**** Ice Cycles by Platypus – Relaxed and Smooth Prog Rockin’

I could understand someone if they were unable to even recognize this as progressive rock. You almost need to be a musician to figure out these fairly tricky rhythms. However, if you are uneducated, this music would likely slip by under your radar of music that is for dorky musicians like myself. It also might slip by if you are uneducated that these musicians are some of the best that progressive rock has to offer, especially because they aren’t wailing on their instruments. Perhaps, that is what is most ground breaking about Ice Cycles, it is good music that doesn’t wail. I have heard enough music to know that music that doesn’t wail, especially modern music is very rare. There is just a much larger audience for those that wish to listen to progressive metal that wails for the entire album or the entire show, such that when a band gets through a song and hasn’t injected a slammin’ attitude into their sound that this comes as somewhat of a surprise. Sure it may have a few pretty picked arpeggios. However, they don’t make for the meat of the song. In that way, this album is almost clandestine, and will probably remain as such. John Myung has always struck me as an introvert, and thus it is such that perhaps this style fits his modus operandi more than any other. Anyway, this effort is very much appreciated. I really like this cd though I would not go so far as to give it the 5th star and say that it is a classic.

**** Frizzle Fry by Primus – Few Rock Groups Have Been So Exploratory As Primus

First of all, from start to finish this is a great album. It’s also an old album, but if you listen to it, you should find it unique and interesting. Few bands of the 1990’s have achieved the level of originality as Primus. One other band that I think of as in this same category is the Red Hot Chili Peppers, especially earlier in their career. Though some may disagree, or even wish that it weren’t there is no denying that Primus is a Prog Rock band. Quite frankly, when I use the word Progressive, I simply mean talented or that they have broken free from the norm. With his band Primus, Les Claypool created a very unique style of a bass fronted band, and to do so it meant that the guitar did something different as well. Thus, it is such that the guitar is also key to the bass fronted sounded. This album goes back to the time of cassette tapes, and that was actually the first time I heard this album. My friend let me borrow his cassette tape. As a kid, I instantaneously knew that there was something special, unique, and creative about this cassette. However, I do recognize that cassettes are generally a terrible format because the tape itself can stretch, resulting in the band sounding out of tune, such that I don’t recommend Frizzle Fry on cassette. Get the cd. You will probably be able to find it for a reasonable price, used. I personally, prefer the cd version though I fully understand folks who like to download their music, so ultimately, my recommendation is to purchase the most budget minded version of this work of art, where Primus is describable as unlike anything that had come before it.

46th Guitar Snake River Rapids Exercises: Ring, Index, Pinky, Pinky 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. 46:1 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. 46:2 The exercises in this blog will involve the index finger, the ring finger, the pinky finger and the pinky finger. Unlike earlier exercises, it will go below the 5th fret. 46:3 On string 6, at the 12th fret, play the following pattern using all down strokes: 14th fret w/ring finger, 12th fret with your index finger, 15th fret with your pinky finger, and 15th fret with your pinky finger. 46:4 On string 6, at the 11th fret, play the following pattern using all down strokes: 13th fret w/ring finger, 11th fret with your index finger, 14th fret with your pinky finger, and 14th fret with your pinky finger. 46:5 On string 6, at the 10th fret, play the following pattern using all down strokes: 12 fret w/ ring finger, 10th fret with your index finger, 13th fret with your pinky finger, and 13th fret with your pinky finger. 46:6 On string 6, at the 9th fret, play the following pattern using all down strokes: 11th fret w/ring finger, 9th fret with your index finger, 12th fret with your pinky finger, and 12th fret again with your pinky finger. 46:7 On string 6, at the 8th fret, play the following pattern using all down strokes: 10th fret w/ ring finger, 8th fret with your index finger, 11th fret with your pinky finger, and 11th fret again with your pinky finger. 46:8 On string 6, at the 7th fret, play the following pattern using all down strokes: 9th fret w/ ring finger, 7th fret with your index finger, and 10th fret with your pinky finger, and 10th fret with your pinky finger. 46:9 On string 6, at the 6th fret, play the following pattern using all down strokes: 8th fret w/ ring finger, 6th fret with your index finger, and 9th fret with your pinky finger, 9th fret with your pinky finger. 46:10 On string 6, at the 5th fret, play the following pattern using all down strokes: 7th fret w/ ring finger, 5th fret with your index finger, 8th fret w/pinky finger, and 8th fret with your pinky finger. 46:11 On string 6, at the 4th fret, play the following pattern using all down strokes: 6th fret w/ ring finger, 4th fret with your index finger, and 7th fret with your pinky finger, and 7th fret with your pinky finger. 46:12 On string 6, at the 3rd fret, play the following pattern using all down strokes: 5th fret w/ ring finger, 3rd fret with your index finger, and 6th fret with your pinky finger, 6th fret with your pinky finger. 46:13 On string 6, at the 2nd fret, play the following pattern using all down strokes: 4th fret w/ ring finger, 2nd fret with your index finger, and 5th fret with your pinky finger, 5th fret with your pinky finger. 46:14 On string 6, at the 1st fret, play the following pattern using all down strokes: 3rd fret w/ ring finger, 1st fret with your index finger, and 4th fret with your pinky finger, 4th fret with your pinky finger. 46:15 On string 6, at the 2nd fret, play the following pattern using all down strokes: 4th fret w/ ring finger, 2nd fret with your index finger, and 5th fret with your pinky finger, 5th with your pinky finger. 46:16 On string 6, at the 3rd fret, play the following pattern using all down strokes: 5th fret w/ ring finger, 3rd fret with your index finger, and 6th fret with your pinky finger, 6th with your pinky finger. 46:17 On string 6, at the 4th fret, play the following pattern using all down strokes: 6th fret w/ ring finger, 4th fret with your index finger, 7th with your pinky finger and8 7th fret with your pinky finger. 46:18 On string 6, at the 5th fret, play the following pattern using all down strokes: 7th fret w/ ring finger, 5th with your index finger, 8th fret with your pinky finger, and 8th fret with your pinky finger. 46:19 On string 6, at the 6th fret, play the following pattern using all down strokes: 8th fret w/ ring finger, 6th fret with your index finger, 9th fret with your pinky finger and 9th fret with your pinky finger. 46:21 On string 6, at the 7th fret, play the following pattern using all down strokes: 9th fret w/ ring finger, 7th fret with your index finger, 10th with your pinky finger and 10th fret with your pinky finger. 46:21 On string 6, at the 8th fret, play the following pattern using all down strokes: 10th fret w/ ring finger, 8th fret with your index finger, 11th with your pinky finger and 11th fret with your pinky finger. 46:22 On string 6, at the 9th fret, play the following pattern using all down strokes: 11th fret w/ ring finger, 9th with your index finger, 12th fret with your pinky finger, and 12th fret with your pinky finger. 46:23 On string 6, at the 10th fret, play the following pattern using all down strokes: 12th fret w/ ring finger, 10th fret with your index finger, 13th with your pinky finger, and 13th fret with your pinky finger. 46:24 On string 6, at the 11th fret, play the following pattern using all down strokes: 13th fret w/ ring finger, 11th fret with your index finger, 14th with your pinky finger, and 14th fret with your pinky finger. 46:25 On string 6, at the 12th fret, play the following pattern using all down strokes: 14th fret w/ ring finger, 12th fret with your index finger, 15th with your pinky finger and 15th fret with your pinky finger. 46:27 Repeat exercises 46:3 – 46:25 on the string 5. 46:27 Repeat exercises 46:3 – 46:25 on the string 4. 46:28 Repeat exercises 46:3 – 46:25 on the string 3. 46:29 Repeat exercises 46:3 – 46:25 on the string 2. 46:30 Repeat exercises 46:3 – 46:25 on the string 1. 46:31 Repeat exercises 46:3 – 46:30 using alternating strokes (up and down) instead of just down strokes. 46:32 Repeat 46:3 – 46:30 without palm muting w/down strokes. 46:33 Repeat 46:3 – 46:30 w/palm muting and w/down strokes. 46:34 Repeat 46:3 – 46:30 w/alternating strokes, w/palm muting. 46:35 If it feels comfortable, this pattern can be played at higher frets than the ones listed. For example, on string 6, at the 13th fret, play the following: 15th fret w/ring finger, 13th fret with your index finger, 16th fret w/your pinky finger, and 16th fret w/pinky finger. Repeat this pattern 4x counting to 4 each time the pattern is repeated. 46:36 Follow the pattern in 46:3 - 46:34 as far up the frets is as still easy or playable on your guitar. 46:37 Then, feel free to work your way back to the 12th fret using the same pattern. Possibly consider moving the pattern down the fret in whole steps. For example, start at the pattern at the 19th fret, then the 17th fret, then the 15th fret, then the 13th, then the 11th fret.

List of Karaoke Songs I Can and/or Would Like to Do

Alice in Chains Would Bon Jovi Shot Through the Heart Counting Crows Mr. Jones Elton John Your Song Crocodile Rock Rocket Man Guns N’ Roses Welcome to the Jungle Sweet Child O’ Mine Lady Gaga Edge of Glory Madonna Like a Prayer Metallica Enter Sandman Queen Don’t Stop Me Now Another One Bites the Dust Queensyrche Silent Lucidity Rush Tom Sawyer Spirit of the Radio Van Halen Jump

***** Houses of the Holy by Led Zeppelin – The Best Led Zeppelin Album

Everybody, or perhaps almost everybody has their favorite Zeppelin album.  This one is mine.  And, this isn’t some sort of new thing for me.  This has been my favorite Zeppelin album since even before I got the 10 disc box set of all their albums back in high school.  I remember reading a Zeppelin biography by an insider in the Led Zeppelin outfit and this is the album I played all the while I was so fascinated when I read it.  In my opinion, this album is the last good one before Robert Plant needed help to make his voice sound thicker by electronics.  Since I learned Plant was a smoker, it became very easy for me to identify that his career’s glory would be shortened because physically one can’t expect to be a good singer if he or she is a smoker.  It just can’t be done.

My favorite song on this one is, “The Song Remains the Same.”  I appreciate it for its complexity, especially when I was a kid and was not familiar with more music.  If you have been a reader of mine, despite how unpopular cerebral music tends to be these days, I can tell you this is a good one.  Certainly, not the most of all time or something like that, but it sounds like a lot of work was put into it.  The Song Remains The Same is a work I would hope that anybody would be able to enjoy.

John Bonham is most certainly one of the best drummers ever in my opinion.  Too many drummers today trigger their material, such that every time a drum is hit, it sounds exactly the same way.  If you ask me, that’s cheating.  He might very well be my favorite drummer of all time because sometimes Dennis Chambers plays too many notes, and sometime Virgil Donati lacks taste in favor of playing something that can be done.

However, if you just listened to The Song Remains the Same, it would be a shame.  This record is awesome from start to finish.  Even its weakest song The Crunge is worth listening to.

*** Black Clouds & Silver Linings by Dream Theater – The Least Essential DT Album to My Collection

I won’t say that this is a bad album.  However, I will say that Dream Theater seems to have something both similar and better than everything on this album that they have done prior to BC&SL.  Prior to this, I won’t say that Dream Theater had done no wrong.  I did think 6 Degrees of Inner Turbulence was a weak and repetitive effort.  However, that much was all cleaned up when I heard 4 Degrees of Radio Edits, which is I think is totally awesome.  I’ll also say that I can’t tell if A Nightmare to Remember is supposed to be comedy or is serious, which probably means that the band was serious. Lol!

I guess what I find most disappointing about this album is that physically it offers nothing more than a typical hair band album, like say Poison, or Warrant.  Yes, I admit to liking Poison, but I don’t have any delusions about their technical grandeur, and when it comes to technical grandeur that is what I expect from them, and I feel that their offering of technical albums fills a very important role in many people’s lives, in the same way that folks where angry when Pantera broke up because Pantera filled a very important niche in peoples’ lives.

Wither is nothing but an mediocre ballad.  You know the standard ballad Dream Theater puts on an album that is just trash to attract new fans to the other stuff that they do that is better.  Except, what is different on this album is that the cheese ballad is one of the better songs on BC&SL.  Enough said!!!  .  As for this album, it doesn’t have any redeeming greatness, just mediocrity that might help them get popular, so I suggest moving on to something that will challenge you more intellectually, and not stuff that would have made it on the radio in the 1980s.

My best advice is not to buy this one and to buy a real Dream Theater album like Awake or A Dramatic Turn of Events.

***** The Ritual by Testament – Probably An Excellent Attempt At Selling Out While Saving Face

When Testament started out, they had too much grind for many to take notice of them.  If they followed that path, then they would have wound up like virtually unknown bands like Napalm Death.  Okay stop right there.  Some people love Napalm Death, and if you are one of them, that is cool by me because I typically don’t judge bands by the amount of fans they have.

What I like most about The Ritual is that it sounds close to being a sellout album, such as something my wife can listen to, while still sounding dark enough to be classified as metal.

I don’t know if the drums were triggered, but it doesn’t sound like they were.  That is always a plus.  Also, the distortion is not overdone.  I can generally tell what is being played when the distortion knob is cranked up to 10, but when every heavy band does that and also adds compression, it is like there is no dynamics to the sound.

The Ritual in a way sounds almost like Testament had admitted a failure on their earlier albums, and was going to head in the direction of Megadeth and Metallica during the better days of their career.  If that was their mission, they accomplished it well, and the ritual is on par with Metallica’s Kill Em’ All, and Megadeth’s Peace Sells, But Who’s Buying.

Likewise, though Anthrax has usually gotten more attention, especially in the early days, than Testament, Testament was much more flexible, and in my opinion proved to be the better band.  Thus, it should come as no surprise that when the killing days of metal, meaning the days where it became nearly extinct, Testament was able to pull through, and eventually flourish.

So, why 5 stars?

This album deserves 5 stars because anyone should be able to listen to it, appreciate it, and have something positive to say about it, no matter who they are or what walk of life they come from.

21st Blues Pentatonic Drill: 2 Fattest Strings. Mode 1, Position 1 Root, flat 3, 5, 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

*21^st Blues Pentatonic Drill:  2 Fattest Strings.  Mode 1, Position 1  Root, flat 3, 5, 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

1:1:1:21:1   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.

1:1:1:21:2  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.

1:1:1:21:3  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.

1:1:1:21:4  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 flat 3^rd  from the E.  It is also an G note, and played with an upstroke.  It is at the 15^th fret but on the 1^st 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 2^nd string with the ring finger, such that the transition actually causes the other strings to be muted.  This note is played with an down stroke and is an B 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.

1:1:1:21:5  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.

1:1:1:21:6  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, 1^st string 14^th fret using the pinky finger, 2^nd string 13^th  fret using the ring 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 1:1:1:21:6 picking with all down strokes.

1:1:1:21:7 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 13^th fret using the pinky finger, 2^nd string 12^th  fret using the ring 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 1:1:1:21:7 picking with all down strokes.

1:1:1:21:8  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.

1:1:1:21:9 Repeat 1:1:1:21:4-8 except play the pattern only 1 time instead of 4 times working on the fluidity of your playing.

1:1:1:21:10  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.

1:1:1:21:11  After having worked your way above the 12^th fret, now work your way back.

45th Guitar Snake River Rapids Exercises: Index, Ring, Pinky, Middle 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.

45:1  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.

45:2  The exercises in this blog will involve the index finger, the ring finger, the pinky finger and the middle finger.  Unlike earlier exercises, it will go below the 5^th fret.

45:3  On string 6, at the 12^th fret, play the following pattern using all down strokes: 12^th fret w/index finger, 14^th fret with your ring finger, 15^th fret with your pinky finger, and 13^th fret with your middle finger.

45:4  On string 6, at the 11^th fret, play the following pattern using all down strokes: 11^th fret w/index finger, 13^th fret with your ring finger, 14^th fret with your pinky finger, and 12^th fret with your middle finger.

45:5  On string 6, at the 10^th fret, play the following pattern using all down strokes: 10 fret w/index finger, 12^th fret with your ring finger, 13^th fret with your pinky finger, and 11^th fret with your middle  finger.

45:6  On string 6, at the 9^th fret, play the following pattern using all down strokes: 9^th fret w/index finger, 11^th fret with your ring finger, 12^th fret with your pinky finger, and 10^th fret again with your middle finger.

45:7  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 ring finger, 11^th fret with your pinky finger, and 9^th fret again with your middle finger.

45:8  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 ring finger, and 10^th fret with your pinky finger, and 8^th fret with your middle finger.

45:9  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 ring finger, and 9^th fret with your pinky finger, 7^th fret with your middle finger.

45:10  On string 6, at the 5^th fret, play the following pattern using all down strokes: 5^th fret w/ index finger, 7^th fret with your ring finger, 8^th fret w/pinky finger, and 6^th fret with your middle finger.

45:11  On string 6, at the 4^th fret, play the following pattern using all down strokes: 4^th fret w/ index finger, 6^th fret with your ring finger, and 7^th fret with your pinky finger, and 5^th fret with your middle finger.

45:12  On string 6, at the 3^rd fret, play the following pattern using all down strokes: 3^rd fret w/ index finger, 5^th fret with your ring finger, and 6^th fret with your pinky finger, 4^th fret with your middle finger.

45:13  On string 6, at the 2^nd fret, play the following pattern using all down strokes: 2^nd fret w/ index finger, 4^th fret with your ring finger, and 5^th fret with your pinky finger, 3^rd fret with your middle finger.

45:14  On string 6, at the 1^st fret, play the following pattern using all down strokes: 1^st fret w/ index finger, 3^rd fret with your ring finger, and 4^th fret with your pinky finger, 2^nd fret with your middle finger.

45:15  On string 6, at the 2^nd fret, play the following pattern using all down strokes: 2^nd fret w/ index finger, 4^th fret with your ring finger, and 5^th fret with your pinky finger, 3^rd with your middle finger.

45:16  On string 6, at the 3^rd fret, play the following pattern using all down strokes: 3^rd fret w/ index finger, 5^th fret with your ring finger, and 6^th fret with your pinky finger, 4^th with your middle finger.

45:17  On string 6, at the 4^th fret, play the following pattern using all down strokes: 4^th fret w/ index finger, 6^th fret with your ring finger, 7^th with your pinky finger and 5^th fret with your middle finger.

45:18  On string 6, at the 5^th fret, play the following pattern using all down strokes: 5^th fret w/ index finger, 7^th with your ring finger, 8^th fret with your pinky finger, and 6^th fret with your middle finger.

45:19  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 ring finger, 9^th fret with your pinky finger and 7^th fret with your middle finger.

45:21  On string 6, at the 7th fret, play the following pattern using all down strokes: 7^th fret w/ index finger, 9^th fret with your ring finger, 10^th with your pinky finger and 8^th fret with your middle finger.

45:21  On string 6, at the 8th fret, play the following pattern using all down strokes: 8^th fret w/ index  finger, 10^th fret with your ring finger, 11^th with your pinky finger and 9^th fret with your middle finger.

45:22  On string 6, at the 9th fret, play the following pattern using all down strokes: 9^th fret w/ index finger, 11^th with your ring finger, 12^th fret with your pinky finger, and 10^th fret with your middle finger.

45:23  On string 6, at the 10th fret, play the following pattern using all down strokes: 10^th fret w/ index finger, 12^th fret with your ring finger, 13^th with your pinky finger, and 11^th fret with your middle finger.

45:24  On string 6, at the 11th fret, play the following pattern using all down strokes: 11^th fret w/ index finger, 13^th fret with your ring finger, 14^th with your pinky finger, and 12^th fret with your middle finger.

45:25  On string 6, at the 12th fret, play the following pattern using all down strokes: 12^th fret w/ index finger, 14^th fret with your ring finger, 15^th with your pinky finger and 13^th fret with your middle finger.

45:27  Repeat exercises 45:3 – 45:25 on the string 5.

45:27  Repeat exercises 45:3 – 45:25 on the string 4.

45:28  Repeat exercises 45:3 – 45:25 on the string 3.

45:29  Repeat exercises 45:3 – 45:25 on the string 2.

45:30  Repeat exercises 45:3 – 45:25 on the string 1.

45:31  Repeat exercises 45:3 – 45:30 using alternating strokes (up and down) instead of just down strokes.

45:32 Repeat 45:3 – 45:30 without palm muting w/down strokes.

45:33 Repeat 45:3 – 45:30 w/palm muting and w/down strokes.

45:34 Repeat 45:3 – 45:30 w/alternating strokes, w/palm muting.

45:35  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, 15^th fret with your ring  finger, 16^th fret w/your pinky finger, and 14^th fret w/middle finger.  Repeat this pattern 4x counting to 4 each time the pattern is repeated.

45:36  Follow the pattern in 45:3 - 45:34 as far up the frets is as still easy or playable on your guitar. 

45:37  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.

***** The Dream Sequencer by Ayreon - Demonic Space Age Music Unlike Anything I Have Ever Heard Previously

When I first listened to this album it was so scary I wanted to hide under a pillow when I was listening to it.  I was scared to death, but I also liked it in the way a jalapeno pepper's, or in this case a habanero spice is thrilling.  This is the same way I am able to listen to jazz and appreciate it for what it is, even if it is softer, but sometimes death metal is just what the doctor ordered.  My wife actually was the one who called the sound of this album, "Demonic," and I would have to agree with her.  To me that just means that I'll listen to it when she is not around.  However, what I want you, the reader to know most is that this album delivers the goods when it comes to progressive rock.  It really is good music and not fluff pop music.  Sure it might be scary.  However, in my opinion that is just as if this album is as an artist might want to paint with one color more than another to the point of actually making a point with that color.  

**** Killing Is My Business and Business Is Good by Megadeth – Awesome and Totally Old School

The reason I subtracted a star and gave this album 4 stars is that I don’t want anyone to be disappointed with the quality of the sound of this album.  This album was made on a shoestring budget, and as in the way that there isn’t so much need to buy old jazz albums because the newer ones are higher quality, so it is that way with Killing Is My Business.  As for me, I like the old school production.

As for the music on this album.  It is some of the best thrash/speed metal out there.  It really is a good album.  This is the type of album that when someone says to me, “I think metal blows,” and I say to them, “Well if you think it’s so bad, then why don’t you try playing it?”  I have never heard anyone complain to me about an album like this one when I said something like, “I will listen to your criticism, if and only if, you can play it,” because truly this album is a work of art, and it is not easily repeatable, as it is with all great works of art.