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  1. #51
    Yeah the patterns move in cycles: half steps: C-Db-D... or fourths: C-F-Bb... Etc.

    The choices of where to shift to a new position is slightly different with the various players posting in third thread. Anyway, just thought the way you're playing was interesting and different. Thanks for posting.

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  3. #52

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    Didn't quite make it in by Sunday, but I'll blame it on the time change.

    Here are patterns 1-4 at 115 bpm, 2nd position, roots on A, D and G strings.

    Pattern 1:



    Pattern 2:



    Pattern 3:



    Pattern 4:





    I think I would give these at least another week of practice before moving on to the next set of drills, but I don't want to fall behind the group. I'm trying to work them through nine positions, but concentrated on only three positions as far as the group is concerned - starting with middle finger on the E, A and D strings. For my own benefit, I'm also starting with index and pinky on the E, A and D strings. For each set I'm using only the starting string and the next two higher strings for roots. This is forcing me to get better acquainted with the middle strings which is a real weak spot for me.

    My approach will probably change as needed as we progress through each set of exercises.

    .
    The disgusting stink of a too-loud electric guitar; now that's my idea of a good time - Frank Zappa

  4. #53

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    Quote Originally Posted by FwLineberry View Post
    Didn't quite make it in by Sunday, but I'll blame it on the time change.

    Here are patterns 1-4 at 115 bpm, 2nd position, roots on A, D and G strings.

    Pattern 1:



    Pattern 2:



    Pattern 3:



    Pattern 4:





    I think I would give these at least another week of practice before moving on to the next set of drills, but I don't want to fall behind the group. I'm trying to work them through nine positions, but concentrated on only three positions as far as the group is concerned - starting with middle finger on the E, A and D strings. For my own benefit, I'm also starting with index and pinky on the E, A and D strings. For each set I'm using only the starting string and the next two higher strings for roots. This is forcing me to get better acquainted with the middle strings which is a real weak spot for me.

    My approach will probably change as needed as we progress through each set of exercises.

    .
    Did you play the two C measures in the same octave? Also I notice a lot of stretching, is that from the positions you are using?

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  5. #54

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    Quote Originally Posted by benjaminjoe View Post
    Did you play the two C measures in the same octave? Also I notice a lot of stretching, is that from the positions you are using?

    Inviato dal mio SM-G955F utilizzando Tapatalk


    Thanks for checking them out.

    In the first exercise I played the octave C arpeggio off the D string root with the pinky. The B and C arpeggios require octave displacement of the upper root to stay in position. In the second pattern, I just landed on the C an octave lower. In the third pattern, I use the C off the D string with the pinky, again. The fourth pattern doesn't utilize the octave pattern.

    The finger stretches are due to an attempt to stay in strict position - the middle finger never leaves the 3rd fret and the ring finger never leaves the 4th fret. Some of the fingerings and stretches aren't exactly practical that low on the neck. The Db requires stretching the first finger down one fret and the pinky finger up one fret. The Bb requires the same. In lower positions, my hands don't make the stretches anymore, so I end up stretching as far as I can and pivoting off the thumb to make the final distance. It's obviously easier to move the hand up or down a fret than try to stay in position, but I'm trying to break myself of the habit of just moving to the most comfortable spot to play something.

    .
    The disgusting stink of a too-loud electric guitar; now that's my idea of a good time - Frank Zappa

  6. #55

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    Quote Originally Posted by FwLineberry View Post
    Thanks for checking them out.

    In the first exercise I played the octave C arpeggio off the D string root with the pinky. The B and C arpeggios require octave displacement of the upper root to stay in position. In the second pattern, I just landed on the C an octave lower. In the third pattern, I use the C off the D string with the pinky, again. The fourth pattern doesn't utilize the octave pattern.

    The finger stretches are due to an attempt to stay in strict position - the middle finger never leaves the 3rd fret and the ring finger never leaves the 4th fret. Some of the fingerings and stretches aren't exactly practical that low on the neck. The Db requires stretching the first finger down one fret and the pinky finger up one fret. The Bb requires the same. In lower positions, my hands don't make the stretches anymore, so I end up stretching as far as I can and pivoting off the thumb to make the final distance. It's obviously easier to move the hand up or down a fret than try to stay in position, but I'm trying to break myself of the habit of just moving to the most comfortable spot to play something.

    .
    That's an interesting way to play them! I tried to stay in position as well but is suspect the way pros play everyday involve a lot of shifting

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  7. #56

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    Quote Originally Posted by benjaminjoe View Post
    That's an interesting way to play them! I tried to stay in position as well but is suspect the way pros play everyday involve a lot of shifting

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    No doubt. Most often you see CAGED position playing which specifically avoids finger stretches. Probably the only real-world application for strict position playing is for sight reading.

    My goal with these exercises is to develop the ability to be anywhere on the fingerboard and play an Amaj7 arpeggio without having to stop and think about it or move to a specific location or specific string set, much like a horn player or piano player would approach it. They just alter the notes they're playing rather than move a finger shape to the 5th fret. To that end, I'm trying to avoid pattern playing - just move up two frets and play the C shape - and force myself to see the notes I'm playing.

    It's hard to keep my brain from organizing patterns and shapes though. Once that happens, I start going on autopilot.

    .
    The disgusting stink of a too-loud electric guitar; now that's my idea of a good time - Frank Zappa

  8. #57

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    After looking over exercises 5-12, They're really just three variations going trough the same chord cycles we've already used:

    1. Up each arpeggio
    2. Up one - down the next
    3. Down one - up the next


    The only difference is quarter notes for full measures vs. eighth notes for half measures. Since I'm not reading these, the only real difference is speed. Eighth notes at 80 is the same thing as quarter notes at 160.

    I'm thinking I'm just going to combine it all into one exercise and add down each arpeggio as a fourth variation.

    Thoughts anyone?

    .
    The disgusting stink of a too-loud electric guitar; now that's my idea of a good time - Frank Zappa

  9. #58
    Yeah. Subtle variations, especially at the front end of the book. I'm not going to be posting more than four per week. I'm at the 1-2-3-5 patterns for my more exploratory, wood-shedding work on this book. I think the idea of having a couple of benchmark patterns to post in a given week might be an okay idea - so 2 patterns which basically represent the work done on four or more etc... I'm fine either way.

    I'm willing to do what most everyone thinks best. Personally, I view things which we post as being more about accountability and just sharing . They are never going to represent EXACTLY where I am in the book probably. Hard to say what everyone thinks without more input. Counting yours, I think we've gotten two comments so far regarding pace. It would be cool to have others input.

    Beyond all of that, I would personally make a distinction between quarters and eighths, but my stated goal is to swing these exercises above all else. I somewhat understand that they're the same if you're playing them straight as an exercise etc.

    Anyone else with thoughts on pace? Do we want to pick a couple of benchmark patterns to post each week and group more by pattern type? Do you want to maintain current pace?

  10. #59

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    Quote Originally Posted by FwLineberry View Post
    ... The only difference is quarter notes for full measures vs. eighth notes for half measures. Since I'm not reading these, the only real difference is speed. Eighth notes at 80 is the same thing as quarter notes at 160.

    Thoughts anyone?

    .
    I I was to do such exercise, playing in 1/4 would be all down strokes, playing in 1/8 would be alternate.
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  11. #60

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    Quote Originally Posted by Vladan View Post
    I I was to do such exercise, playing in 1/4 would be all down strokes, playing in 1/8 would be alternate.

    That's how I handle it as well. That's probably enough of a reason to go through them both ways. So I'll add that back in.

    Thanks for the input.

    .
    The disgusting stink of a too-loud electric guitar; now that's my idea of a good time - Frank Zappa

  12. #61

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    Quote Originally Posted by matt.guitarteacher View Post
    I'm willing to do what most everyone thinks best. Personally, I view things which we post as being more about accountability and just sharing . They are never going to represent EXACTLY where I am in the book probably. Hard to say what everyone thinks without more input. Counting yours, I think we've gotten two comments so far regarding pace. It would be cool to have others input.
    I like the two-pages a week pace. It's doable. And if one misses---life intervenes, after all---then one does not feel hopelessly far behind.

    There's going to be a lot of repetition in the early patterns. I think it's important to post SOMETHING just to do it, to be part of the group and participating. Some of us may need work others don't. Maybe it's the progressions. For example, I'm not used to cycling things in minor thirds, so that's a big thing to me. But whereas chromatic ascents may be challenging on a horn---I have no idea---they are practically mindless on the guitar.

    But I don't think anyone is responsible for posting every pattern. (Unless they feel a need to do that, which is fine, but most of us don't have that need.)

    Stay in, keep talking, and we'll see how it goes. ;o)
    "Learn the repertoire. It’s all in the songs. If you learn 200 songs, you will have no problem improvising."
    Frank Vignola

  13. #62

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    I plan on going at the pace of the first post. For me it seems very reasonable.

    I don't think this kind of activity should take too high of a percent of someones music time. I certainly wouldn't want to spend 50% of my music time on something like this, somewhere around 10% would be more appropriate I would think.

    Maybe I'll fall behind... time will tell.
    Last edited by fep; 03-12-2019 at 07:29 PM.
    B+
    Frank (aka fep)

  14. #63

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    Quote Originally Posted by MarkRhodes View Post

    But I don't think anyone is responsible for posting every pattern. (Unless they feel a need to do that, which is fine, but most of us don't have that need.)
    Okay... I like the accountability of posting videos. Also great for motivation, great for self critique. But posting every exercise multiple times as I go up the metronome ladder, I won't do that. I think posting something every week, even as little as just one of the exercises, I would encourage that.
    B+
    Frank (aka fep)

  15. #64

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    I am largely in agreement with regard to pace being set by the individual himself and I think that there are benefits to discussion between those on the same patterns as well as those ahead and behind.

    I think regular contribution by video demonstration is important but doesn't have to be detailed with every pattern multiple times unless that is desirable for you.

    I'm primarily interested in how you are approaching the exercises and how you are using them in practical applications so I'd love to see videos on that, personally.

    I tend to milk ideas and stretch ideas and play with them for discovering insights which means I will tend toward a slower pace in general, probably a max of 2 to 4 patterns a week as I am finding that some times I run in to things that require more time or I just personally enjoy embellishing specific things.

    I guess I'm just saying travel at your own pace but leave some trail markers for others regularly to document your journey. I'm in for the long haul.

  16. #65

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    Sorry that I am late with these but here are Patterns #1 throughout 4

    Pattern #1


    Pattern #2

    Pattern #3

    Pattern #4

  17. #66
    Quote Originally Posted by Doublea A View Post
    Sorry that I am late with these but here are Patterns #1 throughout 4

    Pattern #1


    Pattern #2

    Pattern #3

    Pattern #4
    Hey, Anthony. I was wondering if you meant to play triplets on 2 and 4... Anyway, good swinging triplet phrasing. Thanks for sharing your thoughts on approach as well.

    Can you tell a little about your Thinline?

    Thanks.

  18. #67

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    As for the second set (#5-8) I'm having the most trouble with number 6, where you descend the first triad and descend the second. I'm used to starting with an ascent, so this is the one that may do me the most good. I have to play it much slower than the first.

    My approach here (and with number 5) is to play two triads out of one shape, then go to another shape, repeat, then another. So in short order I'm playing 6 different shapes.
    "Learn the repertoire. It’s all in the songs. If you learn 200 songs, you will have no problem improvising."
    Frank Vignola

  19. #68

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    Quote Originally Posted by matt.guitarteacher View Post
    Hey, Anthony. I was wondering if you meant to play triplets on 2 and 4... Anyway, good swinging triplet phrasing. Thanks for sharing your thoughts on approach as well.

    Can you tell a little about your Thinline?

    Thanks.
    Hi Matt,

    I think the swinging triplets just come out of me naturally. I don't really think about it. Are there any particular pattern where they were more prominent to your ear ?

    The Tele Thinline is a G & L ASAT Bluesboy (Maybe 2003). Anyways, I swapped out the neck for a Warmoth and I swapped out the bridge pick up for a Klein (I believe it is called a JazzyKat)

    Great Tele !!

    Here is a clip of it in a live performance


  20. #69

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    In the Larry Carlton 335 Improv course he has a section on applying triads. Over a dominant chord, Fsus9 to F9 in this example, he says to use these triads, Eb, F, Cm, (in his playing example he actually uses Eb, F, Cm, Cm7, F7, Gm, and Bb).

    I've used that idea to practice the Jerry Coker triads. Here over a backing track I made for Fsus9 to F9 I'm alternating over Eb and F triads with some embellishments. Even while playing the embellishments I'm still always thinking of the triad shapes. In my previous playing the exercises within 5 frets I ended up with 8 shapes, 5 Caged, and 3 more shapes which are CAGED shapes combined with each other. I think I hit most of them on the exercise.

    Last edited by fep; 03-14-2019 at 02:00 PM.
    B+
    Frank (aka fep)

  21. #70

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    Quote Originally Posted by fep View Post
    In the Larry Carlton 335 Improv course he has a section on applying triads. Over a dominant chord, Fsus9 to F9 in this example, he says to use these triads, Eb, F, Cm, (in his playing example he actually uses Eb, F, Cm, Cm7, F7, Gm, and Bb).

    I've used that idea to practice the Jerry Coker triads. Here over a backing track I made for Fsus9 to F9 I'm alternating over Eb and F triads with some embellishments. Even while playing the embellishments I'm still always thinking of the triad shapes. In my previous playing the exercises within 5 frets I ended up with 8 shapes, 5 Caged, and 3 more shapes which are CAGED shapes combined with each other. I think I hit most of them on the exercise.

    You beat me to it, Frank! I've been working on the same thing. I'll post in a bit here. I've been working the triads on a blues progression. It's all about how you use the stuff, right? that's awesome. I dig your guitar too. what is it?

  22. #71

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    Quote Originally Posted by Michael Kaye View Post
    You beat me to it, Frank! I've been working on the same thing. I'll post in a bit here. I've been working the triads on a blues progression. It's all about how you use the stuff, right? that's awesome. I dig your guitar too. what is it?
    Thanks Mike, the guitar is an Ibanez Artist 2630, I bought it in 1977 or was it 1978? It was the predecessor to the AS200.
    B+
    Frank (aka fep)

  23. #72

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    okay, here's the beginnings of application for me.

    G7 swing blues vamp and I'm applying the following triads: G ( root, 3 5) F (b7, 9, 11) E (13, b9, 3) and A (6, 9, b5)

    the G and F and A gives the whole step moves. Some chromatic steps give the 1/2 steps, the E gives the minor 3rd move
    and of course you can do all the same moves (plus others, I'm sure) on all three chords of a blues but I was trying to keep it simple for this video.

    The big revelation is that I am not thinking one bit about any damn scale, lol.. I'm thinking purely in triads. So the solo is pretty angular I'd say because of that but imagine blending in the mixo scale and I can see how this would smooth out. But I'm fascinated by how I can move around the neck without think of any kind of scale. This is new for me. I usually need a scale I can call home! This was a really fun exercise as Frank will attest to.


  24. #73
    Quote Originally Posted by Doublea A View Post
    Hi Matt,

    I think the swinging triplets just come out of me naturally. I don't really think about it. Are there any particular pattern where they were more prominent to your ear ?
    Sorry. I was combining 2 thoughts I guess in a confusing way. What I was wondering about was your playing of the triplet rhythm from #1 on patterns 2 & 4, in place of the notated 8th notes.

    My second statement was simply that I liked your phrasing. I enjoyed your video above as well. (One bizarre sidenote is that Youtube popped up with an ad for a hat almost exactly like the one you're wearing in your video. Big brother isn't only using algorithms on text descriptions. It also now has HAT recognition?)

    Anyway, nice hat. :-)

  25. #74

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    Quote Originally Posted by Michael Kaye View Post
    okay, here's the beginnings of application for me.

    G7 swing blues vamp and I'm applying the following triads: G ( root, 3 5) F (b7, 9, 11) E (13, b9, 3) and A (6, 9, b5)

    the G and F and A gives the whole step moves. Some chromatic steps give the 1/2 steps, the E gives the minor 3rd move
    and of course you can do all the same moves (plus others, I'm sure) on all three chords of a blues but I was trying to keep it simple for this video.

    The big revelation is that I am not thinking one bit about any damn scale, lol.. I'm thinking purely in triads. So the solo is pretty angular I'd say because of that but imagine blending in the mixo scale and I can see how this would smooth out. But I'm fascinated by how I can move around the neck without think of any kind of scale. This is new for me. I usually need a scale I can call home! This was a really fun exercise as Frank will attest to.

    Bravo, that is really cool. Some great sounds. I dig what you are saying about not thinking about a scale. I'm doing the same even on my embellishments that might include scale fragments (or chromatic bits), still I'm thinking and targeting the tones of the triad. This stuff dovetails well the the Carlton course.
    B+
    Frank (aka fep)

  26. #75
    I recorded some takes on five and six today in their four cycles, including those suggested in the "apply the same principle" notation under each. Looking at numbers 7 and 8, I'm a little warped out by separating them from 9 and 10. After a few minutes of practice, I can get 7 and 8 working in a pretty basic way at max recommended tempo, but these are really pretty tough. Honestly, my immediate thought was that the fastest way to improve 7 & 8 is to work on 7-10 as a unit.

    FwLineberry suggested these groupings more thank a week ago, and I have to say that I now think that this is very likely the right call:

    Quote Originally Posted by FwLineberry View Post
    Some of those exercises include directions to go back and redo the previous exercises with the new pattern. Is that just going to be added into what gets covered in a week or stretch things out another week?
    I'll post a current version of patterns 5-8 tonight when I get my camera back, but I'm going to suggest that it might be cool to post samples from all of patterns 7-10 NEXT week, while focusing on 5 & 6 more this week. Patterns 5-6 contain 6 separate patterns between the two, including the annotations. (Whether you POST all of them or not, you probably want to WORK all of them.)

    then, 7-10 are a unit...

    then, 11 & 12 (with additions)...

    13-17...?

    18-20...

    21 & 22 (with additions)...
    Etc.

    My primary focus on this is technical and fretboard knowledge. So, honestly I'm fine with camping outon fewer at a time. 7-10 are plenty hard enough for me. 138 bpmon these is pushing for me. I'd like to really work them.

    I've been slammed the last week and a half or so, and I haven't given this as much attention as I should have probably. Let me know what you think about these groupings as possible revised weekly targets.

    Does the above suggested pace elicit more of a "Yes please" or more of a "that's too slow"? Let me know.

    I've really enjoyed the amount and diversity of participation in this thread. Thanks to everyone.

  27. #76

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    definitely not too slow for me, Matt. I would prefer to err toward digging in and exploring these deeply. I'm in no rush and favor that over a cursory approach.

    And thanks for getting us going. This may turn out to be one of the most effective things I've done here. I'm certainly happy about where this seems to be headed. I may even get to call myself a jazz guitarist some day!

  28. #77

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    Patterns 5-6 only... that sounds good to me. Coker turns those two into 8 exercises so it's actually more than last week.
    B+
    Frank (aka fep)

  29. #78

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    I'm all for it, of course.

    I'm not shooting for the max tempo on any of this stuff, just a tempo somewhere in the middle of the recommended range. For me the mental gymnastics and visualization are where I really need the work. It's coming along slower than I expected, so a more relaxed pace is good. The drills are making me face how deficient I am at seeing notes on the D and G strings - something I thought I had down decades ago. Of course coming from a rock background thinking in flats is killing me... C#... wait... no... Db... great, I just lost my place again


    I was hoping to post something on patterns 5 and 6 tomorrow, but I've got to tear my one working guitar apart, adjust the neck, replace the pots and rewire everything tonight. Hopefully it all goes smooth.

    .
    The disgusting stink of a too-loud electric guitar; now that's my idea of a good time - Frank Zappa

  30. #79
    Patterns 5-6:


    I'd like to tighten up the time on these, but this may be all I can manage to post this week. Comments appreciated.

  31. #80
    Quiet here. How are we on 5-6?

    5-6 present new issues depending on approach. I'm alternate picking everything, so there's less change for descending.... How do the descending patterns affect your right hand?

    Do we want to share fingerings etc? Here are mine for 7th/6th position on these triads in the "7th position2" pdf. I put them in cycle-of-4ths order. So, they're basically CAGED through the first 4. 5 is one note different (finger 1 instead of 4). Then, 2 extra which don't fall under caged organization.

    I also attached a possible CAGED-type fingering approach for the same 12 arps ...."7th position CAGED 2". I know the 2-3-4 fingering on the E-form is different from most maybe. Also, the 4-4 fingering on the last 2 notes of the D-form arp...
    Attached Images Attached Images
    Last edited by matt.guitarteacher; 03-16-2019 at 07:37 PM.

  32. #81

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    I'm working on 5-6 and taking them back to the approaches on the earlier patterns, trying to stay in one region of the neck, etc. Not using a drum track yet though. I am seeing why I need to be doing this kind of thing. I don't switch octaves and jump up a 4th very quickly and smoothly!
    - Lawson
    "Whenever you come near the human race, there's layers and layers of nonsense." - Thornton Wilder, Our Town

  33. #82

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    The best laid plans....

    I had an unscheduled day and planned to record videos today. But my mom fell during the night and fractured her shoulder. (Humerus, the long bone.) She's in the hospital awaiting a surgeon's visit. I came home to sleep a bit. (She was given morphine and was sleeping too.)

    I thought I'd do a quick take of 5 and 6 but my phone says I have low storage on Impact (the software that runs my iTrack Pocket.) So now I have to offload things to free up space to record new stuff. Not a big deal really, but as Charles Bukowski put it, "a shoelace that snaps with no time left."

    Perhaps "when the evening sun goes down, you'll find me hangin' around."
    "Learn the repertoire. It’s all in the songs. If you learn 200 songs, you will have no problem improvising."
    Frank Vignola

  34. #83

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    Quote Originally Posted by matt.guitarteacher View Post
    Quiet here. How are we on 5-6?

    5-6 present new issues depending on approach. I'm alternate picking everything, so there's less change for descending.... How do the descending patterns affect your right hand?

    Do we want to share fingerings etc? Here are mine for 7th/6th position on these triads. I put them in cycle-of-4ths order. So, they're basically CAGED through the first 4. 5 is one note different (finger 1 instead of 4). Then, 2 extra which don't fall under caged organization.7th position2.pdf

    Nice job, Matt. I like your fingering approaches and I'll probably use those to start. You are much further along than I am as I am basically starting 5 & 6 today.

  35. #84

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    Quote Originally Posted by MarkRhodes View Post
    The best laid plans....

    I had an unscheduled day and planned to record videos today. But my mom fell during the night and fractured her shoulder. (Humerus, the long bone.) She's in the hospital awaiting a surgeon's visit. I came home to sleep a bit. (She was given morphine and was sleeping too.)

    I thought I'd do a quick take of 5 and 6 but my phone says I have low storage on Impact (the software that runs my iTrack Pocket.) So now I have to offload things to free up space to record new stuff. Not a big deal really, but as Charles Bukowski put it, "a shoelace that snaps with no time left."

    Perhaps "when the evening sun goes down, you'll find me hangin' around."
    I'm sorry to hear of your mom's injury. I hope she can soon be comfortable and recover soon.

    I delete my videos from my phone after I post to youtube. I figure I don't need them anymore. The video files can be huge, deleting them is the easiest way to free up space on your phone.
    B+
    Frank (aka fep)

  36. #85

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    Quote Originally Posted by fep View Post
    I'm sorry to hear of your mom's injury. I hope she can soon be comfortable and recover soon.

    I delete my videos from my phone after I post to youtube. I figure I don't need them anymore. The video files can be huge, deleting them is the easiest way to free up space on your phone.
    Same here. I do a clip of something every day, listen to it as couple times, and delete. No need to keep them on the phone.
    - Lawson
    "Whenever you come near the human race, there's layers and layers of nonsense." - Thornton Wilder, Our Town

  37. #86

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    At 160 bpm, staying in one position which is 5 frets. I went one fret out of position a couple of times.

    If anyone wants... I'll tab out the shapes I'm using if you can't figure it out from the video.

    B+
    Frank (aka fep)

  38. #87

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    Quote Originally Posted by fep View Post
    I'm sorry to hear of your mom's injury. I hope she can soon be comfortable and recover soon.

    I delete my videos from my phone after I post to youtube. I figure I don't need them anymore. The video files can be huge, deleting them is the easiest way to free up space on your phone.

    Thanks, fep. For now, they're putting off surgery. They want to work with the shoulder for three days and then see where things stand. (That's my understanding via mom; I haven't spoken with the surgeon yet. He's supposed to call me tomorrow.)

    As for deleting videos from my phone, that's just what I did. Had 28 on there. God knows why I didn't delete them before. Just hadn't thought about it. Though they're short, video files eat up a lot of storage space.
    "Learn the repertoire. It’s all in the songs. If you learn 200 songs, you will have no problem improvising."
    Frank Vignola

  39. #88
    Quote Originally Posted by fep View Post
    At 160 bpm, staying in one position which is 5 frets. I went one fret out of position a couple of times.

    If anyone wants... I'll tab out the shapes I'm using if you can't figure it out from the video.

    Nice, relaxed left hand. You make it look easy.

  40. #89

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    So here's my first shot on Patterns 5-6, done achingly slow (sorry about that). I do each one per the book, then do each one per pattern 2, the rising by 4ths. I hope this week to pick up the pace and adapt these to 3-4 as well.
    - Lawson
    "Whenever you come near the human race, there's layers and layers of nonsense." - Thornton Wilder, Our Town

  41. #90
    Quote Originally Posted by lawson-stone View Post
    So here's my first shot on Patterns 5-6, done achingly slow (sorry about that).
    No apology needed. Good job. Great tone as always, and you pulled off the exercises well. I think it's definitely cool to post what you can cleanly. That's what I'm aiming for as much as possible too.

    In the intro, it's stated that the upper tempo number is mainly there to keep you from practicing things needlessly after you know them. It's the "Move on, and stop practicing things you already know" tempo.

    IMO, 5 and 6 are particularly harder than they would be technically on some other instruments. They have many more notes with string crossings which utilize the same left hand finger as the previous note. I think this one technical aspect is very difficult until it is learned pretty well. They can be played as rolls in some situations, but there are many where it's same-finger-different-fret/string here as well. It's really good technical work, but I don't find them easy at all.

    Frank's sounded pretty clean, but mine definitely had a few "issues" at the tempo I was playing.

    There are some of these triad fingerings which are technically harder to play than their 4-note arp counterparts IMO.

  42. #91

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    Here are patterns 5 and 6 utilizing the B (4ths) and C (whole steps) variations. I combined both 5 and 6 into one exercise, so for each variation I do up - down then turn it around and do down - up.

    There are a few flubs. For some reason I was really self-conscious recording this week and had a hard time getting a decent take for either of these. I gave up trying to get a good take for the D variation (minor 3rds). I'll try it again tomorrow and see how it goes.

    For these exercises I focused on three positions - 3rd position with lower roots on the A D and G strings, 8th position with lower roots on the E A and D strings and 10th position with lower roots on the D G and B strings. For demonstration, I chose to do one variation in each position. I made charts of the fingerings I'm using just to try out the new version of Neck Diagrams. The export to pdf feature is very nice.

    The first vid is 4ths in 8th position: Major Arpeggios 8th Position.pdf





    The second vid is whole steps in 3rd position. For the high C and Db arpeggios I moved out of position to grab the octave on the high E string: Major Arpeggios 3rd Position.pdf





    .
    The disgusting stink of a too-loud electric guitar; now that's my idea of a good time - Frank Zappa

  43. #92

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    "Learn the repertoire. It’s all in the songs. If you learn 200 songs, you will have no problem improvising."
    Frank Vignola

  44. #93
    Quote Originally Posted by FwLineberry View Post
    Here are patterns 5 and 6 utilizing the B (4ths) and C (whole steps) variations. I combined both 5 and 6 into one exercise, so for each variation I do up - down then turn it around and do down - up.

    There are a few flubs. For some reason I was really self-conscious recording this week and had a hard time getting a decent take for either of these. I gave up trying to get a good take for the D variation (minor 3rds). I'll try it again tomorrow and see how it goes.

    For these exercises I focused on three positions - 3rd position with lower roots on the A D and G strings, 8th position with lower roots on the E A and D strings and 10th position with lower roots on the D G and B strings. For demonstration, I chose to do one variation in each position. I made charts of the fingerings I'm using just to try out the new version of Neck Diagrams. The export to pdf feature is very nice.

    The first vid is 4ths in 8th position: Major Arpeggios 8th Position.pdf





    The second vid is whole steps in 3rd position. For the high C and Db arpeggios I moved out of position to grab the octave on the high E string: Major Arpeggios 3rd Position.pdf





    .
    Good job, and thanks for posting. I had a couple of questions about this actually that were answered in the other thread . So, thanks for that as well. Thanks for posting the fingerings as well.

    Did you post your PDFs Via Tapatalk? I originally posted mine that way and then couldn't open them without going to web view. Irritating. Anyway, I was wondering if yours did something similar.

    Good job on labeling everything by the way. That was my first thought upon seeing your post: that I didn't do mine right at all. :-)

  45. #94

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    Quote Originally Posted by matt.guitarteacher View Post
    Good job, and thanks for posting. I had a couple of questions about this actually that were answered in the other thread . So, thanks for that as well. Thanks for posting the fingerings as well.

    Did you post your PDFs Via Tapatalk? I originally posted mine that way and then couldn't open them without going to web view. Irritating. Anyway, I was wondering if yours did something similar.

    Good job on labeling everything by the way. That was my first thought upon seeing your post: that I didn't do mine right at all. :-)

    I posted from my laptop and only at the last minute figured out how to drag the attachments into the post. Normally I would just load stuff like that up to my website and drop a link, but I saw that you had attached your file and decided to try it that way.

    I haven't used tapatalk for a very long time. I seem to remember that sort of thing being one of the reasons I dumped it, eventually.

    .
    The disgusting stink of a too-loud electric guitar; now that's my idea of a good time - Frank Zappa

  46. #95
    Quote Originally Posted by MarkRhodes View Post




    Good job, Mark. You seem particularly comfortable with the first two. That's some aggressive foot tapping BTW. :-) Thanks for posting.

  47. #96
    I edited the title post's dates:

    Mar 10: patterns 1-4
    Mar 17: patterns 5-6
    Mar 24: patterns 7-10
    Mar 31: patterns 11-12

  48. #97

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    Quote Originally Posted by matt.guitarteacher View Post
    I edited the title post's dates:

    Mar 10: patterns 1-4
    Mar 17: patterns 5-6
    Mar 24: patterns 7-10
    Mar 31: patterns 11-12


    Looks good to me. I'm going to work pattern 7 in open position, pattern 8 in 5th position, pattern 9 in 7th position and pattern 10 in 12th position. I'm also thinking about concentrating on one position at a time, getting that worked up and posting the vid as I go through the week. I'll see how it goes this week.

    .
    The disgusting stink of a too-loud electric guitar; now that's my idea of a good time - Frank Zappa

  49. #98

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    Quote Originally Posted by matt.guitarteacher View Post
    Good job, Mark. You seem particularly comfortable with the first two. That's some aggressive foot tapping BTW. :-) Thanks for posting.
    I'll say! I didn't notice myself doing that when it happened. I noticed it when I uploaded the video. Nerves.

    Just got off the phone w/ my mom, who is still in the hospital after a fall Saturday morning which resulted in a shoulder fracture. She wants to come home NOW. Ain't gonna happen. She's a sweet person in most ways, but when it comes to doctors, her nickname is "the non-compliant patient."
    "Learn the repertoire. It’s all in the songs. If you learn 200 songs, you will have no problem improvising."
    Frank Vignola

  50. #99
    Quote Originally Posted by MarkRhodes View Post
    I'll say! I didn't notice myself doing that when it happened. I noticed it when I uploaded the video. Nerves.

    Just got off the phone w/ my mom, who is still in the hospital after a fall Saturday morning which resulted in a shoulder fracture. She wants to come home NOW. Ain't gonna happen. She's a sweet person in most ways, but when it comes to doctors, her nickname is "the non-compliant patient."
    All the best to your mom, Mark.

  51. #100
    I think it would be cool if we posted early versions of some of this stuff, a couple of weeks out or so. It could be questions, thoughts etc. Or just brief playing examples. It would give us more of a reference point for commenting on each other's playing.. something from which to measure progress etc.

    So here are some of mine...

    Patterns 7-10, one week out:

    Patterns 11-12, two weeks out:

    Thoughts on the Randy Vincent phrasing thing on some of these:

    At some point I refer to the "Randy Vincent stuff we did with Lawson". Meant to say "Jimmy Rainey stuff we did with Lawson"....

    You definitely don't have to post anything as long-winded as some of my comments...
    Last edited by matt.guitarteacher; 03-19-2019 at 10:49 AM.