I heard Quayle say once that no one would believe how slow he practiced to perfect his legato technique. He said it was years of painfully slow practice. I also remember Dr. J Wilson asking about patterns. Quayle said that he developed a few but that most of his note choices are deliberate (The Dr.'s reaction was priceless: "What!??" LOL) It seems those years of slow conscious practice paid off. Thanks for the lesson Mr. JNC! Will definitely follow your advice!
The Problem I have with tom quayle is when he plays so FAST, I listen and say to myself WHAT IS HE TRYING TO SAY HERE, when he slows down and does as JOHN CORDY does, then he makes the most SENSE to me, maybe I am TOO old to GET IT. But I used to listen to LOTS of JAZZ FUSION artists in the 70's, John Mclauglin to Return to Forever, what they were saying always made perfect sense. Super FAST is not always Good, it just impresses with SPEED. Now Gutherie Govan is Something else, but you can hear more of the ARTISTIC in him, at least to my EARS/old ears. LOVE JOHN CORDY, if he ever decides to, I believe he could be the NEXT ERIC JOHNSON, and you know something else I bet he CAN SING TOO, if he wants to. I would love to see him do an all instrumental version of VENUS ISLE, like his YOUR SWEET EYES song video. And or do a Collaboration Album with Andy Wood, I just think the 2 players would MESH well together an international come together pairing. Maybe even the 2 of them doing an Instrumental version of VENUS ISLE.
@@ksharpe10 I understand what you mean about Quayle. But given what I've learned about him, and knowing he is deliberate in what he does, I've slowed down his solos to see and hear what he is playing and it is astonishing. I also take into consideration the fact that he graduated from jazz school and that's what he studied/played at first and it all makes sense (at least to me anyway haha). Govan - what can I say? He is in another level. Regarding Mr. Cordy, what impresses me the most is the fact that even though he is so young he was able to develop a beautiful unique style and tone that's very very recognizable. You know that you can hear 2 or 3 notes and you immediately recognize "that's Eric Johnson" or "That's Yngwie", you can do the same with Mr. Cordy.
@@musicafteroldage Yeah I should not rag on tom quayle as much as I do, I have went back and checked a couple more of his videos, he is well thought out. I personally like it better when he slows down though. He does know what he is doing for sure. Of course I get lost with players like JOHNNY SMITH, just phenomenal players from the past/Chet Atkins love the fingerstyle.
Have to say John, your content is consistently some of the most useful, musical, entertaining and inspiring stuff that the almighty algorithm could put in front of a guitar player of any level. There’s usually something for everyone. This one is no exception. And that tone is gold.
Would absolutely agree with this. I support a few guitarists in Patreon. Granted... it's not much, but take "not much :(" and multiply it by a few hundred and you get "not bad :)". Btw - the other two are the good Uncle Ben and Levi Clay, who has taught me more in two lessons than I'd been able to do on my own for years.
Your hours and hours in the bedroom in early teens sound far more sophisticated than my equivalents! Lovely noises, JNC and thanks for setting out the steps so clearly. 👏🏻
John, thanks again for the wonderful instructional material and great playing. I know you're an Allen Hinds fan and appreciate his legato technique. You're right up there with Allen in my humble opinion.
Hi John , i notice you always pick the first note of each group of note when you change strings coming back the scale. Is it because its too hard to do it all with the fretting hand with a hammer-on? Is your way the Satriani way? Thanks for sharing your amazing knowledge with us 🙏👍🎸❤️
Just the lesson I need. Thanks. GREAT. That Book you mention, I had to look up GRADE 8, were books produced in the UK. I was not familiar with this series, but they may have made there way across the Ocean. I also saw references to School of Rock Series/Grade 8.
Something to consider: When you watch a great player pull off a fast or interesting run - and they seem laid back and unimpressed about what they just did - it's probably because they had to practice it so many times that they're quite sick of it. Lol !! Not to discourage people from practicing these runs. They're useful and worth practicing. Great video.
is a CE24 a PRS model, I am grey on those guitars, never owned one, and really I have never even played one now that I think of it. But I do Own a STRANDBERG, which is really Radical.
@ksharpe10 I played a Strandberg a bit ago at Sweetwater. Seemed really cool! Yup the CE24 is a PRS model. It's made in the US, but it is made at the S2 plant. It's a mid priced guitar (by PRS standards atleast 🤣🤣🤣) . It is like a Custom 24 core model with some slight changes. It has a similar body cut, but the carving is a bit more shallow. It is a full flame maple top, but not as nice as the core models. It uses the import bridge and the previous generation of locking tuners. It also has a bolt on neck vs a set neck like on the core or SE models. The bolt on neck makes for a bit more strat type snap to the strings. It's a nice alternative to get a PRS quality guitar, but for about half the price of the Core model.
@@ksharpe10 I'm no John Cordy , but here is a link to a quick video of me playing mine. It's just mellow and clean melody. Nothing fancy. ua-cam.com/video/O97GMsgN-_Y/v-deo.html
I personally use Jazz III picks and choke way up on them. Two reasons: (1) I have more control, making it easier to pick accurately (I directional pick everything, but it works great for legato too); and (2) it means the side of your thumb naturally rests on the string you just finished playing as you move to the next string. The economy of motion means the muting is built into your picking without a whole lot of extra effort. The closer your picking hand is to the strings, the more control you have over what you play and what you don’t.
I did at first too. I had to slow way down until I could play it in quarter notes rather than triplets. The speed eventually comes as your practice and it is really worth the effort!
Fucking hell, how do you do it? While I'm not into "shredding" per se, having speed and accuracy is obviously an important part of guitar playing. in short, I tried to learn in my teens (self taught) but due to health and bad motivation I got no where substantial, and that was over several years. I started last October coming off of a 10 year hiatus, and I am struggling to get past basic scales. My body is just not cut out for fluid arpeggiation, no matter how much I try. That sort of gap between spamming scale shapes and using them musically is like a gaping maw to me. Being this fluid at this speed is beyond my wildest aspirations.
Maybe I'm too old. But, when I hear guitarists do this kind of stuff I get really turned off. It doesn't do it for me. Whatever, to each his own. I do recognize the skill involved. Just not for me. Maybe a thing to practice to work on speed, yes. But but music? Not for me.
![One thing that EVERY Great Legato Player Has in Common [and a thing you NEED to practice]](http://i.ytimg.com/vi/3byF6CoERf0/mqdefault.jpg)
I heard Quayle say once that no one would believe how slow he practiced to perfect his legato technique. He said it was years of painfully slow practice. I also remember Dr. J Wilson asking about patterns. Quayle said that he developed a few but that most of his note choices are deliberate (The Dr.'s reaction was priceless: "What!??" LOL) It seems those years of slow conscious practice paid off. Thanks for the lesson Mr. JNC! Will definitely follow your advice!
The Problem I have with tom quayle is when he plays so FAST, I listen and say to myself WHAT IS HE TRYING TO SAY HERE, when he slows down and does as JOHN CORDY does, then he makes the most SENSE to me, maybe I am TOO old to GET IT. But I used to listen to LOTS of JAZZ FUSION artists in the 70's, John Mclauglin to Return to Forever, what they were saying always made perfect sense. Super FAST is not always Good, it just impresses with SPEED. Now Gutherie Govan is Something else, but you can hear more of the ARTISTIC in him, at least to my EARS/old ears. LOVE JOHN CORDY, if he ever decides to, I believe he could be the NEXT ERIC JOHNSON, and you know something else I bet he CAN SING TOO, if he wants to. I would love to see him do an all instrumental version of VENUS ISLE, like his YOUR SWEET EYES song video. And or do a Collaboration Album with Andy Wood, I just think the 2 players would MESH well together an international come together pairing. Maybe even the 2 of them doing an Instrumental version of VENUS ISLE.
@@ksharpe10 I understand what you mean about Quayle. But given what I've learned about him, and knowing he is deliberate in what he does, I've slowed down his solos to see and hear what he is playing and it is astonishing. I also take into consideration the fact that he graduated from jazz school and that's what he studied/played at first and it all makes sense (at least to me anyway haha). Govan - what can I say? He is in another level. Regarding Mr. Cordy, what impresses me the most is the fact that even though he is so young he was able to develop a beautiful unique style and tone that's very very recognizable. You know that you can hear 2 or 3 notes and you immediately recognize "that's Eric Johnson" or "That's Yngwie", you can do the same with Mr. Cordy.
@@musicafteroldage Yeah I should not rag on tom quayle as much as I do, I have went back and checked a couple more of his videos, he is well thought out. I personally like it better when he slows down though. He does know what he is doing for sure. Of course I get lost with players like JOHNNY SMITH, just phenomenal players from the past/Chet Atkins love the fingerstyle.
@@ksharpe10 I think that's one of the reasons music is so special: there's something for everyone :)
Have to say John, your content is consistently some of the most useful, musical, entertaining and inspiring stuff that the almighty algorithm could put in front of a guitar player of any level. There’s usually something for everyone. This one is no exception. And that tone is gold.
Would absolutely agree with this. I support a few guitarists in Patreon. Granted... it's not much, but take "not much :(" and multiply it by a few hundred and you get "not bad :)". Btw - the other two are the good Uncle Ben and Levi Clay, who has taught me more in two lessons than I'd been able to do on my own for years.
Your hours and hours in the bedroom in early teens sound far more sophisticated than my equivalents!
Lovely noises, JNC and thanks for setting out the steps so clearly. 👏🏻
This guy is so good… and humble .. Glad I found him. He needs more followers !
That awesome line at 2:32 that ends on the high G is so Holdsworth. Filing this under stuff to learn.
Relearning after stroke... This is great!
Bro incredible tutorial!!! thanks for share your talent! could you tell us how you create the drums of your backing track, sound fantastic!
John, thanks again for the wonderful instructional material and great playing. I know you're an Allen Hinds fan and appreciate his legato technique. You're right up there with Allen in my humble opinion.
The sextuplet phrasing around 21:00 is gold.
That's a fantastic tutorial. Thinking of getting my legato chops up at the moment, so this is a great inspiration point. Thanks! Great video.
Thanks John, learn more from you 🙌
This is the most comprehensive and useful legato video I’ve seen - thanks so much!
What a great lesson, thanks John
Awesome John, right hand technique is part of your magic. Very inspiring!
Hi John , i notice you always pick the first note of each group of note when you change strings coming back the scale. Is it because its too hard to do it all with the fretting hand with a hammer-on?
Is your way the Satriani way?
Thanks for sharing your amazing knowledge with us 🙏👍🎸❤️
Thanks for the lesson John. I think through your videos I've learned to appreciate Allan Holdsworth even more.
Allen had an ARTISTIC FLAIR working in his music, some say he was from a Planet FAR FAR AWAY. LOVED HIM. Who else ever played a SYNTHaxe???
Thanks John! Really great information you’ve shared!
Really useful lesson John, thanks
That intro's wild 🫡
You are a fantastic player
Great lesson. Thank you.
Just WOW! Thank you!
Gosh i love your playing so much
Just the lesson I need. Thanks. GREAT. That Book you mention, I had to look up GRADE 8, were books produced in the UK. I was not familiar with this series, but they may have made there way across the Ocean. I also saw references to School of Rock Series/Grade 8.
That's very helpful.
that sounded great!
Gracias Señor John
Thank you!
Something to consider: When you watch a great player pull off a fast or interesting run - and they seem laid back and unimpressed about what they just did - it's probably because they had to practice it so many times that they're quite sick of it. Lol !! Not to discourage people from practicing these runs. They're useful and worth practicing. Great video.
This is so true
No big flaps. Tight flaps make happy guitarists! More legato training please. Thanks.
Fantastic tutorial!
What is this patch called John? Thank you
Am I seeing things or is the protective plastic still on those pickups? Sending that back to PRS eventually John?
Love that guitar, yes I'm biased lol. Excellent vid as always ! Would still love for you to do a CE24 review if the opportunity ever comes up.
is a CE24 a PRS model, I am grey on those guitars, never owned one, and really I have never even played one now that I think of it. But I do Own a STRANDBERG, which is really Radical.
@ksharpe10 I played a Strandberg a bit ago at Sweetwater. Seemed really cool!
Yup the CE24 is a PRS model. It's made in the US, but it is made at the S2 plant. It's a mid priced guitar (by PRS standards atleast 🤣🤣🤣) . It is like a Custom 24 core model with some slight changes. It has a similar body cut, but the carving is a bit more shallow. It is a full flame maple top, but not as nice as the core models. It uses the import bridge and the previous generation of locking tuners. It also has a bolt on neck vs a set neck like on the core or SE models. The bolt on neck makes for a bit more strat type snap to the strings. It's a nice alternative to get a PRS quality guitar, but for about half the price of the Core model.
@@ksharpe10 I'm no John Cordy , but here is a link to a quick video of me playing mine. It's just mellow and clean melody. Nothing fancy.
ua-cam.com/video/O97GMsgN-_Y/v-deo.html
Tim Pierce has a great legato too.
Super!!!! What model of PRS guitar is this?
Thanks for this! John, any advice on avoiding string noise? I mean that as I move strings, the previous one will be ringing in the background
Try putting your right hand slightly higher on the bridge. Not all the way so you're palm muting but almost palm muting sort of.
I personally use Jazz III picks and choke way up on them. Two reasons: (1) I have more control, making it easier to pick accurately (I directional pick everything, but it works great for legato too); and (2) it means the side of your thumb naturally rests on the string you just finished playing as you move to the next string. The economy of motion means the muting is built into your picking without a whole lot of extra effort. The closer your picking hand is to the strings, the more control you have over what you play and what you don’t.
Your legato is sick.
Way cool!
I am struggling with the 4 notes per beat explained in 10:12. I pick the first note of each string. How to get it to sound like 4/4 than triplets?
I did at first too. I had to slow way down until I could play it in quarter notes rather than triplets. The speed eventually comes as your practice and it is really worth the effort!
Mismo! 🇵🇭
Oh yes.
Out of curiosity, how low is your action?
Medium - definitely not low - this guitar is just as it came from the factory
Fucking hell, how do you do it?
While I'm not into "shredding" per se, having speed and accuracy is obviously an important part of guitar playing.
in short, I tried to learn in my teens (self taught) but due to health and bad motivation I got no where substantial, and that was over several years.
I started last October coming off of a 10 year hiatus, and I am struggling to get past basic scales. My body is just not cut out for fluid arpeggiation, no matter how much I try.
That sort of gap between spamming scale shapes and using them musically is like a gaping maw to me. Being this fluid at this speed is beyond my wildest aspirations.
Legato is the best
I think Legato probably sounds really good too
and again...
Maybe I'm too old. But, when I hear guitarists do this kind of stuff I get really turned off. It doesn't do it for me. Whatever, to each his own. I do recognize the skill involved. Just not for me. Maybe a thing to practice to work on speed, yes. But but music? Not for me.
Good solid lesson. Thank you.