Play Along with Mark Lincoln (Guitar Lesson)

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Mark Lincoln

Play Along with Mark Lincoln

Mark Lincoln brings us a great play along opportunity. Mark provides lyrics as well as the chord progression for this play along. He also breaks down key elements such as palm muting, hammer-ons, bending, and strumming techniques.

Taught by Mark Lincoln in Guitar Performance seriesLength: 24:06Difficulty: 3.0 of 5
Chapter 1: (12:49) Learning the Chords Review
Please review and practice the following before moving on:

1. Warm up the body.
2. Single note hum.
3. Three note hum.
4. Hum "me-me-me-me" to "mah-mah-mah-mah" to "me-ma-me-ma" to "mo-mo-mo-mo."
5. Wake up the breath with "sah-sah-sah" long and sustained then five times staccato.
6. "Sah" in five note descending scales then five note ascending scales.
7. Start softly with each then gradually get louder and louder, faster and faster until you reach the volume and speed that you feel you will be using during the performance.
8. Practice singing along with guitar rhythms that you'e been using in the last few lessons or with material that you've discovered on your own and apply the steps described above to your playing.
9. Relax and enjoy!
As we've discussed in previous lessons, combining strumming and picking single notes and can be a great way to mingle different sounds and make your playing more dynamic. Coupling different techniques together like picking and strumming can also help to build the emotion in a given song and provide needed structure and variety. Over the last couple weeks, we've been talking about utilizing structure to build the emotion and find points to "boom" or sing passionately over the last couple weeks. Today's lesson will show you how to apply these concepts to a popular song - "From The Beginning" by Emerson, Lake, and Palmer.

We're going to use the following chords for today's exercises:

Am9 (5th fret)

Place your first finger on the D-string, 5th fret and your second finger on the G-string, 5th fret.

Dadd9/11/A (3rd fret)

Place your first finger on the B-string, 3rd fret and your second finger on the D-string, 4th fret.

Dm7 (5th fret)

This chord can be played by placing your first finger on the G-string, 5th fret, your second finger on the E-string, 5th fret, and your third finger on the B-string, 6th fret.

Dm6 (3rd fret)

This chord is best played by barring strings A through E on the 3rd fret. Then, place your second finger on the G-string, 4th fret, your third finger on the A-string, 5th fret and your pinky on the high E-string on the 5th fret. This one will stretch your hand out a little!

G major (3rd fret)

This chord is simply a mini-barre G chord played on the 3rd fret and is best played by barring the B and E-strings on the 3rd fret, your second finger on the G-string, 4th fret, and your third or ring finger on the D-string, 5th fret.

Fadd9 E_3_

This chord can be played by placing your first finger on the B-string, 1st fret, your second finger on the G-string, 2nd fret, your third finger on the D-string, 3rd fret, and your pinky on the high E-string on the 3rd fret as well.


This C chord can be played by placing your first finger on the B-string on the 1st fret and your second finger on the A-string, 2nd fret.


Finally, this chord is best played by placing your first finger on the A-string, 2nd fret, your second finger on the G-string, 2nd fret, your third finger on the D-string, 3rd fret and your pinky on the B-string, 3rd fret. Or...

You can barre the D, G, B and high E strings and use your second finger to hold down the D-string, 3rd fret and your third finger to hold down the B-string on the 3rd. Some people find this latter technique to be easier than the former due to the difficulty level of this chord. Some of these chords may be fairly challenging, but please familiarize yourself with all of them thoroughly and get comfortable with strumming them. I will show you in the video how to form these chords in the simplest and most natural way possible, but you will still need to find your own way as well.

On top of combining picking and strumming, this particular song also incorporates a couple other techniques of note:

Bending - Bending notes is a fairly simple technique that can be accomplished simply by applying upward or downward pressure on a particular string or strings. Most guitar players accomplish this feat with two or three fingers. However, single finger bends are certainly possible with more finger strength. We will be using the single-finger variety in this song. Watch me in the video for more insight into this technique.

Hammering - hammering is a technique that we've discussed previously in this series. It is also a fairly simple technique that can be accomplished by "hammering" or pushing a given finger down sharply and with some force upon the fretboard so that a particular note will sound. This is considered the opposite of the "pull-off" technique. Once again, I'll be sure to highlight this technique in the video and demonstrate its application in the song.

Due to time and space restraints, I am not showing the introduction to the song nor the conclusion. I simply want to show you how to coordinate the techniques that we've discussed thus far and the fine points of singing and playing it simultaneously. Please make sure that you have warmed your voice up adequately before attempting this song!
Chapter 2: (11:15) Playing the Song
From The Beginning by Emerson, Lake, and Palmer

Am9 Dadd9,11/A
Might have been things I missed
C Cmaj9 Fmaj9 G Dm7
But don't be unkind, it don't mean I'm blind
Am9 Dadd9,11/A
Perhaps there's a thing or two
C Cmaj9 Fmaj9 G Dm7
I think of lying in bed, I shouldn't have said
Am9 Dadd9,11/A Am9 Dadd9,11/A
Dm7 Dm6
You see it's all clear
Dm7 E7sus4(b9)
You were meant to be here
Am9 Dadd9,11/A
>From the beginning
Am9 Dadd9,11/A
Well maybe I might have changed
C Cmaj9 F G Dm7
And not been so cruel, not been such a fool
Am9 Dadd9,11/A
But after what's done is done
C Cmaj9 F G Dm7
I just can't recall, it doesn't matter at all
Am9 Dadd9,11/A Am9 Dadd9,11/A
Dm7 Dm6
You see it's all clear
Dm7 E7sus4(b9)
You were meant to be here
Am9 Dadd9,11/A
>From the beginning
This song should be played at a moderate tempo with a relaxed feel. The hammer-on should be played within the Dadd9,11/A chord, with your second finger hammering onto the D-string 4th fret. The bend should be played before the beginning chords of each verse. Subsequently, they mark the initiation of each verse. Watch me in the video for timing and also how to effectively incorporate the vocals with the rhythm. This song is challenging but not impossible, so give it a chance and try to find the groove that is intrinsic to the rhythm.

Video Subtitles / Captions


Member Comments about this Lesson

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

mrrjretiredmrrjretired replied

Mark we are still learning from you! Great lesson, this type of content is what I was hoping for when i joined JamPlay. Ask for a raise, you deserve it! Rick

jackie8chjackie8ch replied

Interesting chords and strumming. I'm coming back to this one.

Mark.LincolnMark.Lincoln replied

Thanks Jackie I'm glad you're enjoying this and great to hear from you! Markl

jaysonjohnjaysonjohn replied

Thanks, as always Mark, for a great lesson. This is inspirational. I like the way it combines things you have taught previously in this performance series. I looked up the song on YouTube and it's great. This is a real challenge and will realistically take me a week ! but all the techniques built into this lesson make it well worth the effort. Good choice and many thanks, Jayson

Mark.LincolnMark.Lincoln replied

Thanks Jason I really appreciate the great feedback! See ya! Mark

Mark.LincolnMark.Lincoln replied

Hey Anmol I'm glad this stuff is both fun and challenging for you! Keep it up my friend! Mark

anmol100anmol100 replied

hard but fun lol :)

Guitar Performance

Found in our Beginner Lesson Sets

Performing live or in a studio situation is a goal of many aspiring guitarists. Vocal training and the ability to sing and play at the same time are skills that will help in this endeavor.

Introduction to SingingLesson 1

Introduction to Singing

Mark introduces you to the wonderful world of singing.

Length: 15:12 Difficulty: 0.5 Members Only
Vocal ExercisesLesson 2

Vocal Exercises

Mark Lincoln guides you through stretches and vocal exercises to warm up the voice.

Length: 23:12 Difficulty: 1.0 Members Only
Vocal VibratoLesson 3

Vocal Vibrato

Mark continues to discuss vocal warm-ups and exercises. Then, he moves on to explain vibrato.

Length: 23:42 Difficulty: 1.5 Members Only
Warming the BreathLesson 4

Warming the Breath

Mark covers some singing terms and teaches an exercise that is used to "warm the breath."

Length: 19:10 Difficulty: 1.5 Members Only
Singing and GuitarLesson 5

Singing and Guitar

Mark Lincoln talks more about vocal exercise and warm-up. Then, he moves on to discuss singing and playing at the same time.

Length: 26:12 Difficulty: 1.5 Members Only
Singing ExercisesLesson 6

Singing Exercises

Mark Lincoln provides more singing exercises to practice while playing your guitar.

Length: 26:15 Difficulty: 2.0 Members Only
Singing and Playing RevisitedLesson 7

Singing and Playing Revisited

Mark returns to singing and playing. Mark teaches proper form while singing and playing, cognitive exercises, and chord progression basics.

Length: 17:54 Difficulty: 2.0 Members Only
Anatomy and DynamicsLesson 8

Anatomy and Dynamics

Mark Lincoln discusses song dynamics and the anatomy of songs. He also explains more about singing and playing.

Length: 23:19 Difficulty: 2.0 Members Only
Rhythm in MusicLesson 9

Rhythm in Music

Mark Lincoln explains how rhythm is used in music.

Length: 15:16 Difficulty: 2.0 Members Only
Technique AppliedLesson 10

Technique Applied

Mark Lincoln applies singing and playing techniques to the Doors song "Riders on the Storm."

Length: 17:19 Difficulty: 2.0 Members Only
Palm Muting and SeparationLesson 11

Palm Muting and Separation

In lesson 11 of his performance series, Mark discusses the palm muting technique and how to separate your singing from your playing.

Length: 23:30 Difficulty: 2.5 Members Only
Picking Vs. StrummingLesson 12

Picking Vs. Strumming

Mark discusses how alternating between arpeggios and strummed chords can add contrast and flair to your music.

Length: 15:02 Difficulty: 2.0 Members Only
Silence Is GoldenLesson 13

Silence Is Golden

Mark discusses silence in music and how it can transform a piece. Additionally, he explains how to use silence effectively in your playing.

Length: 16:40 Difficulty: 1.5 Members Only
Warm-up and PracticeLesson 14

Warm-up and Practice

In this lesson, Mark Lincoln talks more about warming up your voice and walks you through a few exercises that will aid this process.

Length: 16:14 Difficulty: 2.0 Members Only
Preparations for Playing LiveLesson 15

Preparations for Playing Live

Mark provides a lecture on items you should do and think about to become a proficient live player.

Length: 20:57 Difficulty: 1.0 Members Only
Voice and GuitarLesson 16

Voice and Guitar

In this lesson, Mark delves into the concept of combining both your voice and guitar into one neat little package you can deliver to your listener.

Length: 21:47 Difficulty: 2.0 Members Only
A Day in the LifeLesson 17

A Day in the Life

Mark Brings us Lesson 17 today to explain the preparation that goes into a performance. Mark tracks back up to 36 hours in advance, and shows us some routines to prepare for a great show.

Length: 19:09 Difficulty: 2.0 Members Only
The Dynamics of a SongLesson 18

The Dynamics of a Song

In this lesson, Mark teaches all of the diverse parts to a song with regards to dynamics.

Length: 20:17 Difficulty: 2.0 Members Only
Proper Breathing RoutinesLesson 19

Proper Breathing Routines

In this episode, Mark talks about proper breathing techniques and routines. He gives us eight points to work off of when singing and playing together.

Length: 23:34 Difficulty: 2.5 Members Only
Play Along with Mark LincolnLesson 20

Play Along with Mark Lincoln

Mark Lincoln brings us a great play along opportunity. Mark provides lyrics as well as the chord progression for this play along. He also breaks down key elements such as palm muting, hammer-ons, bending,...

Length: 24:06 Difficulty: 3.0 Members Only
Palm Muting TechniqueLesson 21

Palm Muting Technique

Lesson 21 is a repeat of lesson 20's content only with a whole new set of chords and techniques. The"chords de jour" will be a little simpler than lesson 20's and will also include a much more in depth...

Length: 20:05 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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