the 3 basic fingering patterns and the number of times each repeats in Diatonic Scales/Modes. Here are the 3 patterns, repeats, and representative modes: A. 124 repeat two times, Locrian B. 134 repeat two times, Aeolian C. 1x24 repeat three times, Mixolydian In the other Modes, you'll need to start on the second or third repeat, but very easy to figure out. In playing a scale/mode, Pattern A is followed be B, which is followed by C, which is followed by A again. Understanding this reduces the memorization component to near zero. These patterns can be transposed anywhere on the fretboard.
This is really good...i think you are saying in terms of frets apart (instead of fingers), it cycles 134x2, 135x3 then 124x2 (this example would be Aeolian and will run out of strings at 124x1, of course you'll have different starting points for each mode but pattern is the same). Very nice!
@@jaltsch1 I meant it as the fingers that are usually used to play a sequence of notes on a single string. When a finger is skipped, so is that relative fret. So, starting on the low E string, if you put the 1st finger on the 5th fret, you get the note "a". So, the fingering 134, when started on that string, will give you the notes "abc", and "def" on the 5th string. And the fingering 1x24 will give you the notes "gab" on the 4th string- the Aeolian mode, plus the beginning of the next octave. It's way easier to just try it out, than to try and explain it. But, I think you know what I mean. 😎
@@cchng I use the "x" to mean skip over one fret, so 12 would mean two adjacent frets, but 1x2 would mean skip one fret between fingers 1 and 2. This assumes using one finger per adjacent frets, like frets 1-4 being fretted with fingers 1 2 3 4 sequentially. So, if you started the fingering pattern 1x24 on the 1st fret, the frets you'd actually press down are 1 3 5. Hope that helps.
I've been camping out on this lesson for a long time as I become inspired to just start playing and practicing and weaving the lessons into my own improvisations. I love your playing John and recently customized one of my Strats to sound more like your KLines cuz I love the tones. Another great personality in my guitar line up! Thanks for your lessons and tips, John. You're an amazing player and come across like just a real nice guy. Cheers to you!
Hey John. I've been watching your videos for nearly a year now, and I'm posting to tell how strikingly beautiful your overall sound is, not to mention the degree of humility you exhibit in the presentation of your lessons. I thank God in Christ Jesus that I came upon your videos. Ive been playing the guitar for 47 years come June 4th of this year. You're aces!
He gets better (and tastier) with each video. I love your guitar playing. It was Allan Holdsworth-like. Really enjoyed it my brother. oNe LoVe from NYC
Intro solo-just fantastic! So many good lines, and amazingly clean execution, even for the fast lines. I think a particularly tricky thing about legato playing-and something I dimly recall Holdsworth discussing in an interview-is learning how to pick (or even tap-without-picking) when you switch strings with just the right touch to make a seamless connection between picking and the hammers/pulls. -Tom
Thank you for a great lesson! The permutations open so many possibilities and sounds so modern ! I spent too much time only doin 1 2 3 and 3 2 1. Also Three Plus Five very interesting sound !
I've got a short 4th finger and average size hands, maybe smaller than average, and I get this happening. So did Randy Rhoads, and others too. Don't get caught up in giving yourself excuses as to why you cannot to it, or you certainly will never be able to do it! If you believe that you'll conquer it, you WILL find ways to conquer it.
One thing is for certain, if you only practice with a clean tone, when you turn the gain up, noise that didn't matter with a clean sound, even very quiet sympathetic vibrations are going to be something you have to learn to mute out. I'd say high gain is more difficult than clean tone for this reason. Definitely practice high gain sound more than clean.
Start out with higher gain, eventually move on to clean because by then you've gotten a good idea of how to mute string noise and focusing on articulation is easier with cleaner tones.
Personally, I started higher gain and gradually over the years have found that the legato technique has become more comfortable to the point that I can play legato with clean tones, but you want to check with gained up tones if you're intended to play with gain - otherwise like Jimmy says you can have a lot of noise that is not obvious
@@johnnathancordy Conversely, when playing single note lines on my Ovation acoustic, it can add some ambience if I let the sympathetic vibrations ring out. Therefore, I don't mute as full-on in that scenario, the sympathetic vibrations lend a bit of of reverb like ambience. It's actually too sterile for me playing acoustic with that degree of muting applied. So I then have to totally float the picking hand, which is a challenge, feels weird, because I don't often play that way!
hey i have commented in one of your other videos as well. u must have missed it. i would love know how u create pockets for your legato lines.. i mean how do u think or do or phrase before these runs. how to do set up a leagto run pocket if it makes any sense..
How dare you lay out the degrees of the major scale and reveal the simplicity of the modes! LOL Please , please reveal the modes only in the "c" position or you risk many lesson content creator's online livelihood, not to mention the whole musical education system. I gleaned from a Billy Sheehan interview exactly the simplicity you just showed. Well Done and you have taken it to the nth degree all in a single video lesson. Which, makes you an excellent teacher
![How to Improvise Long Legato Lines [How I Got Better Legato Technique]](http://i.ytimg.com/vi/HoYvY1g3s6M/mqdefault.jpg)
![How to Improvise Long Legato Lines [How I Got Better Legato Technique]](/img/tr.png)
Beautiful playing John. I also use a lot of four note per string lines which of course I took from the great Allan Holdsworth.
That's next level stuff Brett!
Also - you've been someone I've listened to for like a decade. Inspirational guitarist!
Dito, guys! Its the legatofamily here! My initial spark was Joe Satriani... But as soon as I heard Allan Holdsworth (city nights)... Well, you guess
Discovered this guy probably less than 2 weeks ago, looking for reviews on the Line 6 Pod Go and HX Stomp. I must admit than I am flabbergasted by his playing and the sounds he creates with this gear. It corresponds exactly to the style I’ve been after for years. I think whatever he uses becomes gold after he works his tweeking magic. The sounds he comes up with are fantastic and his playing makes it bloom even more. The Line 6, Fractal Audio and Neural DSP of this world should pay attention to what he says because he makes their products shine. They owe him big time, as far as I am concerned.
You have given me enough practice material in 20 minutes to consume the next 20 years of my life! Thanks.
Exactly. Wow. Best video I’ve seen on practice technique in a long, long time.
Agree, 3NPS is absolutely essential. 👍 The other thing that was a huge breakthrough for me was recognizing the 3 basic fingering patterns and the number of times each repeats in Diatonic Scales/Modes.
Here are the 3 patterns, repeats, and representative modes:
A. 124 repeat two times, Locrian
B. 134 repeat two times, Aeolian
C. 1x24 repeat three times, Mixolydian
In the other Modes, you'll need to start on the second or third repeat, but very easy to figure out.
In playing a scale/mode, Pattern A is followed be B, which is followed by C, which is followed by A again. Understanding this reduces the memorization component to near zero. These patterns can be transposed anywhere on the fretboard.
This is really good...i think you are saying in terms of frets apart (instead of fingers), it cycles 134x2, 135x3 then 124x2 (this example would be Aeolian and will run out of strings at 124x1, of course you'll have different starting points for each mode but pattern is the same). Very nice!
@@jaltsch1 I meant it as the fingers that are usually used to play a sequence of notes on a single string. When a finger is skipped, so is that relative fret. So, starting on the low E string, if you put the 1st finger on the 5th fret, you get the note "a". So, the fingering 134, when started on that string, will give you the notes "abc", and "def" on the 5th string. And the fingering 1x24 will give you the notes "gab" on the 4th string- the Aeolian mode, plus the beginning of the next octave.
It's way easier to just try it out, than to try and explain it. But, I think you know what I mean. 😎
@@picksalot1 Yep I totally get it. Thanks for this info.
Please don't mind me for not being able to understand, but can you please explain what does the 'x' stand for in your examples?
@@cchng I use the "x" to mean skip over one fret, so 12 would mean two adjacent frets, but 1x2 would mean skip one fret between fingers 1 and 2.
This assumes using one finger per adjacent frets, like frets 1-4 being fretted with fingers 1 2 3 4 sequentially. So, if you started the fingering pattern 1x24 on the 1st fret, the frets you'd actually press down are 1 3 5. Hope that helps.
Dude I came here for some Tom Misch style videos and ended up with this video. This dude is like a level 900 guitar wizard, holy crap.
I've been camping out on this lesson for a long time as I become inspired to just start playing and practicing and weaving the lessons into my own improvisations. I love your playing John and recently customized one of my Strats to sound more like your KLines cuz I love the tones. Another great personality in my guitar line up! Thanks for your lessons and tips, John. You're an amazing player and come across like just a real nice guy.
Cheers to you!
Hey John. I've been watching your videos for nearly a year now, and I'm posting to tell how strikingly beautiful your overall sound is, not to mention the degree of humility you exhibit in the presentation of your lessons. I thank God in Christ Jesus that I came upon your videos. Ive been playing the guitar for 47 years come June 4th of this year. You're aces!
Thanks!
Thank you John! This has to be the greatest lesson on Legato I’ve ever seen thus far!
Works great with hexatonic patterns. Great lesson!
He gets better (and tastier) with each video. I love your guitar playing. It was Allan Holdsworth-like. Really enjoyed it my brother. oNe LoVe from NYC
you are a great player.
your vibe is pure
you deserve more recognition.
Believe in yourself, i hope to see you evolving in the field :)
Intro solo-just fantastic! So many good lines, and amazingly clean execution, even for the fast lines. I think a particularly tricky thing about legato playing-and something I dimly recall Holdsworth discussing in an interview-is learning how to pick (or even tap-without-picking) when you switch strings with just the right touch to make a seamless connection between picking and the hammers/pulls. -Tom
Thank you SO MUCH for this video. There’s enough useful information in these 20 minutes to keep me busy for probably the next YEAR.
great video, that part about permutations is gold!
Great stuff! Made me realize I've been doing too much just 1 2 3 and 3 2 1 using only 2 positions. Thanks👍
Thank you for a great lesson! The permutations open so many possibilities and sounds so modern ! I spent too much time only doin 1 2 3 and 3 2 1. Also Three Plus Five very interesting sound !
Fabulous.... and great tone which comes from those fingers!! 😀
that tone is amazing!
Great stuff and very pragmatic with simple building blocks!
Very groovy, thanks for sharing
Such a tasty player bro, keep up the good work.
Just the type of video I was looking for, John! Thank you so much for the tips. Great playing as always.
Exactly what I was looking for - thank you so much!
Yayyyy!! This is something I already work on!!
Nice note choices.
Ive got an EP compressor as it can be used as a boost meaning dual use and can blend in as much as needed of each
This is totally what I was going to ask you about on thursday!
Wait...When actually is it
Thanks John!
Superb tutorial, subbed! Thank you
Have some questions regarding your Headrush presets. What's best way to contact you. BTW - your playing and tone are exquisite John.
Bravo. Keep up the Flight. I wish I had 10 % of your talent.
Good playing
I was like "holy gawd, this guy doesn't mess around", and then I realised I had playback at 2X
Fantastic technique!
Hey john, When you post your permutations, examples in 16's and triplets both ascending and descending would be most helpful. Thanks, great lesson.
All sound like Fish Rising to me. Distortion+ Echo seems to be the one thing.
While practice is paramount, it’s worth mentioning that hand structure, finger length etc play a role in the ability to play these kinds of patterns.
I've got a short 4th finger and average size hands, maybe smaller than average, and I get this happening. So did Randy Rhoads, and others too.
Don't get caught up in giving yourself excuses as to why you cannot to it, or you certainly will never be able to do it!
If you believe that you'll conquer it, you WILL find ways to conquer it.
Great playing and teaching but also that second K-line guitar is beautiful. What colour would we call that?
ah shoreline gold. seen in another vid. Beautiful
You live my dream man lol. I’m making it my goal to play like you one day.
Great tips! Tone wise should we stick to always high gain or start to practise in a clean tone ?
One thing is for certain, if you only practice with a clean tone, when you turn the gain up, noise that didn't matter with a clean sound, even very quiet sympathetic vibrations are going to be something you have to learn to mute out.
I'd say high gain is more difficult than clean tone for this reason.
Definitely practice high gain sound more than clean.
Start out with higher gain, eventually move on to clean because by then you've gotten a good idea of how to mute string noise and focusing on articulation is easier with cleaner tones.
That being said, i prefer a low-med gain tone with a single/split coil, gives you the best of both worlds
Personally, I started higher gain and gradually over the years have found that the legato technique has become more comfortable to the point that I can play legato with clean tones, but you want to check with gained up tones if you're intended to play with gain - otherwise like Jimmy says you can have a lot of noise that is not obvious
@@johnnathancordy Conversely, when playing single note lines on my Ovation acoustic, it can add some ambience if I let the sympathetic vibrations ring out. Therefore, I don't mute as full-on in that scenario, the sympathetic vibrations lend a bit of of reverb like ambience. It's actually too sterile for me playing acoustic with that degree of muting applied. So I then have to totally float the picking hand, which is a challenge, feels weird, because I don't often play that way!
Descending is definitely my biggest issue.
You are the unofficial face of k-line guitars
I'll take it!
hey i have commented in one of your other videos as well. u must have missed it.
i would love know how u create pockets for your legato lines.. i mean how do u think or do or phrase before these runs. how to do set up a leagto run pocket if it makes any sense..
I wish I found this account 25 years 😢
God Kline guitars are beautiful.
You’re playing is there my friend
Plz palm mutations patterns u use
Could we have 3 note per string patterns for the major scale (modes) on patron? Also what patch is that it’s lovely ta. Fantastic lesson 😎
Eric Lead I think! And yes of course...Will get to work!
@@johnnathancordy thanks amazing stuff, and see my comment about that k line 😀
this video turned me into max ostro
Hi John did you use a particular patch from your set for these legatos? Thanks.
How has everyone improved their pull offs? Mine are way behind the hammer ons?
How dare you lay out the degrees of the major scale and reveal the simplicity of the modes! LOL Please , please reveal the modes only in the "c" position or you risk many lesson content creator's online livelihood, not to mention the whole musical education system. I gleaned from a Billy Sheehan interview exactly the simplicity you just showed. Well Done and you have taken it to the nth degree all in a single video lesson. Which, makes you an excellent teacher
3:53
And a great tone like that 😂
I used to think 3 NPS was the bees knees, until I learned about 4 NPS
The only thing common is PRACTICE
Legato lunch John??!?
Sounding like Exivious in the intro
Ooh that's a blast from the past!!
I need longer fingers lol