Palm Muting Technique (Guitar Lesson)

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Mark Lincoln

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 explanation of palm muting. How exciting!

Taught by Mark Lincoln in Guitar Performance seriesLength: 20:05Difficulty: 2.0 of 5
Chapter 1: (05:55) Review and Chords Review
Pleas practice and review the following before moving on :
1. Single note hum
2. Three note hum
3. Hum "me-me-me-me" to "mah-mah-mah-mah" to "me-ma-me-ma" to "mo-mo-mo-mo"
4. Wake up the breath with "sah-sah-sah" long and sustained then five times staccato
5. "Sah" in five note descending scales then five note ascending scales
6. 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
7. Practice singing along with guitar rhythms that you've been using in the last few lessons or with material that you've discovered on your own and apply the steps explained above to your playing.
8. Relax and enjoy!
In last week's lesson we focused on combining the different elements of picking and strumming. We also used the hammering and bending techniques, which further diversified our sound and made our song more interesting. Singing vocals over the top merely made the song complete. This week's lesson will be a repeat of last week's content only with a whole new set of chords and techniques. Don't forget to follow the vocal warm-ups and make sure that your voice is ready to sing! Our "chords de jour" will be a little simpler than last week's.

We'll be using the following chords for today's exercise:

Am
E_0_
B_1_
G_2_
D_2_
A_0_
E_x_

D7
E_2_
B_1_
G_2_
D_0_
A_x_
E_x_

G major
E_3_
B_0_
G_0_
D_0_
A_2_
E_3_

C major
E_0_
B_1_
G_0_
D_2_
A_3_
E_x_

F major
E_1_
B_1_
G_2_
D_3_
A_3_
E_1_


Dm
E_1_
B_3_
G_2_
D_0_
A_x_
E_x_

E major
E_0_
B_0_
G_1_
D_2_
A_2_
E_0_

G7
E_1_
B_0_
G_0_
D_0_
A_2_
E_3_
Chapter 2: (14:24) Palm Muting and Play Along We're going to be incorporating some other techniques into this song that we've discussed in previous lessons as well. Take another look at Lesson 10 in this series (Lesson 10 Voice and Guitar) to review the idea of striking the tonic as we're going to be using that particular technique throughout the song as well. We're also going to be using palm muting to create a dynamic shift between the verses and choruses. Here's a quick reminder of how that technique can be accomplished.

Palm Muting-this effect, known as "pizzicato" in classical circles, is a technique used to dampen or mute the strings of the guitar. The opponents pad of the hand, which is the muscular area directly beneath the thumb and the support system of the thumb.

The opponents as well as the area adjacent to the pad can also be rested upon the strings where the pressure upon the strings will dictate how much the strings are actually getting muted. With too much pressure, the strings are completely muted. With not enough pressure, you will lose the effect that you are seeking. Henceforth...balance is the key here! Experiment with this technique to find the correct balance of soft and light that works for you. We'll be palm muting the chords in the verse throughout the song.

The Chorus - this particular song ties chords together with two different series of notes during the chorus that give this tune its signature sound. The first group of notes that we will be incorporating in this case (Riff 1) will be a descending scale that goes C, B, A, G, F, E, D and C, beginning on the B-string 1st fret and descending to the A string on the 3rd fret (a C note).
E|------------------|   

B|--1-0-------------| 

G|---- -2-0---------|

D|---------3-2-0----|

A|----------------3-|

E|------------------|
The second group of notes (Riff 2) goes G, G, A, C, C, C, C, A or
E|----------------------|

B|----------------------|

G|----------------------|

D|----------------------|

A|-----0-3-3-3-3--0--|

E|-3-3------------------|   
 
Of note here is the structure of your hand as you play both of these riffs. Keep in mind that you'll need to do this little scale in time and still make sure that you hit the next chord in the series in time after you've completed the run( sorry for all the bold face type but I had to make a point!! This takes a little practice and may be an area for you to work on independently from the rest of the song before you attempt to incorporate it into the song. So, without further ado here is the song!

Wild World by Cat Stevens
  Am              D7                 G
V1. Now that I've lost everything to you

             C                      F
You say you want to start something new

          Dm                       E                                   
And it's breaking my heart you're leaving, baby I'm grieving

Am                  D7              G
But if you want to leave take good care

                 C                      F
Hope you have a lot of nice things to wear

            Dm                      E       G7                                                  
But then a lot of nice things turn bad out there

       C    G                F               
Chorus-Oh, baby, baby it's a wild world (Riff 1)

G                F               C     
It's hard to get by just upon a smile (Riff 2)

C     G                F               
Oh, baby, baby it's a wild world (Riff 1)

G            F                  C      Dm     
I'll always remember you like a child, girl

V2. You know I've seen a lot of what the world can do

And it's breaking my heart in two

'Cos I never want to see you sad girl, don't be a bad girl

But if you want to leave take good care

Hope you make a lot of nice friends out there

But just remember there's a lot of bad and beware


Chorus- Oh, baby,baby it's a wild world... (Riff 1)

It's hard to get by just upon a smile (Riff 2)

Oh Baby baby it's a wild world (Riff 1)

And I'll always remember you like a child, girl
 

(Instrumental) , Baby I love you

But if you want to leave take good care

Hope you make a lot of nice friends out there

But just remember there's a lot of bad and beware

C         G           F             
Chorus-Oh, baby, baby it's a wild world (Riff 1)

G                F              C    
It's hard to get by just upon a smile (Riff 2)

C     G                F               
Oh, baby, baby it's a wild world (Riff 1)

G             F                   C           
I'll always remember you like a child, girl

Watch me carefully in the video as I incorporate the use of palm muting during the verses. Also, watch for both Riff 1 and Riff 2 during the choruses and the manner in which I keep the time signature straight. It is of the utmost importance that you are able to maintain the integrity of the time signature, so play this song in pieces until you can bring the whole thing together!

Exercise 1
Practice both Riff 1 and Riff 2 while paying attention to how you transition into the chord that follows each riff. (G is the next chord after Riff 1 and C is the next chord after Riff 2). Make sure your transitions are smooth and remember to use a time keeping device such as a metronome.

Exercise 2
Once you have the riffs down, practice palm muting the chords in the verses to achieve a nice discernible change between the dynamics of the verses and the choruses. Once you're, ready put the whole song together and have fun!!!

Video Subtitles / Captions


Comments

Member Comments about this Lesson

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


Julius KJulius K replied

Hey Mark, is see and understand what you are guiding us to do. My question is when you learn a new song or any song is this the way you do it or are there different tecniques you use.

Mark.LincolnMark.Lincoln replied

Hey Sean thanx for writing in as well as the great feedback! Rock on my friend! Mark

sean.egansean.egan replied

Hey, fun lesson. Thanks.

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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