Pandora Rocks Internet Radio!: December 2012

Sunday, December 30, 2012

***** Bird’s Best Bop on Verve by Charlie Parker – This Is a Must Have for Any Inspired Young Musician

I thought for a few seconds that I might give this one 4 stars instead of 5 sighting the primitive production that the original recordings suffered from. However, in this case, even with the poor production, Charlie Parker is a musician to be reckoned with. Likewise, this album is chock full of standards that any jazz musician will be familiar with. Get this album! It is a collected history of recordings that have both good song writing and stellar skill.

Saturday, December 15, 2012

*** The Very Best of by Emerson, Lake, & Palmer – Mostly Just So So Music

Track 1 is really good, and so are a lot of tracks on this disc. However, there is not enough complexity to satisfy my craving for complexity in music. I bought this because Emerson Lake and Palmer were recommended to me as an early progressive band. However, though this may fit in the genre of early progressive there have been many albums put out since that even the best of Emerson Lake and Palmer doesn’t cut it for my taste for originality that is cerebral.

Track 2 makes me think of what the baby boomers considered great music. It was nothing that was in comparison to the old jazz greats like Benny Goodman that the previous generation listened. Truly the popularity of this is a part of the reason why my musical teachers rejected rock even as a valid medium for musical expression.

I personally did not give up hope in rock and I ended up finding some really good music there that is far more cerebral than this. So there you have it, already by the second track on this album there is starting to be some mediocre rock of which by nature there is nothing really special about it.

The critic of this writing must face the fact that there are oodles of more cerebral jazz albums than even The Very Best of Emerson Lake & Palmer, and many more works that followed it in the vein of jazz fusion, making this album practically an irrelevant selection because there is so much stuff out there that is as good as this one.

I like track 3 and 4 though. These are definitely a standouts. However, this whole album would had to be at this level of quality in order for me to give it a 4 star rating. Likewise, despite this bands luck as having a place in history, the time when audio recordings were really coming to be high quality, and due to their playability at home (which has done wonders for snuffing out the whole idea of live music), I believe that they will not stand the test of time, unless web pages keep them in their top 100 lists of bands.

When I bought this album I felt like I was unearthing old dinosaur hits that will be forgotten. Why? Though my son might be familiar with them, I would bet that he is the outlier, and that while Emerson Lake and Palmer may be able to live off of royalties in the lifetime. I doubt that once they are gone, and the baby boomers that loved them are gone, people won’t search for them nearly as much. The primary reason for they will be forgotten is that there has been a torrent of jazz/rock written at this level of quality, including both higher quality and lower quality.

Track 5, 6, 7, 8, etc, reek of mediocrity. Some of them sound like movie soundtrack ideas that do not rise above my expectations.

Despite my criticisms that this band lacks in the technicality department, I do believe that these songs are pretty much beyond the scope of what a high school band could play. In fact, very few cover bands at the adult level could play this music. That is another reason why I expect Emerson, Lake and Palmer to be forgotten.

Saturday, December 8, 2012

*** Thunder from Down Under by Frank Gambale – A Disappointment of Jazz Fusion Mediocrity

Jazz fusion is my favorite genre. However, with this album Frank Gambale deals subpar work. This is clearly not what attracts me to the jazz fusion genre. Some folks may like it, and it is not as if I would have a problem with that. I’ll be honest, Frank Gambale is an amazing guitarist, but the song writing on this is terrible. However, I don’t see Thunder from Down Under blazing any trails for the jazz fusion genre. Gambale would do better to pair himself with a song writer.

So what is with the stars anyway? That is, why not 1 star instead of 3. That is because these musicians are actually playing sophisticated music from their hearts. As I have said before, an album need only be in the genre of what I would call jazz fusion to get 3 stars from me, and that is simply because I love it so much. Maybe I would change that if there was more jazz fusion out there, and possibly give 1 or 2 star ratings, but it is not as if I look forward to such a world.

*** Veritas by Alex Skolnick trio – Needs Better Supporting Musicians

The first thing that comes to mind when listening to this cd is, “Wow! That bassist sure knows how to come up with a pathetic groove. Yeah, he might be able to hold down the fort in a metal band, but compared to a bassist well versed in jazz he comes across as a simpleton.”

The second thing that comes to mind is that this cd does have some redeeming tracks, and that Skolnick’s jazz version of a Metallica song for track 5 is flat out amazing. If you are into collecting Metallica rarities, this version of a Metallica song is priceless. In fact, what occurred to me is that this song could have made it as a jazz standard from the very beginning even if it was not a heavy metal song first.

I think Skolnick has the possibility of putting out better works than Veritas, especially if he plays with better musicians.

Let me put it this way: About 15min away from me there is a music business that gives lessons for kids. One of the best parts about this business is that the guy who runs it makes bands for the kids with folks at their age level. Usually, the kids that play in the bands are 13 to 16 years old. Some of them are quite impressive for their age and level of play. Most of these kids from age 13 to 16 years old are at about the level that Skolnick’s rhythm section plays at. However, for Skolnick himself, none of these kids I have known of have been able to play at his level of play. Skolnick impresses me and I would call him a very gifted guitarist who deserves better surroundings, but I am a music snob, and Veritas doesn’t make the cut as far as really good jazz albums go. That be the truth about this album.

20th Blues Pentatonic Drill: 2 Fattest Strings. Mode 1, Position 1 Root, 5, flat 3, root.

Introduction to the Lesson

A. 1^st 1^st Position Pentatonic Soloing Drills: Mega Lesson Syllabus for 2 String Play of Single Notes

a. 1st Killing the 1^st Position Blues Pentatonic Scales in 4s on the 1^st and 2^nd Strings

1. 1^st 27 Lessons for Mode 1 Blues Pentatonic Drills in 4/4 Time on String 1 and 2, Position 1

· 20^th Blues Pentatonic Drill: 2 Fattest Strings. Mode 1, Position 1 Root, 5, flat 3, root.

Note1: Please note, that I call the fattest string, the 1^st string. Thus, the second fattest string would be the 2^nd string, and the skinniest string would be the 6^th string, and so on.

Note2: If at any time you are experiencing pain during the playing of this exercise or any other exercise I give, then stop immediately! Please! It doesn’t help me as a teacher to gain students with tendonitis, or other guitar injuries.

Note3: 1: Refers to the section of pentatonic drills. In this case, 1 means that the drill is for 1 and 2 strings. For example, the second section uses 3 strings.

Note4: 1:1 The 2^nd 1 of 1:1 refers to the position of the blues pentatonic scale that is used. As a pentatonic scale has 5 notes, there are 5 positions. These positions are all part of a scale. One can switch between positions and not play any wrong notes. 1:1a-1:1e in its entirety can be raised/lowered as much as 11 half steps to result in modes with root notes in different keys. Also, note that the pattern changes between the 1^st and 2^nd strings because the intervals between open strings when using standard tuning are not always the same.

1:1a Position 1 in the key of E minor is as follows. 1^st string; 12^th fret and 15^th fret. 2^nd string; 12^th and 14^th fret. 3^rd string; 12^th and 14^th fret. 4^th string; 12^th and 14^th fret. 5^th string; 12^th and 15^th fret. And the 2^nd string follows the same pattern as the 1^st string.

1:1b Position 2 in the key of E minor is as follows. 1^st string; 3^rd and 5^th fret. 2^nd string; 2^nd and 5^th fret. 3^rd string; 2^nd fret and 5^th fret. 4^th string; 2^nd and 4^th fret. 5^th string; 3^rd and 5^th fret. And the 6^th string 3^rd and 5^th fret.

1:1c Position 3 in the key of E minor is as follows. 1^st string; 5^th and 7^th fret. 2^nd string; 5^th and 7^th fret. 3^rd string; 5^th and 7^th fret. 4^th string; 4^th and 7^th fret. 5^th string; 5^th and 8^th fret. 6^th string 5^th and 7^th fret.

1:1d Position 4 in the key of E minor is as follows. 1^st string; 7^th and 10^th fret. 2^nd string; 7^th and 10^th fret. 3^rd string; 7^th and 9^th fret. 4^th string; 7^th and 9^th fret. 5^th string; 8^th and 10^th fret. And on the 6^th string 7^th and 10^th fret.

1:1e Position 5 in the key of E minor is as follows. 1^st string; 10^th and 12^th fret. 2^nd string; 10^th and 12^th fret. 3^rd string; 9^th and 12^th fret. 4^th string; 9^th and 12^th fret. 5^th string; 10^th and 12^th fret. 6^th string 10^th fret and 12^th fret.

Note5: 1:1:1 The third 1 of 1:1:1 refers to the mode of the pentatonic scale that is used. There are 5 modes. Though there is at least one major mode and one minor mode, to my knowledge, these modes don’t commonly go by names such as Lydian, or Ionian.

Note6: 1:1:1:7 The 4^th in the sequence: 1:1:1:7 is a 7 and refers to the specific lesson title. That is that this lesson is a drill that uses the Root note, the 4^th note, and the 5^th note of the 7 note major scale in a pattern, rather than the 4^th and 5^th of the pentatonic scale, etcetera. That way a 5^th is always going to be a 5^th, even it is the 4^th mode of the pentatonic scale, where a 5^th would be the 5^th note of a major scale with 7 notes.

Note7: A pentatonic scale is a 5 note scale. Usually, for the blues pentatonic scale, scalar positions have 2 notes per string. That is there are, 2 possible notes on the 1^st string, 2 possible notes on the 2^nd string, 2 possible notes on the 3^rd string, 2 possible notes on the 4^th string, 2 possible notes on the 5^th string and 2 possible notes on the 6^th string for any given position. The notes for these exercises will all be played on the 1^st and 2^nd strings, which are the 2 fattest strings. If your guitar is a standard 6 string with standard 6 string tuning then sometimes the 1st string is called the low E string, and the 2nd string is called the A string.

Note8: I will call the first mode of the blues pentatonic scale to be a minor scale. 5 notes of this pentatonic pattern follow the formula; root, flat 3, 4, 5, and flat 7, where the next note is an octave where the scale repeats itself. Perhaps, it would be better to call it a hexave, but since intervals are told usually with respect to a 7 note major scale, the 8^th note of the Ionian mode, which is another name for a classical major scale is an octave. An octave is the same note as the root note, only an octave higher. In addition, one is often able to solo interchangeably between say the Dorian mode, and a minor Pentatonic scale, where according to the Dorian mode, such that the 8^th note is called an octave, while the same note when only using a minor pentatonic scale could be thought of as a hexave, the 6^th note. For example, in A Dorian, the octave is the note A, while in A minor pentatonic the hexave is also an A note. The reason for this paradox is that there are a different number of notes for the scales in question. That is for A Dorian it takes 7+1 notes to get to the octave, and for A minor pentatonic, which is a similar scale it take only 5+1 notes to get to the same interval, such that it makes sense to determine intervals as relative to the Ionian mode, of which the intervals are 1 (the root), 2, 3, 4, 5, 6, 7, and the 1, which is also 8, which is also the octave. The reason for this is that the Ionian mode is to be thought of as having no sharp intervals or flat intervals, even though these scales can be written with sharp notes or flat notes, depending on the key in classical notation. Here, I have placed before the reader a key to some of the paradox I have written where note and interval may be considered as synonyms, or they might take on a different definition. Noting this paradox is key for musicians, because notes can be intervals and intervals can be notes, yet if the word interval is used, it will always be with respect to the notes of the Ionian mode, commonly called the major scale, and it is such that for example the notes of the C major scale pattern can be moved up a half step, etc, and the result of moving the scale up a half step can be a Ionian mode in the key of C# major, which has sharps and/or flats on a G clef, etc, though it’s intervals with respect to the Ionian mode are neither flat nor sharp.

The Lesson Itself

1:1:1:20:1 The root note will be the lowest note for this exercise. The root note does not have to be the first note, nor the lowest note, but for this lesson it will be. Laying out the pattern root, flat 3, 4, 5, on a fret board that has standard tuning will always follow the following pattern: On the 1^st string, the root will be the first note, and the second note of the pentatonic scale ascends 3 half step on the same string, which is the 1^st string, and the 4^th is a whole step up from flat three, and is at the same fret as the root note, but on the 2^nd string. Like the 4^th, the 5^th is also played on the 2^nd string. This 4 note pattern represents a cross section of the blues pentatonic scale, where each drill will contain between 2 to 4 of this pattern of notes.

1:1:1:20:2 The time signature will be 4/4 time. That means that it is to be counted in 4s. Where the 1st note of the 4 note sequence is played slightly louder than or stressed compared the rest.

1:1:1:20:3 Time to play. Make sure your guitar is in tune, and has standard tuning. In another blog, I describe how this is to be accomplished through the usual methods.

1:1:1:20:4 With your index finger play the 12^th note, meaning the 12^th fret, of the 1^st string with a down stroke. This place on the fret board is usually designated with a double dot marking. This should be an E note. Use your right hand to mute all the strings except for the string that is being played. The next note to be played is a play is a 5^th from the E. It is also an B note, and played with an upstroke. It is at the 14^th fret but on the 2^nd string. It is to be carefully played with the ring finger such that pain does not occur. If you feel unable to do this don’t force your hand to play it because that is how injuries occur. Play the 3^rd note on the 1^st string with the pinky finger, such that the transition actually causes the other strings to be muted. This note is played with an down stroke and is an G note. In this case the 4^th note is the root note in the key of E minor, an E. The root is the 4^th note of the sequence. It is to be played on the 1^st string. It is played with an upstroke at the 12^th fret with the index finger. Again, it is good to try to mute all the strings, except for the one that you are playing. Thus, it is such that with this exercise, a pattern is created, with ones fingers, index, middle, ring, and pinky.

1:1:1:20:5 Next repeat this pattern, always using a down stroke on the 1^st sting when playing the root note. Play the pattern four times. Later, sometimes I will indicate that you should use down strokes for each note that is played.

1:1:1:20:6 Next, play the same pattern a half step lower. These steps of moving this pattern up and down the fret board cause key changes. It will follow the pattern, 1^st string 11^th fret using the index finger, 2^nd string 13^th fret using the ring finger, 1^st string 14^th fret using the pinky finger, and finish with the 4^th note on the 1^st string at the 11^th fret using the index finger. This is the key of E flat. Play this four times, counting 4s. Then, repeat the pattern of 1:1:1:20:6 picking with all down strokes.

1:1:1:20:7 Next, play the same pattern a half step lower, the key of D. That is, these steps of moving this pattern up and down the fret board cause key changes. This sequence will follow the pattern, 1^st string 10^th fret using the index finger, 2^nd string 12^th fret using the index finger, 1^st string 13^th fret using the pinky finger, and finish with the 4^th note on the 1^st string at the 10^th fret using the index. Play this four times, counting 4s. Then, repeat the pattern of 1:1:1:20:7 picking with all down strokes.

1:1:1:20:8 Repeat the above described pattern moving up and down the fret board, changing keys every time the pattern is moved. This pattern is well establish in pentatonic lessons 1-10.

1:1:1:20:9 Repeat 1:1:1:20:4-8 except play the pattern only 1 time instead of 4 times working on the fluidity of your playing.

1:1:1:20:10 If possible on your guitar, you may wish to continue this pattern above the 12^th fret. On some guitars, it may be possible to go up to the 24^th fret, if your guitar has one, with this pattern.

1:1:1:20:11 After having worked your way above the 12^th fret, now work your way back.

3rd Hopping Wires 1, 2, flat 5, 2, and in 4s

Note3: I learned how to play a guitar strung for a righty as a left hand person. Thus, some of these exercises are extremely difficult, while doing other things on my guitar come much more naturally. This is what landed me in a good jazz band while I was still in High School. However, to be a real player, I had to become completely ambidextrous. That is, as a lefty, I had to make my right hand to be the dominant hand. However, these exercises are every bit as relative to any player, ambidextrous, righty or lefty. I do believe one of the greatest aspects of guitar as a musical instrument is that it enables a player to challenge himself or herself, especially their weaker hand. Some of these exercises may come easy for you, but I can almost guarantee that they all won’t.

Note3: When making the lesson name, the numbering system used reflects each note of the system with respect to the major scale, where “1,” is the root note of the Ionian Major scale, and all Ionian notes are considered to be major, instead of flat or sharp.

Note3: These notes can be played on strings 1 and 2, 2 and 3, 3 and 4, and 5 and 6, where 1 is the fattest string and 6 is the thinnest string. Notice that the 4^th and 5^th string are not included, and that is due to the effect of standard tuning, such that the nature of the intervals would change.

Note4: The pick can be gripped in several different ways. Personally, these days I usually grip it between my thumb and index finger. However, for more power, consider practicing by holding the pick also with the middle, and/or the ring finger. This is especially important with acoustic guitars where the power with which one strikes the guitar is usually very important.

Note5: These exercises are meant to do with great amounts of repetition. Each time you play them, count the 4 notes, and stress the first of the 4 every time. Repetition is the key to success. I have probably done each of these exercises millions of times.

The Lesson Itself

3:1 The root is always played with the index finger in this exercise. The 2^nd is always played with the ring finger in this exercise. The flat 5^th is always played with the middle finger. The 4^th note is a 2^nd played with the ring finger again.

3:2 While one can move them all around the neck, there is very little difference in the style used, except when using different strings, as where typically the string the exercise starts is practically null and void, so long as all the strings eventually get used. However, that which is null and void here, is very important in other exercises where one might consider modal or pentatonic playing, such as when a band plays in a particular key.

3:3 When one picks the notes, in this exercise alternating picking is used, which is described by up and down movements as opposed to a style that would use all down strokes. The reason for this is that this style of picking is often used for the purpose of developing speed, as well as fluidity when switching from string to string. And, besides, I suggest doing all down strokes plenty in other exercises.

3:4 So, to start, tune your guitar to standard tuning, and pick a place on the fret board.

3:5 Whether you are positioned at the 12^th fret, the 7^th fret, the 5^th fret, or the 1^st fret, or any other fret for that matter, on the string that are used in doubles for this exercise, the pattern remains the same. The index finger will play the lowest note with respect to tonality.

3:6 In this pattern denoted by the lesson’s name ring finger plays a whole step up from the index finger, which is 2 frets. For example, if you are positioned at the 5^th fret, you would play the 5^th fret with your index on the 5^th string, and then the 2^nd note with your ring finger at the 7^th fret, or if you are positioned at the 12^th fret, the 2^nd note becomes the 14^th fret in the pattern.

3:7 Next, comes the all important string skip. Consider that the root is still at the 5^th fret. At the 7^th fret, skip from the 6^th fret, and play it with your middle finger on a string that is skinnier than the string that root is on. For example, if you started on the 3^rd fattest string, the 3^rd string, after playing the root note, then one whole step up. Then, on the 4^th fattest string play the flat 5^th which is the 3^rd note of the sequence with your middle finger.

3:8 Forget the 4^th and 5^th strings though for this lesson series because their tonality doesn’t follow the same interval pattern because in standard tuning these strings are tuned to different intervals than the other strings.

3:9 Lastly, skip back to the 2^nd interval, which is the 4^th note of the pattern, which is the 2^nd note that was played on a lower string used for this exercise. Use alternating picking throughout the exercise.

3:10 Repeat this as many times as possible. Eventually, if you repeat these exercises enough you should be able to gain some speed.

44th Guitar Snake River Rapids Exercises: Index, Pinky, Middle, Ring in 4s

Note: If at any time you are experiencing pain during the playing of this exercise or any other exercise I give, then stop immediately! Please! It doesn’t help me as a teacher to gain students with tendonitis, or other guitar injuries.

Note2: Palm muting refers to muting the actual string that you are playing, and all the other strings.

Note3: Without palm muting refers to not muting the string your are playing, while you are playing it, but then muting it after each note, while muting all the other strings.

Note4: Down strokes refers to playing a string only with a downward motion of the pick. Thus, the pick starts high hits the string and bounces off, and instead of picking the note with an upstroke of the pick on the rebound, return to a position with the pick above the string before making another down stroke. This is a style of play Metallica commonly uses. Generally, a down stroke sounds heavier than an upward stroke, such that using all downward strokes makes for a heavier sound.

Note5: Alternating strokes refers to picking with upward strokes and downward strokes. The purpose of alternating strokes is usually to gain speed while picking.

44:1 The first set of exercises I gave was primarily so that one doesn’t injure their fretting hand by stretch too much. Next, I increased the “jiggas,” giving a picking hand work out. The lesson-blogs from 40 to 63 will be on strengthening speed and finger motility.

44:2 The exercises in this blog will involve the index finger, the middle finger, the ring finger and the pinky finger. Unlike earlier exercises, it will go below the 5^th fret.

44:3 On string 6, at the 12^th fret, play the following pattern using all down strokes: 12^th fret w/index finger, 15^th fret with your pinky finger, 13^th fret with your middle finger, and 14^th fret with your ring finger.

44:4 On string 6, at the 11^th fret, play the following pattern using all down strokes: 11^th fret w/index finger, 14^th fret with your pinky finger, 12^th fret with your middle finger, and 13^th fret with your ring finger.

44:5 On string 6, at the 10^th fret, play the following pattern using all down strokes: 10 fret w/index finger, 13^th fret with your pinky finger, 11^th fret with your middle finger, and 12^th fret with your ring finger.

44:6 On string 6, at the 9^th fret, play the following pattern using all down strokes: 9^th fret w/index finger, 12^th fret with your pinky finger, 11^th fret with your middle finger, and 11^th fret again with your ring finger.

44:7 On string 6, at the 8^th fret, play the following pattern using all down strokes: 8^th fret w/index finger, 10^th fret with your pinky finger, 9^th fret with your middle finger, and 10^th fret again with your ring finger.

44:8 On string 6, at the 7^th fret, play the following pattern using all down strokes: 7^th fret w/index finger, 9^th fret with your pinky finger, and 8^th fret with your middle finger, and 9^th fret with your ring finger.

44:9 On string 6, at the 6^th fret, play the following pattern using all down strokes: 6^th fret w/index finger, 8^th fret with your pinky finger, and 7^th fret with your middle finger 8^th fret with your ring finger.

44:10 On string 6, at the 5^th fret, play the following pattern using all down strokes: 5^th fret w/ index finger, 8^th fret with your pinky finger, 6^th fret w/middle finger, and 7^th fret with your ring finger.

44:11 On string 6, at the 4^th fret, play the following pattern using all down strokes: 4^th fret w/ index finger, 7^th fret with your pinky finger, and 5^th fret with your middle finger, and 6^th fret with your ring finger.

44:12 On string 6, at the 3^rd fret, play the following pattern using all down strokes: 3^rd fret w/ index finger, 6^th fret with your pinky finger, and 4^th fret with your middle finger, 5^th fret with your ring finger.

44:13 On string 6, at the 2^nd fret, play the following pattern using all down strokes: 2^nd fret w/ index finger, 5^th fret with your pinky finger, and 3^rd fret with your middle finger, 4^th fret with your ring finger.

44:14 On string 6, at the 1^st fret, play the following pattern using all down strokes: 1^st fret w/ index finger, 4^th fret with your pinky finger, and 2^nd fret with your middle finger, 3^rd fret with your ring finger.

44:15 On string 6, at the 2^nd fret, play the following pattern using all down strokes: 2^nd fret w/ index finger, 5^th fret with your pinky finger, and 3^rd fret with your middle finger, 4^th with your ring finger.

44:16 On string 6, at the 3^rd fret, play the following pattern using all down strokes: 3^rd fret w/ index finger, 6^th fret with your pinky finger, and 4^th fret with your middle finger, 5^th with your ring finger.

44:17 On string 6, at the 4^th fret, play the following pattern using all down strokes: 4^th fret w/ index finger, 7^th fret with your pinky finger, 5^th with your middle finger and 6^th fret with your ring finger.

44:18 On string 6, at the 5^th fret, play the following pattern using all down strokes: 5^th fret w/ index finger, 8^th with your pinky finger, 6^th fret with your middle finger, and 7^th fret with your ring finger.

44:19 On string 6, at the 6^th fret, play the following pattern using all down strokes: 6^th fret w/ index finger, 9^th fret with your pinky finger, 7^th fret with your middle finger and 8^th fret with your ring finger.

44:21 On string 6, at the 7th fret, play the following pattern using all down strokes: 7^th fret w/ index finger, 10^th fret with your pinky finger, 8^th with your middle finger and 9^th fret with your ring finger.

44:21 On string 6, at the 8th fret, play the following pattern using all down strokes: 8^th fret w/ index finger, 11^th fret with your pinky finger, 9^th with your middle finger and 10^th fret with your ring finger.

44:22 On string 6, at the 9th fret, play the following pattern using all down strokes: 9^th fret w/ index finger, 12^th with your pinky finger, 10^th fret with your middle finger, and 11^th fret with your middle finger.

44:23 On string 6, at the 10th fret, play the following pattern using all down strokes: 10^th fret w/ index finger, 13^th fret with your pinky finger, 11^th with your middle finger, and 12^th fret with your ring finger.

44:24 On string 6, at the 11th fret, play the following pattern using all down strokes: 11^th fret w/ index finger, 14^th fret with your pinky finger, 12^th with your middle finger, and 13^th fret with your ring finger.

44:25 On string 6, at the 12th fret, play the following pattern using all down strokes: 12^th fret w/ index finger, 15^th fret with your pinky finger, 13^th with your middle finger and 14^th fret with your ring finger.

44:27 Repeat exercises 44:3 – 44:25 on the string 5.

44:27 Repeat exercises 44:3 – 44:25 on the string 4.

44:28 Repeat exercises 44:3 – 44:25 on the string 3.

44:29 Repeat exercises 44:3 – 44:25 on the string 2.

44:30 Repeat exercises 44:3 – 44:25 on the string 1.

44:31 Repeat exercises 44:3 – 44:30 using alternating strokes (up and down) instead of just down strokes.

44:32 Repeat 44:3 – 44:30 without palm muting w/down strokes.

44:33 Repeat 44:3 – 44:30 w/palm muting and w/down strokes.

44:34 Repeat 44:3 – 44:30 w/alternating strokes, w/palm muting.

44:35 If it feels comfortable, this pattern can be played at higher frets than the ones listed. For example, on string 6, at the 13^th fret, play the following: 13^th fret w/index finger, 16^th fret with your pinky finger, 14^th fret w/your middle finger, and 15^th fret w/ring finger. Repeat this pattern 4x counting to 4 each time the pattern is repeated.

44:36 Follow the pattern in 44:3 - 44:34 as far up the frets is as still easy or playable on your guitar.

44:37 Then, feel free to work your way back to the 12^th fret using the same pattern. Possibly consider moving the pattern down the fret in whole steps. For example, start at the pattern at the 19^th fret, then the 17^th fret, then the 15^th fret, then the 13^th, then the 11^th fret.

67th Guitar Snake River Rapids Exercises: Index, Pinky, Ring, Middle, Index in 5s

Note2: Palm muting refers to muting the actual string that you are playing, and all the other strings.

Note3: Without palm muting refers to not muting the string your are playing, while you are playing it, but then muting it after each note, while muting all the other strings.

Note5: Alternating strokes refers to picking with upward strokes and downward strokes. The purpose of alternating strokes is usually to gain speed while picking.

Note6: Counting 5s may sound irregular or unusual to the person playing them, and this is only because so few songs actually use 5s, but nonetheless, a good guitar player should know how to play and count 5s.

67:1 The first set of exercises I gave was primarily so that one doesn’t injure their fretting hand by stretch too much. Next, I increased the “jiggas,” giving a picking hand work out. The lesson-blogs between 40 to 63 are on strengthening speed and finger motility. The 5s rapids series deals with the odd time signature 5/5 time, which is usually counted 2 then 3, or 3 then 2, but if you are able I encourage you not to split your counting though I realize that may not be possible.

67:2 The exercises in this blog will involve the index finger, the middle finger, the ring finger and the pinky finger.

67:3 On string 6, at the 12^th fret, play the following pattern using all down strokes: 12^th fret w/index finger, 15^th fret with your pinky finger, 14^th fret with your ring finger, 13^th fret with your middle finger, and 12^th fret w/index finger. There are 5 notes in this pattern, and I encourage students to try to count all five of them, not splitting 5 into smaller time signatures.

67:4 On string 6, at the 11^th fret, play the following pattern using all down strokes: 11^th fret w/index finger, 14^th fret with your pinky finger, 13^th fret with your ring finger, 12^th fret with your middle finger, and 11^th fret w/index finger.

67:5 On string 6, at the 10^th fret, play the following pattern using all down strokes: 10^th fret w/index finger, 13^th fret with your pinky finger, 12^th fret with your ring finger, 11^th fret with your middle finger, and 10^th fret w/index finger.

67:6 On string 6, at the 9^th fret, play the following pattern using all down strokes: 9^th fret w/index finger, 12^th fret with your pinky finger, 11^th fret with your ring finger, 10^th fret again with your middle finger, and 9^th fret w/index finger.

67:7 On string 6, at the 8^th fret, play the following pattern using all down strokes: 8^th fret w/index finger, 11^th fret with your pinky finger, 10^th fret with your ring finger, 9^th fret again with your middle finger, and 8^th fret w/index finger.

67:8 On string 6, at the 7^th fret, play the following pattern using all down strokes: 7^th fret w/index finger, 10^th fret with your pinky finger, 9^th fret with your ring finger, 8^th fret with your ring finger, and 7^th fret w/middle finger, and 7^th fret w/index finger.

67:9 On string 6, at the 6^th fret, play the following pattern using all down strokes: 6^th fret w/index finger, 9^th fret with your pinky finger, 8^th fret with your ring finger, 7^th fret with your middle finger, and 6^th fret w/index finger.

67:10 On string 6, at the 5^th fret, play the following pattern using all down strokes: 5^th fret w/index finger,8^th fret with your pinky finger, 7^th fret with your ring finger, 6^th fret with your middle finger, and 5^th fret w/index finger.

67:11 On string 6, at the 4^th fret, play the following pattern using all down strokes: 4^th fret w/index finger, 7^th fret with your pinky finger, 6^th fret with your ring finger, 5^th fret with your middle finger, and 4^th fret w/index finger.

67:12 On string 6, at the 3^rd fret, play the following pattern using all down strokes: 3^rd fret w/index finger, 6^th fret with your pinky finger, 5^th fret with your ring finger, 4^th fret with your middle finger, and 3^rd fret w/index finger.

67:13 On string 6, at the 2^nd fret, play the following pattern using all down strokes: 2^nd fret w/index finger, 5^th fret with your pinky finger, 4^th fret with your ring finger, 3^rd fret with your middle finger, 2^nd fret w/index finger.

67:14 On string 6, at the 1^st fret, play the following pattern using all down strokes: 1^st fret w/index finger, 4^th fret with your pinky finger, 3^rd fret with your ring finger, 2^nd fret with your middle finger, and 1^st fret w/index finger.

67:15 On string 6, at the 2^nd fret, play the following pattern using all down strokes: 2^nd fret w/index finger, 5^th fret with your pinky finger, 4^th fret with your ring finger, 3^rd fret with your middle finger, and 2^nd fret w/index finger.

67:16 On string 6, at the 3^rd fret, play the following pattern using all down strokes: 3^rd fret w/index finger, 6^th fret with your pinky finger, 5^th fret with your ring finger, 4^th fret with your middle finger, and 3^rd fret w/index finger.

67:17 On string 6, at the 4^th fret, play the following pattern using all down strokes: 4^th fret w/index finger, 7^th fret with your pinky finger, 6^th fret with your ring finger, 5^th fret with your middle finger, and 4^th fret w/index finger.

67:18 On string 6, at the 5^th fret, play the following pattern using all down strokes: 5^th fret w/index finger, 8^th fret with your pinky finger, 7^th fret with your ring finger, 6^th fret with your middle finger, and 5^th fret w/index finger.

67:19 On string 6, at the 6^th fret, play the following pattern using all down strokes: 5^th fret w/index finger, 9^th fret with your pinky finger, 8^th fret with your ring finger, 7^th fret with your middle finger, and 6^th fret w/index finger.

67:21 On string 6, at the 7^th fret, play the following pattern using all down strokes: 7^th fret w/index finger, 10^th fret with your pinky finger, 9^th fret with your ring finger, 8^th fret with your middle finger, and 7^th fret w/index finger.

67:21 On string 6, at the 8^th fret, play the following pattern using all down strokes: 8^th fret w/index finger, 11^th fret with your pinky finger, 10^th fret with your ring finger, 9^th fret with your middle finger, and 8^th fret w/index finger.

67:22 On string 6, at the 9^th fret, play the following pattern using all down strokes: 9^th fret w/index finger, 12^th fret with your pinky finger, 11^th fret with your ring finger, 10^th fret with your middle finger, and 9^th fret w/index finger.

67:23 On string 6, at the 10^th fret, play the following pattern using all down strokes: 10^th fret w/index finger, 13^th fret with your pinky finger, 12^th fret with your ring finger, 11^th fret with your middle finger, and 10^th fret w/index finger.

67:24 On string 6, at the 11^th fret, play the following pattern using all down strokes: 11^th fret w/index finger, 14^th fret with your pinky finger, 13^th fret with your ring finger, 12^th fret with your middle finger, and 11^th fret w/index finger.

67:25 On string 6, at the 12^th fret, play the following pattern using all down strokes: 10^th fret w/index finger, 15^th fret with your pinky finger, 14^th fret with your ring finger, 13^th fret with your middle finger, and 12^th fret w/index finger.

67:27 Repeat exercises 67:3 – 67:25 on the string 5.

67:27 Repeat exercises 67:3 – 67:25 on the string 4.

67:28 Repeat exercises 67:3 – 67:25 on the string 3.

67:29 Repeat exercises 67:3 – 67:25 on the string 2.

67:30 Repeat exercises 67:3 – 67:25 on the string 1.

67:31 Repeat exercises 67:3 – 67:30 using alternating strokes (up and down) instead of just down strokes.

67:32 Repeat 67:3 – 67:30 without palm muting w/down strokes.

67:33 Repeat 67:3 – 67:30 w/palm muting and w/down strokes.

67:34 Repeat 67:3 – 67:30 w/alternating strokes, w/palm muting.

67:35 If it feels comfortable, this pattern can be played at higher frets than the ones listed. For example, on string 6, at the 13^th fret, play the following: 13^th fret w/index finger, 16^th fret with your pinky finger, 15^th fret w/your ring finger, 14^th fret w/middle finger, and 13^th fret w/index finger.

67:36 Follow the pattern in 67:3 - 67:33 as far up the frets is as still easy or playable on your guitar.

67:37 Then, feel free to work your way back to the 12^th fret using the same pattern. Possibly consider moving the pattern down the fret in whole steps. For example, start at the pattern at the 19^th fret, then the 17^th fret, then the 15^th fret, then the 13^th, then the 11^th fret.

2nd Guitar Snake River Rapids Exercises Mini Syllabus: Starting with the Ring Finger

46^th Guitar Snake River Rapids Exercises: Ring, Index, Pinky, Pinky in 4s

47^thGuitar Snake River Rapids Exercises: Ring, Index, Ring, Pinky in 4s

48^th Guitar Snake River Rapids Exercises: Ring, Ring, Pinky, Index in 4s

49^th Guitar Snake River Rapids Exercises: Ring, Ring, Index, Pinky in 4s

50^th Guitar Snake River Rapids Exercises: Ring, Pinky, Index, Ring in 4s

51^th Guitar Snake River Rapids Exercises: Ring, Pinky, Ring, Index in 4s

Thursday, December 6, 2012

Rest In Peace Dave Brubeck

It's too bad that he wasn't known very well among my generation. However, maybe it is better that way, for in my generation the only folks familiar with his work were probably musicians, and thus these musicians where by nature more fully able to appreciate his music. I have often thought that when I have gone to a stadium show full of tone deaf folks that there is something seriously missing, such as it is as if the show is more about the beer than the music.

Brubeck of course was a much better musician than any musician (except hired guns that are there to play a really simple parts for the masses of the tone deaf) that I have known to play a stadium. That Brubeck probably never had to play a stadium is to his credit.

Wednesday, December 5, 2012

Drugs and Rock n’ Roll

There is a reason why people that have done drugs have supposedly produced some of their best music during periods when they have been druggies. This is not a recommendation to do drugs to get popular, but it is a statement that when someone becomes learned in music it becomes increasingly harder for him or her to communicate to a large audience. The reason for this is that large audiences often have many folks, if not a majority of folks that are tone deaf and wouldn’t know a good song if they heard one. Thus, it is such that when one who is under the influence of drugs writes, he or she often falls back onto simple song structures that tone deaf folks cheer for, and write rave reviews for. The person on drugs is almost certainly incapable of writing a cerebral song, and that is why he or she gains popularity.

Sunday, December 2, 2012

**** Time Odyssey by Vinnie Moore – At the Guitar Virtuoso Level: Time Odyssey Is About Average

I can definitely recommend this album to someone who likes music like Jason Becker, Tony MacAlpine, Joe Satriani, James Murphy, Chris Poland, and the many others that put out albums where a soloing guitar player is central to the music. This is the guitar virtuoso level, which is strangely a genre rather than an actual description. This is because there are some folks who don’t play in the guitar virtuoso genre, that are guitar virtuosos nonetheless. With the event of the earth’s population being in the billions, good guitarists grow on trees, and virtuosos are common enough.

I like this album. I’d give every track on it a chance if you buy it. You will probably like all of the tracks. I know I did. However, what I do have to say is that if you enjoy this genre, the guitar virtuoso genre, then Time Odyssey is only an average entry. It is certainly not a bad album. At this level, I’d rate an album that was a fizzle three, ***, stars, while I would rate a favorite five, *****, stars.

Pop music in my opinion generally ranges from 1 star to 3 stars. I know that I drew a lot of angry comments from Smashing Pumpkins when I rated Melancholy and the Infinite Sadness only 3 stars. Really, who thinks melancholy is all that great? Lol! Then, when I felt people were becoming over critical of my 3 star rating, I reduced it to 2 stars, the exact opposite direction. That is when they really started to get angry, and millions of reviewers became rated higher than me. Despite my lack of popularity, I was proud of myself for making my point provocative enough that people cared about it, even if it was only to try to demolish my point of view in favorite of the bitters of melancholy.

I pointed out that I don’t give starred ratings to music that I think has no redeeming qualities, which also seemed like Greek to those folks. That’s right! With me you have to earn every star you get! Time Odyssey earned 4 out of a possible 5. Therefore, Time Odyssey is a damn good album, that is definitely worth buying, and really what I mean by not giving it that 5^th star is that 100 years from now, I don’t believe people will still be seeking this album out for purchase anymore than they are now.

Like a Vincent van Gogh painting, I tend to reserve 5 star ratings for albums that might get remembered after the death of the artist, especially an artist who isn’t very popular in his or her lifetime, in the same way that generally folks ran as far as they could get when it came to Vincent van Gogh in his lifetime. I have to admit, that does seem unfortunate, especially when you can probably figure that The Who will be remember 100 years from now, but would only draw 3 or 2 stars from me on most of their albums.

If the guitar virtuoso genre isn’t your thing, Time Odyssey may be easily overlooked, perhaps in favor of jazz album, or a good jam band album. Whatever suits your taste, even if it be wasting away again in margarita ville .

50 Great Metal Bands: Maybe Some Are More Deserving, But I Figure This Is a Good List

The Order Changes by the Season…and Well?

Also, I invite you to compare my list to this one, which I think is also very good: http://www.digitaldreamdoor.com/pages/best_metal-art.html

First of all, I should not that this is not a direction I am heading in. In fact, probably the opposite is true. My favorite discs these days tend to be jazz fusion. The music here is primarily from the time of my high school and college, but that doesn’t mean I don’t like it either. So while my taste has evolved, it is still fairly clear in my mind what I think metal is, and while I have a taste for things other than metal, as I have always have, while retaining my taste in metal, I do realize that it is generally easier for me to make a list of bands, than a list of jazz musicians, who more than not cobble together albums rather than playing with any set group. Enjoy!

1. Dream Theater

2. Megadeth

3. Iced Earth

4. GWAR

5. Ring of Fire

6. Planet X

7. Savatage

8. Queensryche

9. Ayreon

10. Opeth

11. Morbid Angel

12. Tool

13. Led Zeppelin

14. Mull Muzzler

15. Testament

16. Manowar

17. Tony MacAlpine

18. Meshuggah

19. O.S.I

20. Death

21. Candiria

22. Platypus

23. King Diamond

24. Iron Maiden

25. Black Sabbath

26. Mercyful Fate

27. Metallica

28. Fear Factory

29. Derek Sherinian

30. For the Love of

31. Slayer

32. Earth Crisis

33. Motley Crue

34. Ozzy Osbourne

35. Symphony X

36. Stratovarious

37. Judas Priest

38. Fates Warning

39. Pantera

40. Skid Row

41. Rage Against the Machine

42. Dimmu Borgir

43. Suffocation

44. Stryper

45. God Forbid

46. Shadows Fall

47. The Dillinger Escape Plan

48. Sepultura

49. Alter Bridge

50. In Flames

43rd Guitar Snake River Rapids Exercises: Index, Pinky, Ring, Middle in 4s

Note2: Palm muting refers to muting the actual string that you are playing, and all the other strings.

Note3: Without palm muting refers to not muting the string your are playing, while you are playing it, but then muting it after each note, while muting all the other strings.

Note5: Alternating strokes refers to picking with upward strokes and downward strokes. The purpose of alternating strokes is usually to gain speed while picking.

43:1 The first set of exercises I gave was primarily so that one doesn’t injure their fretting hand by stretch too much. Next, I increased the “jiggas,” giving a picking hand work out. The lesson-blogs from 40 to 63 will be on strengthening speed and finger motility.

43:2 The exercises in this blog will involve the index finger, the middle finger, the ring finger and the pinky finger. Unlike earlier exercises, it will go below the 5^th fret.

43:3 On string 6, at the 12^th fret, play the following pattern using all down strokes: 12^th fret w/index finger, 15^th fret with your pinky finger, 14^th fret with your ring finger, and 13^th fret with your middle finger.

43:4 On string 6, at the 11^th fret, play the following pattern using all down strokes: 11^th fret w/index finger, 14^th fret with your pinky finger, 13^th fret with your ring finger, and 12^th fret with your middle finger.

43:5 On string 6, at the 10^th fret, play the following pattern using all down strokes: 10 fret w/index finger, 13^th fret with your pinky finger, 12^th fret with your ring finger, and 11^th fret with your middle finger.

43:6 On string 6, at the 9^th fret, play the following pattern using all down strokes: 9^th fret w/index finger, 12^th fret with your pinky finger, 11^th fret with your ring finger, and 10^th fret again with your middle finger.

43:7 On string 6, at the 8^th fret, play the following pattern using all down strokes: 8^th fret w/index finger, 10^th fret with your pinky finger, 10^th fret with your ring finger, and 9^th fret again with your middle finger.

43:8 On string 6, at the 7^th fret, play the following pattern using all down strokes: 7^th fret w/index finger, 9^th fret with your pinky finger, and 9^th fret with your ring finger, and 8^th fret with your middle finger.

43:9 On string 6, at the 6^th fret, play the following pattern using all down strokes: 6^th fret w/index finger, 8^th fret with your pinky finger, and 8^th fret with your ring finger 7^th fret with your middle finger.

43:10 On string 6, at the 5^th fret, play the following pattern using all down strokes: 5^th fret w/ index finger, 8^th fret with your pinky finger, 7^th fret w/ring finger, and 6^th fret with your middle finger.

43:11 On string 6, at the 4^th fret, play the following pattern using all down strokes: 4^th fret w/ index finger, 7^th fret with your pinky finger, and 6^th fret with your ring finger, and 5^th fret with your middle finger.

43:12 On string 6, at the 3^rd fret, play the following pattern using all down strokes: 3^rd fret w/ index finger, 6^th fret with your pinky finger, and 5^th fret with your ring finger, 4^th fret with your middle finger.

43:13 On string 6, at the 2^nd fret, play the following pattern using all down strokes: 2^nd fret w/ index finger, 5^th fret with your pinky finger, and 4^th fret with your ring finger, 3^rd fret with your middle finger.

43:14 On string 6, at the 1^st fret, play the following pattern using all down strokes: 1^st fret w/ index finger, 4^th fret with your pinky finger, and 3^th fret with your ring finger, 2^nd fret with your middle finger.

43:15 On string 6, at the 2^nd fret, play the following pattern using all down strokes: 2^nd fret w/ index finger, 5^th fret with your pinky finger, and 4^th fret with your ring finger, 3^rd with your middle finger.

43:16 On string 6, at the 3^rd fret, play the following pattern using all down strokes: 3^rd fret w/ index finger, 6^th fret with your pinky finger, and 5^th fret with your ring finger, 4^th with your ring finger.

43:17 On string 6, at the 4^th fret, play the following pattern using all down strokes: 4^th fret w/ index finger, 7^th fret with your pinky finger, 6^th with your ring finger and 5^th fret with your middle finger.

43:18 On string 6, at the 5^th fret, play the following pattern using all down strokes: 5^th fret w/ index finger, 8^th with your pinky finger, 7^th fret with your ring finger, and 6^th fret with your middle finger.

43:19 On string 6, at the 6^th fret, play the following pattern using all down strokes: 6^th fret w/ index finger, 9^th fret with your pinky finger, 8^th fret with your ring finger and 7^th fret with your middle finger.

43:21 On string 6, at the 7th fret, play the following pattern using all down strokes: 7^th fret w/ index finger, 10^th fret with your pinky finger, 9^th with your ring finger and 8^th fret with your middle finger.

43:21 On string 6, at the 8th fret, play the following pattern using all down strokes: 8^th fret w/ index finger, 11^th fret with your pinky finger, 10^th with your ring finger and 9^th fret with your middle finger.

43:22 On string 6, at the 9th fret, play the following pattern using all down strokes: 9^th fret w/ index finger, 12^th with your pinky finger, 11^th fret with your ring finger, and 10^th fret with your middle finger.

43:23 On string 6, at the 10th fret, play the following pattern using all down strokes: 10^th fret w/ index finger, 13^th fret with your pinky finger, 12^th with your ring finger, and 11^th fret with your middle finger.

43:24 On string 6, at the 11th fret, play the following pattern using all down strokes: 11^th fret w/ index finger, 14^th fret with your pinky finger, 13^th with your ring finger, and 12^th fret with your middle finger.

43:25 On string 6, at the 12th fret, play the following pattern using all down strokes: 12^th fret w/ index finger, 15^th fret with your pinky finger, 14^th with your ring finger and 13^th fret with your middle finger.

43:27 Repeat exercises 43:3 – 43:25 on the string 5.

43:27 Repeat exercises 43:3 – 43:25 on the string 4.

43:28 Repeat exercises 43:3 – 43:25 on the string 3.

43:29 Repeat exercises 43:3 – 43:25 on the string 2.

43:30 Repeat exercises 43:3 – 43:25 on the string 1.

43:31 Repeat exercises 43:3 – 43:30 using alternating strokes (up and down) instead of just down strokes.

43:32 Repeat 43:3 – 43:30 without palm muting w/down strokes.

43:33 Repeat 43:3 – 43:30 w/palm muting and w/down strokes.

43:34 Repeat 43:3 – 43:30 w/alternating strokes, w/palm muting.

43:35 If it feels comfortable, this pattern can be played at higher frets than the ones listed. For example, on string 6, at the 13^th fret, play the following: 13^th fret w/index finger, 16^th fret with your pinky finger, 15^th fret w/your ring finger, and 14^th fret w/middle finger. Repeat this pattern 4x counting to 4 each time the pattern is repeated.

43:36 Follow the pattern in 43:3 - 43:33 as far up the frets is as still easy or playable on your guitar.

43:37 Then, feel free to work your way back to the 12^th fret using the same pattern. Possibly consider moving the pattern down the fret in whole steps. For example, start at the pattern at the 19^th fret, then the 17^th fret, then the 15^th fret, then the 13^th, then the 11^th fret.

19th Blues Pentatonic Drill: 2 Fattest Strings. Mode 1, Position 1. Root , 4, flat 3, root.

Introduction to the Lesson

A. 1^st 1^st Position Pentatonic Soloing Drills: Mega Lesson Syllabus for 2 String Play of Single Notes

a. 1st Killing the 1^st Position Blues Pentatonic Scales in 4s on the 1^st and 2^nd Strings

1. 1^st 27 Lessons for Mode 1 Blues Pentatonic Drills in 4/4 Time on String 1 and 2, Position 1

· 19^th Blues Pentatonic Drill: 2 Fattest Strings. Mode 1, Position 1.Root , 4, flat 3, root.

Note1: Please note, that I call the fattest string, the 1^st string. Thus, the second fattest string would be the 2^nd string, and the skinniest string would be the 6^th string, and so on.

Note3: 1: Refers to the section of pentatonic drills. In this case, 1 means that the drill is for 1 and 2 strings. For example, the second section uses 3 strings.

The Lesson Itself

1:1:1:19:1 The root note will be the lowest note for this exercise. The root note does not have to be the first note, nor the lowest note, but for this lesson it will be. Laying out the pattern root, flat 3, 4, 5, on a fret board that has standard tuning will always follow the following pattern: On the 1^st string, the root will be the first note, and the second note of the pentatonic scale ascends 3 half step on the same string, which is the 1^st string, and the 4^th is a whole step up from flat three, and is at the same fret as the root note, but on the 2^nd string. Like the 4^th, the 5^th is also played on the 2^nd string. This 4 note pattern represents a cross section of the blues pentatonic scale, where each drill will contain between 2 to 4 of this pattern of notes.

1:1:1:19:2 The time signature will be 4/4 time. That means that it is to be counted in 4s. Where the 1st note of the 4 note sequence is played slightly louder than or stressed compared the rest.

1:1:1:19:3 Time to play. Make sure your guitar is in tune, and has standard tuning. In another blog, I describe how this is to be accomplished through the usual methods.

1:1:1:19:4 With your index finger play the 12^th note of the 1^st string with a down stroke. This place on the fret board is usually designated with a double dot marking. This should be an E note. Use your right hand to mute all the strings except for the string that is being played. The next note to be played is a play is a 4^th from the E. It is also an A note, and played with an upstroke. It is at the 12^th fret but on the 2^nd string. It is to be carefully played with the pinky finger such that pain does not occur. If you feel unable to do this don’t force your hand to play it because that is how injuries occur. Play the 3^rd note on the 1^st string with the pinky finger, such that the transition actually causes the other strings to be muted. This note is played with an down stroke and is an G note. In this case the 4^th note is the root note in the key of E minor, an E. The root is the 4^th note of the sequence. It is to be played on the 1^st string. It is played with an upstroke at the 12^th fret with the index finger. Again, it is good to try to mute all the strings, except for the one that you are playing. Thus, it is such that with this exercise, a pattern is created, with ones fingers, index, middle, ring, and pinky.

1:1:1:19:5 Next repeat this pattern, always using a down stroke on the 1^st sting when playing the root note. Play the pattern four times. Later, sometimes I will indicate that you should use down strokes for each note that is played.

1:1:1:19:6 Next, play the same pattern a half step lower. These steps of moving this pattern up and down the fret board cause key changes. It will follow the pattern, 1^st string 11^th fret using the index finger, 2^nd string 11^th fret using the index finger, 1^st string 14^th fret using the pinky finger, and finish with the 4^th note on the 1^st string at the 11^th fret using the index finger. This is the key of E flat. Play this four times, counting 4s. Then, repeat the pattern of 1:1:1:19:6 picking with all down strokes.

1:1:1:19:7 Next, play the same pattern a half step lower, the key of D. That is, these steps of moving this pattern up and down the fret board cause key changes. This sequence will follow the pattern, 1^st string 10^th fret using the index finger, 1^st string 10^th fret using the index finger, 1^st string 13^th fret using the pinky finger, and finish with the 4^th note on the 1^st string at the 10^th fret using the index. Play this four times, counting 4s. Then, repeat the pattern of 1:1:1:19:7 picking with all down strokes.

1:1:1:19:8 Repeat the above described pattern moving up and down the fret board, changing keys every time the pattern is moved. This pattern is well establish in pentatonic lessons 1-10.

1:1:1:19:9 Repeat 1:1:1:19:4-8 except play the pattern only 1 time instead of 4 times working on the fluidity of your playing.

1:1:1:19:10 If possible on your guitar, you may wish to continue this pattern above the 12^th fret. On some guitars, it may be possible to go up to the 24^th fret, if your guitar has one, with this pattern.

1:1:1:19:11 After having worked your way above the 12^th fret, now work your way back.