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Quantitative and Qualitative Review (Guitar Lesson)

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Mark Lincoln

Quantitative and Qualitative Review

In the 26th installment of his basic guitar series, Mark reviews the quantitative and qualitative changes he presented in lesson 25.

Taught by Mark Lincoln in Basic Guitar with Mark Lincoln seriesLength: 17:34Difficulty: 2.5 of 5
Chapter 1: (02:51) Lesson Introduction Review
- Warm-up the hands.
- Stretch the wrists.
- Play the major and minor open chords.
- Warm up your strumming muscles by relaxing the wrists and letting the pick flow over the strings.
- Play the E major chord in the "new" way and play the type 1 barre chords.
- Play the A major chord in the "new" way and play the type 2 barre chords.
- Practice the "slanting A" technique.
- Play all of the type 1 mini-barre chords.
- Play all of the type 2 mini-barre chords.
- Review and practice quantitative vs qualitative techniques.

Let's take a moment to review last week's lesson. We talked briefly about quantitative and qualitative changes and how they can be used to add interest to your playing. We've talked a lot about technique over the last few weeks, and categorizing those techniques can be another manner in which to conceptualize them and apply them to your playing.

So let's talk some more about quantitative changes.
Chapter 2: (01:33) Discussion Quantitative
As we discussed in last week's lesson, quantitative changes are usually a change in the number of strums in a particular rhythm while still maintaining the integrity of that rhythm. The goal of decreasing the amount of strums is to allow the rhythm guitar to breathe more and to give other guitar players (or other instrumentalists) space to work.
Chapter 3: (04:57) Exercise 1 Exercise 1
Play the chords Em, D and C using the strum or "down down-up up down." Play Em and D once (one strum pattern each) and then play the C twice (two strum patterns each). Don't forget to snap the upward motion, making it a clean, crisp strum.
Chapter 4: (02:33) Exercise 2 Exercise 2
Playing the same chords as above, play the rhythm on the Em chord, then (leaving the last off) on the D, then on the C, then the second time you play the strum pattern, leave off the last down strum again. Watch me do this in the video for more insight into this technique. What do you notice, if anything, about the quality of the rhythm? Do you think this is a more interesting way to play these three chords than just playing the same pattern over and over?

The term "phrase" can be defined as "a short musical thought typically two to four measures long" (Websters Collegiate Dictionary,10th edition, 1993. p. 876). A measure is typically a segment of musical time which is measured by the number of beats. For now, I just want to focus on the term "phrase," since it becomes more and more important in this series and in particular, the last exercise. When you play only three chords (Em D and C) in Exercise 2, you probably noticed that you need to play the C chord twice as long. In the “time” that we are playing this exercise, if we didn't play the C twice as long or two strum patterns, we wouldn’t be completing the phrase. The phrase in this case, is four measures long. Hence, one of the chords needs to be strummed twice as long. I'll use this expression more and more as we continue, and I'll also explain it more thoroughly.

As we discussed in last week's lesson, qualitative changes are, for example, different chord voicings or positions on the neck, softer or lighter strumming, adding or subtracting notes to and from a chord (liquifying chords), etc. Qualitative changes are often changes in dynamics.

Exercise 3
Play the same three chords from Exercise 2, but this time, play them in these positions:


Play this type 2 Em chord on the 7th fret.


Play this type 1 mini-barre D chord on the 10th fret.


Play this type 2 barre chord on the third fret.

Use the same strum from the previous exercises or and alternate between this strum and this one . Now you are making both quantitative as well as qualitative changes to your rhythm. Can you switch back and forth between the first set of chords and the second? Can you interchange the two sets of chords? Both of these options help intermingle the different tonal colors that the two sets of chords have to offer and make your playing more diverse and interesting.
Chapter 5: (01:31) Exercises 4 and 5 Exercise 4
Pick three chords of your own that you feel might sound good together and play them with a strum of your choice. Now, see if you can "pull" a strum out like we did before and make a quantitative change to your rhythm. Don't forget to complete the phrase! What I mean to say is, an incomplete phrase will feel out of balance or, well, incomplete!

Exercise 5
Now, do the same exercise explained above, but this time, make a qualitative change to your rhythm. You can use different positions for the chords you are playing, or lighter and softer strums, or you can liquify the chords that you're playing. The sky is the limit here, so feel free to explore and try different techniques.
Chapter 6: (04:09) Technique Techniques (continued) Combining chord changes with notes.
This is a technique that I want to share with you as I feel that many (hopefully all) of you are ready for something a little more challenging. Utilizing strums with note changes can be labeled a qualitative aspect as we are changing the quality of the rhythm but not altering the strum from its original form. The chords we will utilize are C, D, F and G - all open chords. Here is how this rhythm should be played:

Using downstrokes, play from the C to the D striking the C once and then play on the D chord. From this point, play a descending scalar idea that looks like this:




These three tabs should indicate to you that are playing a descending scale starting on the A-string on the third fret (a C note) and descending to the A-string second fret (a B note). Finally, the A-string is played open (an A). This is, in essence, the technique that we've covered in previous lessons known as "walking down." Once you have walked down from C to A, play the final two chords: F and G. Strumming both chords with one downstroke each. Watch me in the video for a demonstration.

Once you get into more and more complex and difficult techniques on the guitar, it becomes imperative that you are flexible as to how you position your fingers on the fretboard and how you hold your hands in relation to the neck of the guitar.

For example, during the walk down in the previous exercise, your hand should be in the position of a C chord. This places your hand in the most advantageous position to walk down without wasting energy or movement. Economy of motion is an extremely important factor when learning more difficult techniques and chord changes as wasted motion will slow you down!

Hence, there are two important factors to consider when playing chords / notes:
1. Cognitive: There will always be a mental component to your playing (even when you are a master of the guitar), even on a subatomic level. Planning where your fingers are going next is important so that you can prepare your next step and keep your hand in the most advantageous position. In the example above, you know that you are going to play a descending scale starting at C, so planning to move your hand in the position of an open C chord is the best way to go about it. If you know that you are combining chords with an ascending G scale, then plan to have your hand in the position of the G chord and you will be more prepared to play that scale.

2. Physical: Make the necessary moves to accommodate your planning. Keep your hand and fingers in the position most advantageous for the change that you are about to make and then make that change. When learning the guitar, most people will inadvertently pull their fingers off of the fretboard. This is counterproductive and will slow you down. Watch your hands and where they need to be for the next change (cognitive), and then keep them in the vicinity for a more smooth and efficient transition to the next chord (physical).

Video Subtitles / Captions


Supplemental Learning Material



Member Comments about this Lesson

Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.

zenfingadozenfingado replied

Great lesson. Cool to be able to play this song without dropping down the Ds. For these exercises, I gotta say that using the metronome really shows me how many times I am a beat or half beat behind on my chord changes. As I practice more and more times, I keep wanting to switch the guitar over to the left leg. Is it bad to rest the guitar on the other leg? What's the deal about the guitar resting on the right leg?

patsendpatsend replied

you should get the Pantheon of teachers, guy

Mark.LincolnMark.Lincoln replied

Thanks Pat I appreciate the great feedback! Mark

alshyalshy replied

thanx Mark, another great lesson off to the next one , getting it down as well, timing so important great comment, im lucky it seems to comes naturally, playing away then i notice or hear the foot tapping great keep them coming!!!

ablazich323ablazich323 replied

what song is that lick from at scene 6 of the lesson, i recognize it but can't place a name to it

KingtalKingtal replied

I wanna live with a cinnamon girl.. I could be happy the rest of my life with a cinnamon girl - I love this song!! I was privileged to see the great man at the Big Day Out in Melbourne this year - man does he rock

Mark.LincolnMark.Lincoln replied

Ten Silver Saxes, a Bass with a Bow, the drummer relaxes and waits between shows for his Cinnamon girl...would love to hear about the show King and thanx form writing in! Mark

KingtalKingtal replied

just like the concert videos Mark - he stands in a circle with two other guitarists of his vintage and calibre and gets this trance like groove going with him soloing over the top. I practised extra hard for weeks after seeing him!! Great to see all the kids in the audience too - come to check out all the songs from Harvest out of their parent's record collection. Iggy and the Stooges are the other old time act that also really blew me away recently - hard to believe dirty old garage punk rockers could get better with age - but true! ...long live dirty great walls of sound... long live feedback loops....long live the guitar....

Mark.LincolnMark.Lincoln replied

Sounds like you guys had a great time bro thanks for sharing that with me. Yes it is amazing how many young people (little kids even) are digging on classic rock these days, it's so cool! Thanks again! Mark

Mark.LincolnMark.Lincoln replied

Hey Blaz how are you? I'll have to take a closer listen to that segment but I don't think it's anything specific, I was probably just noodling around. Thanx for writing! Mark

roguerogue replied

Mark you're great .. since i've been working on the past 2 lessons .. i've noticed some real improvement in my playing! Thanks so much

Mark.LincolnMark.Lincoln replied

Awesome Rogue great to hear from you and glad to hear that you're improving. Keep it up buddy! Mark

nmoundnmound replied

I've said it before and i will say it again...i really like where this set of lessons is going. Thank you Mark for the great instruction!

Mark.LincolnMark.Lincoln replied

mound no worries, thanks for the input. Happy New Year! M

tonyjettonyjet replied

True,great guy and teacher.

Mark.LincolnMark.Lincoln replied

Thanks Tony, i need to hear that sometimes! M

Basic Guitar with Mark Lincoln

Found in our Beginner Lesson Sets

Learning the basics of the guitar, the building blocks if you will, is an extremely important step in learning and mastering the guitar. This series is all about the basics.

Guitar BasicsLesson 1

Guitar Basics

This lesson is all about the basics. Mark explains guitar parts, holding the guitar, and more.

Length: 13:12 Difficulty: 0.5 Members Only
Tuning, Gear, and ChordsLesson 2

Tuning, Gear, and Chords

Mark begins by discussing equipment every guitarist should own. Then, he introduces chords and proper tuning methods.

Length: 17:28 Difficulty: 0.5 Members Only
Chords and StrummingLesson 3

Chords and Strumming

Mark finishes his discussion of the "open" chords. He applies these chords to basic rhythm and strumming concepts.

Length: 17:33 Difficulty: 1.0 Members Only
Minor Chords and MoreLesson 4

Minor Chords and More

Mark reviews the major chords and introduces the minor chords. He also covers strumming techniques in greater depth.

Length: 25:48 Difficulty: 1.0 Members Only
Expanding ChordsLesson 5

Expanding Chords

Mark introduces a few more minor chords. He also provides a monster chord exercise.

Length: 16:36 Difficulty: 1.5 Members Only
Strumming ExercisesLesson 6

Strumming Exercises

Mark Lincoln continues his discussion of chords and strumming. He introduces several new exercises in this lesson.

Length: 19:30 Difficulty: 1.5 Members Only
Music Theory and Barre ChordsLesson 7

Music Theory and Barre Chords

Mark covers several topics in this lesson. He explains scales and barre chords. He also demonstrates how to find notes on the fretboard.

Length: 21:45 Difficulty: 1.5 Members Only
E Shape Barre ChordsLesson 8

E Shape Barre Chords

Mark Lincoln covers E shaped barre chords in greater depth. Mark refers to these chords as "Type 1" barre chords.

Length: 15:12 Difficulty: 2.0 Members Only
A Shape Barre ChordsLesson 9

A Shape Barre Chords

Mark covers the A Shape / Type 2 barre chords in greater depth.

Length: 17:12 Difficulty: 2.0 Members Only
Minor Barre ChordsLesson 10

Minor Barre Chords

Mark introduces minor barre chords that utilize the shape of the "open" Em chord.

Length: 13:10 Difficulty: 2.0 Members Only
A Minor Shape Barre ChordsLesson 11

A Minor Shape Barre Chords

Mark introduces minor barre chords based on the shape of the "open" Am chord. He refers to these chords as "Type 2 Minor" barre chords.

Length: 12:36 Difficulty: 2.0 Members Only
Mini Barre ChordLesson 12

Mini Barre Chord

Mark demonstrates abbreviated versions of the "Type 1" and "Type 2" barre chords. He calls these "mini barre" chords.

Length: 17:43 Difficulty: 2.0 Members Only
A Shape Mini BarreLesson 13

A Shape Mini Barre

Mark teaches the "mini barre" version of the A major shaped barre chord. He also explains dissonance.

Length: 20:29 Difficulty: 2.0 Members Only
Minor Mini Barre ChordsLesson 14

Minor Mini Barre Chords

Mark Lincoln applies mini-barre chord concepts to minor chords.

Length: 12:28 Difficulty: 2.0 Members Only
Guitar TechniqueLesson 15

Guitar Technique

Mark Lincoln explains essential components of guitar technique.

Length: 15:59 Difficulty: 2.0 Members Only
Guitar DynamicsLesson 16

Guitar Dynamics

Mark Lincoln explains how dynamics can enhance your playing. He covers topics such as volume, tempo, rests, and more.

Length: 27:48 Difficulty: 0.5 Members Only
Transistion StrumsLesson 17

Transistion Strums

Mark Lincoln explains more about guitar technique. This time around he introduces "transition strums" and continues his discussion of liquid chords.

Length: 26:12 Difficulty: 2.0 Members Only
Harmonic TechniqueLesson 18

Harmonic Technique

Mark Lincoln explains what harmonics are and how they are played.

Length: 15:31 Difficulty: 2.5 Members Only
Expanding Liquid ChordsLesson 19

Expanding Liquid Chords

Mark Lincoln expands on the concept of liquid chords. He explains new chord variations and how they can be changed in mid-strum.

Length: 16:21 Difficulty: 2.0 Members Only
Spicing up ChordsLesson 20

Spicing up Chords

Mark demonstrates how chord progressions can be spiced up by adding hammer-ons and pull-offs.

Length: 12:21 Difficulty: 2.5 Members Only
Chord FingeringLesson 21

Chord Fingering

Mark explains how chord fingerings must be altered when applying "liquid chord" concepts. He also provides a few new "liquid chord" exercises.

Length: 11:10 Difficulty: 2.0 Members Only
Precision StrummingLesson 22

Precision Strumming

Mark returns to the land of chords. This time around, he provides an exercise that contains four variations on the A chord.

Length: 14:28 Difficulty: 2.5 Members Only
D to D in Six StepsLesson 23

D to D in Six Steps

Mark provides a chord progression that shifts from one D chord to another in six steps.

Length: 15:20 Difficulty: 2.0 Members Only
Chord Voicings and ConstructionLesson 24

Chord Voicings and Construction

Mark delves deeper into chord construction and alternate chord voicings.

Length: 13:36 Difficulty: 2.0 Members Only
Quantitative and Qualitative ChangesLesson 25

Quantitative and Qualitative Changes

Mark tests your guitar knowledge with a pop quiz. Then, he discusses quantitative and qualitative changes.

Length: 22:54 Difficulty: 2.5 Members Only
Quantitative and Qualitative ReviewLesson 26

Quantitative and Qualitative Review

In the 26th installment of his basic guitar series, Mark reviews the quantitative and qualitative changes he presented in lesson 25.

Length: 17:34 Difficulty: 2.5 Members Only
Rhythm and GuitarLesson 27

Rhythm and Guitar

Mark provides exercises designed to make you a better rhythm player.

Length: 0:00 Difficulty: 2.0 Members Only
Expanded Rhythm ExerciseLesson 28

Expanded Rhythm Exercise

Mark Lincoln expands on the rhythm exercise from lesson 27. This time around he incorporates several C based chords.

Length: 14:31 Difficulty: 2.5 Members Only
Hand StructureLesson 29

Hand Structure

Mark discusses proper playing technique. He provides a few exercises that facilitate right hand mechanics.

Length: 17:02 Difficulty: 2.5 Members Only
Cadd9 and Dsus2Lesson 30

Cadd9 and Dsus2

Mark provides an exercise that features two new chords - Cadd9 and Dsus2.

Length: 0:00 Difficulty: 2.0 Members Only
Finger Glue and Flexibility Lesson 31

Finger Glue and Flexibility

In the 31st lesson, Mark discusses his "finger glue" technique. This technique improves speed and accuracy.

Length: 21:31 Difficulty: 2.0 Members Only
Reviewing Chord ChangesLesson 32

Reviewing Chord Changes

Mark takes a step back in lesson 32 to explain how to make quick and accurate chord changes.

Length: 22:14 Difficulty: 1.5 Members Only
SlidingLesson 33


Mark explains how to use the slide technique between chords.

Length: 19:24 Difficulty: 2.0 Members Only
Keeping Time While PlayingLesson 34

Keeping Time While Playing

Mark reviews qualitative and quantitative changes. He explains how to keep time while performing these changes.

Length: 21:17 Difficulty: 2.0 Members Only
A Minor ProgressionLesson 35

A Minor Progression

Mark discusses qualitative and quantitative changes within an A minor progression.

Length: 19:56 Difficulty: 0.5 Members Only
Chord TransistionsLesson 36

Chord Transistions

Mark Lincoln discusses several techniques that can be used when transitioning between chords.

Length: 21:43 Difficulty: 2.0 Members Only
Chord Transistions RevisitedLesson 37

Chord Transistions Revisited

In this lesson, Mark once again covers the subject of chord transitions. This time around, he focuses on barre chords and includes several helpful exercises.

Length: 23:25 Difficulty: 2.5 Members Only
Playing Individual NotesLesson 38

Playing Individual Notes

In lesson 38, Mark discusses how playing single notes rather than chords can spice up your playing.

Length: 22:56 Difficulty: 2.0 Members Only
Rocking OutLesson 39

Rocking Out

Lesson 39 is all about rocking out. Mark discusses some tips to take your playing to the next level.

Length: 18:08 Difficulty: 2.0 Members Only
Slash ChordsLesson 40

Slash Chords

Lesson 40 takes a deeper look at slash chords. Mark discusses why they're called slash chords, and how they are formed.

Length: 14:42 Difficulty: 2.0 FREE
Strumming from the WristLesson 41

Strumming from the Wrist

In lesson 41, Mark reviews the warm-up section and provides new tips on playing adequately from the wrist.

Length: 22:09 Difficulty: 2.0 Members Only
Raising the BarreLesson 42

Raising the Barre

Mark builds further on barre chord techniques and liquid chords.

Length: 17:24 Difficulty: 2.5 Members Only
Building on Your Chord KnowledgeLesson 43

Building on Your Chord Knowledge

In lesson 43, Mark discusses additional skills related to learning and playing chords, specifically "liquification" of chords.

Length: 20:42 Difficulty: 2.0 Members Only
Experiment With PlayingLesson 44

Experiment With Playing

Lesson 44 is all about trying new things. Mark discusses experimenting with your playing in order to take it to the next level.

Length: 17:20 Difficulty: 2.0 Members Only
DiversifyingLesson 45


In this lesson, Mark once again talks about changing up chord derivatives to create a more unique sound.

Length: 20:56 Difficulty: 1.5 Members Only
Shaping the HandsLesson 46

Shaping the Hands

In lesson 46, Mark explains how to maximize your options by maintaining chord shapes while playing.

Length: 21:44 Difficulty: 1.5 Members Only
Precision StrummingLesson 47

Precision Strumming

Today, Mark takes in depth look at strumming.

Length: 23:57 Difficulty: 1.0 Members Only
Shine Like the SunLesson 48

Shine Like the Sun

Mark Lincoln teaches an original song entitled "Shine Like the Sun."

Length: 18:59 Difficulty: 2.0 Members Only
Changing Chords : Accuracy and SpeedLesson 49

Changing Chords : Accuracy and Speed

Mark teaches some useful information on how to mix postures, "finger glue," and techniques to make your chord changes speedy and more effective.

Length: 30:56 Difficulty: 2.5 Members Only
Play Along with Mulitple Chord Voicings Lesson 50

Play Along with Mulitple Chord Voicings

In this lesson, Mark guides you through the world of alternate chord voicings. He teaches several shapes and shows how they can be used to enhance your playing.

Length: 23:06 Difficulty: 2.0 Members Only
Understanding Liquified ChordsLesson 51

Understanding Liquified Chords

Mark brings us a very appealing aspect to better understand the guitar. With his explanation of "liquified" chords, mark will explain how to move up and down the guitar to create different chord voicing.

Length: 25:32 Difficulty: 2.0 Members Only
Mark Lincoln

About Mark Lincoln View Full Biography Mark Lincoln was born in S. California but was raised near Portland Oregon in a town called Beaverton. When he was twelve years old, he began his journey into the realm of the creative by composing poetry and was later published in a journal called "In Dappled Sunlight." He wrote for four years until his older sister blessed him with his first guitar, an old beat-up nylon stringed classical guitar. Mark played that guitar for five years, continuing to compose his own lyrics and starting the process of matching his own words with chords that he was learning on the guitar. He learned to play chords from his friends and from music books that he both bought and borrowed. Mark cited his four biggest influences, at that point at least, as The Who, Led Zeppelin, Jethro Tull, The Rolling Stones.

Mark cites his most current influences as Radiohead, U2, older music by REM, and Peter Gabriel amongst others. He performs with two acoustic guitars, one being a six-string M-36 Martin with a three-pieced back for increased bass response, and a Guild Twelve-string which is his most recent acquisition. Mark is fond of saying that the twelve-string guitar is better because you get two guitars for the price of one, but he still plays his Martin equally as much and with the same passion.

Mark ended up in Fort Collins Colorado where he currently lives, works as a Marriage and Family Therapist, and continues to write, teach and perform music. He currently performs with a group called "Black Nelson" as well as with a number of other seasoned professional musicians including his cousin David, a virtuoso lead-guitar player. Mark has performed in many of the smaller venues in Denver and Boulder, as well as some of the larger ones including the Fox Theatre, The Boulder Theatre, Herman's Hideaway, and also at The Soiled Dove where he opened for Jefferson Starship as a soloist. Some of Mark's originals are also available for your listening pleasure on MySpace.

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I'm a fifty eight year old newbie who owns a guitar which has been sitting untouched in a corner for about seven years now. Last weekend I got inspired to pick it up and finally learn how to play after watching an amazing Spanish guitarist on TV. So, here I am. I'm starting at the beginning with Steve Eulberg and I couldn't be happier (except for the sore fingers :) Some day I'm going to play like Steve! I'm self employed with a hectic schedule. With Jamplay I can fit in a random session when I have time and I can go at my own pace, rewinding and replaying the videos until I get it. This is a very enjoyable diversion from my work yet I still feel like I'm accomplishing something worthwhile. Thanks a lot, Greg


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I am commenting here to tell you and everyone at JamPlay that I believe this is the absolute best site for guitar students. I truly enjoy learning to play the guitar on JamPlay.com. Yes, I said the words, ""enjoy learning."" It is by far the best deal for the money.

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