Spring Is A Go – A Poem

Spring is a go

Sing as we plow with our hoe

Scattering seeds of life

For back break harvest strife

Baseball games are ah playin’

My mood is a’ liftin’  I am just sayin’

And, in all that we do

Spring has sprung through and through

***** Nil Reccuring by Porcupine Tree – Short, Sweet and Old Fashioned In a Good Way

Porcupine Tree is a very unique band.  They never really hopped on any trendy bandwagons, like it seems all bands do.  For example, Porcupine Tree is not a metal band, but more so than just plain old rock bands they do get heavy.   Also, praise the L-rd, there is no effin’ compressor pedal usage that I can detect on this album.

Steven Wilson understands the need for dynamics in music, and that though he sacrifices radio play for not using a compressor.  (Radios only want music that uses compression, which is an effect that takes all the dynamics out of songs, and it essentially cranks the volume to 10, but really how many times can someone listen to songs all cranked to 10, or whatever the maximum volume is and not get bored.)  Wilson has gained a fairly large following through quality music, like this disc, and not catering to any band wagon.  Frankly, I couldn’t name you another band that plays without compressors or triggered drums in the days of the newest technologies.  This is how music was made back in the day when Led Zeppelin and Hendrix ruled.  All other bands seemed to have cowered in fear of losing audience in favor of using the latest gadgets that end up as toys for toddlers to push a button and have a song come out, but not Porcupine Tree.  Porcupine Tree is old fashioned in a good way.

*** Obsolete by Fear Factory – Except for the Song Resurrection Fear Factory Lost Their Edge

Okay, I imagine some folks are saying, “What the hell?  This is a great album!”  And, had this been the first Fear Factory album, I would have given it 4 stars.  However, by the time of this album, Fear Factory is still writing good songs, but they just aren’t standing out against the rest of Fear Factory’s catalog.  For all the ingenuity this band showed, this album doesn’t add anything stylistically.  However, Obsolete contains my favorite Fear Factory song to date, and that is the song Resurrection.  

**** Demanufacture by Fear Factory – An Excellent Work by a Pioneering Band

This is what I grew up listening to, and loving as a teen.  Though I think their first work is better, Demanufacture is a solid album, good song after good song.  Like their first effort, this one has a lot of really good songs.  As song writers, this work is more refined than the first one, and I think that is a minus.  Piss Christ is my favorite song on this album.

23th Blues Pentatonic Drill: 2 Fattest Strings. Mode 1, Position 1 Alternate. Root, 4, 5, root.

A.     Introduction to the Lesson1^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

*     23^th  Blues Pentatonic Drill:  2 Fattest Strings.  Mode 1, Position 1 Alternate.  Root, 4, 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

1:1:1:22:1   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 steps 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.

1:1:1:22:2  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.

1:1:1:22:3  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.

1:1:1:22:4  With your middle 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 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 middle 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 pinky finger at the 14^th fret, 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 middle 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, middle, middle, ring, and pinky.

1:1:1:22:5  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.

1:1:1:22:6  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 middle finger, 2^nd string 11^th fret using the middle finger, 2^nd string 13^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 middle finger.  This is the key of E flat.  Play this four times, counting 4s.  Then, repeat the pattern of 1:1:1:22:6 picking with all down strokes.

1:1:1:22:7 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 middle finger, 2^nd string 10^th fret using the middle finger, 2^nd string 12^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 middle.  Play this four times, counting 4s.  Then, repeat the pattern of 1:1:1:22:7 picking with all down strokes.

1:1:1:22:8  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.

1:1:1:22:9 Repeat 1:1:1:22:4-8 except play the pattern only 1 time instead of 4 times working on the fluidity of your playing.

1:1:1:22:10  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.

1:1:1:22:11  After having worked your way above the 12^th fret, now work your way back.

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

You don’t have to start with exercise one.  Start with this exercise if you like!

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.

48:1  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.

48:2  The exercises in this blog will involve the index finger, the ring finger, and the pinky finger.  Unlike earlier exercises, it will go below the 5^th fret.

48:3  On string 6, at the 12^th fret, play the following pattern using all down strokes: 14^th fret w/ring  finger, 14^th fret with your ring finger, 15^th fret with your pinky finger, and 12^th fret with your index finger.

48:4  On string 6, at the 11^th fret, play the following pattern using all down strokes: 13^th fret w/ring finger, 13^th fret with your index finger, 13^th fret with your ring finger, and 14^th fret with your pinky finger.

48:5  On string 6, at the 10^th fret, play the following pattern using all down strokes: 12 fret w/ ring finger, 12^th fret with your index finger, 12^th fret with your ring finger, and 13^th fret with your pinky  finger.

48:6  On string 6, at the 9^th fret, play the following pattern using all down strokes: 11^th fret w/ring finger, 11^th fret with your index finger, 11^th fret with your ring finger, and 12^th fret again with your pinky finger.

48:7  Work this pattern down to the 1^st fret.  Then, work it back up, a half step higher each time. 

48:8  Repeat exercises 48:3 and so on; on the string 5.

48:9  Repeat exercises 48:3 and so on; on the string 4.

48:10  Repeat exercises 48:3 and so on; on the string 3.

48:11  Repeat exercises 48:3 and so on; on the string 2.

48:12  Repeat exercises 48:3 and so on: on the string 1.

48:13  Repeat exercises using alternating strokes (up and down) instead of just down strokes.

48:14 Repeat without palm muting w/down strokes.

48:15 Repeat w/palm muting and w/down strokes.

48:16 Repeat w/alternating strokes, w/palm muting.

48:17  If it feels comfortable, this pattern can be played at higher frets than the ones listed.

48:18  Follow the pattern in 48:3 - 48:34 as far up the frets is as still easy or playable on your guitar. 

48:19  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.

Hopping Wire 5th Exercise: Root, flat 2, 4, 2, and in 4s

Note:  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.

Note4:  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.

Note4:  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

4:1  Except for the 4^th and 5^th strings this pattern of intervals is true at any place on the guitar.

4:2  The root is always played with the index finger in this exercise.  The 2^nd note, which is the flat 2^nd in comparison to the root note, is always played with the middle finger in this exercise.  The flat 2^nd is a half step up from the root which means it should be played in the same string, at the next higher up adjacent fret, and that pattern is true at any place on the fret board.  The 3^rd note is a 4^th in comparison to the root, and it is reached by skipping to the next highest string, and is always played with the index finger on the next highest string in most instances (see note4).  The 4^th note of the repeatable pattern is a 2^nd played with the ring finger, but this time rather than a half step, a whole step is used, which means for instance that if the root note is on the 5^th fret, a whole step up would be the same string, but at the 7^th fret on the same string as the root note.  In order to calculate a whole step up, just add 2 frets to the root not and you will be there.  For instance, if the root note is at the 6^th fret, 6+2=8, such that the 2^nd interval is at the 8^th fret.

4:2  Try alternating picking, where down strokes are followed by upstrokes, and also practice using all down strokes. which is described by up and down movements as opposed to a style that would use all down strokes.   The aim is through repeating this exercise hundreds or thousands of times, speed, fluidity and outright finesse will be developed.

4:3  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; or if you use the the 1^st and 2^nd string, the 2^nd and 3^rd string, or the 5^th and 6^th string etc., on the string used for doubles for this exercise, the pattern remains the same.  The index finger will play the lowest note with respect to tonality, and that will be the root note.  

4:4  So, for now, as the note says, forget the 4^th and 5^th strings 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.

*****self-titled by Boston – We Will Probably Groove To This Ageless Work for 1,000 Years Or More

I can hardly think of an album that more deserves 5 stars that Boston’s self-titled effort.  There is not any filler at all on this one.  Since its inception across generations, there is no generation that has not embraced this album as being anything but first quality music.  There is something at every moment on Boston’s self-titled that is appreciable for anyone.  Even the greatest musical snob breaks down and admits; this album is first quality. 

***** You Go Now by Chroma Key – Pure Mellow Brilliance

I did not get the impression that the keyboardist/leader of Chroma Key, Kevin Moore, was trying to alienate his audience with this one.  The album title is, “You Go Now,” which by itself can have many meanings, and I wasn’t quite sure what Kevin Moore was trying to get at when he made the album.  I listened to it, and thought it was better than Radio Head’s OK Computer album, which is very similar to this one.  I think I finally figured out what Kevin Moore meant when he called this album, “You Go Now,” when he recorded the follow up album, “Graveyard Mountain Home,” which in my opinion has no redeeming qualities.

My review is a comparison of this with the much more popular album, OK Computer, to which I believe Kevin Moore’s effort is far better.  However, it is possible that the listener will have a difficult time appreciating this album.  I hope that is not the case because You Go Now is in my opinion a classic in its own right.

22nd Blues Pentatonic Drill: 2 Fattest Strings. Mode 1, Position 1. Root, 4, 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

*    22^nd  Blues Pentatonic Drill:  2 Fattest Strings.  Mode 1, Position 1.  Root, 4, 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

1:1:1:22:1   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 steps 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.

1:1:1:22:2  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.

1:1:1:22:3  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.

1:1:1:22:4  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 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 index 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.

1:1:1:22:5  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.

1:1:1:22:6  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, 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 1:1:1:22:6 picking with all down strokes.

1:1:1:22:7 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 10^th fret using the index 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 1:1:1:22:7 picking with all down strokes.

1:1:1:22:8  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.

1:1:1:22:9 Repeat 1:1:1:22:4-8 except play the pattern only 1 time instead of 4 times working on the fluidity of your playing.

1:1:1:22:10  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.

1:1:1:22:11  After having worked your way above the 12^th fret, now work your way back.

Triad Hell – Simple Triad Speed Drills

A.      String 4, 5, and/or 6

1.       Intervals: 1, 3, 5

Note:  As always, if you should feel any pain when doing these exercises, then stop immediately.

Note2:  Each position shift of one fret is a change of key.  However, if the pattern is moved a whole step, it gives what is known as a Lydian sound.  Lydian refers to the 4^th mode of the major scale.

A:1:1  A triad consists of three intervals.

A:1:2  In this exercise, intervals essential to basic chording are used, except that they are not strummed, as a chord, but rather picked as an arpeggio.

A:1:3  The structure of the chord is as such, starting at the 12^th fret, the middle finger will fret the 14^th fret on the 4^th string.

A:1:4  The ring finger will fret the 14^th fret of the 5^th string.

A:1:5  The index finger will fret the 12^th fret on the 6^th string.

A:1:6  Pick the notes in the following manner; 4^th string down stroke, 5^th string up stroke, 6^th string down stroke, and then 5^th string up stroke.  Repeat this pattern 4 times.  Next, repeat the pattern 4 times using all down strokes.

A:1:7  Move the pattern to the 11^th fret, a half step back, such that the middle finger will fret the 13^th fret on the 4^th string, the ring will fret the 13^th fret of the 5^th string, and the index finger will fret the 11^th fret on the 6^th string.  Repeat this pattern 4 times first using alternating strokes, and then another 4 times using all down strokes.

A:1:8  Move the pattern to the 10^th fret, a half step back, such that the middle finger will fret the 12^th fret on the 4^th string, the ring will fret the 12^th fret of the 5^th string, and the index finger will fret the 10^th fret on the 6^th string.  Repeat this pattern 4 times first using alternating strokes, and then another 4 times using all down strokes.

A:1:9  Move the pattern back to the 9 fret and so on, but do not push yourself too hard using this fingering, as you probably won’t be able to move this pattern all the way to the 1^st  fret.  Frankly, my hands aren’t large enough to get to the first fret.  If I have to, the way I would do that is by changing my fingering.  The 3^rd fret on the 4^th string would be fretted with the pinky finger, while the 5^th string would be fretted with the ring finger, and you guessed it, the index finger frets the 1^st fret of the 6^th string.

A:1:10  Once the pattern has been moved down the fret board to the larger spaced frets, then move it back up the fret board, and see how high you can take the notes and remain comfortable.

A:1:11  Next instead of repeating the pattern 4 times and then another 4 times, play the pattern once, using  either alternate picking or down strokes or a mix and then move it down and up the fret board.

A:1:12  Lastly, use the pattern skipping whole steps.  For example, skip from fretting the pattern at the 12^th fret to fretting it at the 10^th fret, and then the 8^th fret and so on, going up and down the fret board.

Syllabus: Triad Hell – Simple Triad Speed Drills

The syllabus is divided into 4 parts.  A, B, C, and D.  The lessons for part A are listed; 1 to 12.

A.       String 4, 5, and/or 6

1.       Intervals: 1, 3, 5

2.       Intervals: 1, flat 3, 5

3.       Intervals: 1, 5, 3

4.       Intervals: 1, 5, flat 3

5.       Intervals: 3, 1, 5

6.       Intervals: flat 3, 1, 5

7.       Intervals: 3, 5, 1

8.       Intervals:  flat 3, 5,  1

9.       Intervals: 5, 3, 1

10.   Intervals: 5, flat 3, 1

11.   Intervals: 5, 1, 3

12.   Intervals: 5, 1, flat 3

B.      String 3, 4, and 5*

C.      String 2, 3, and 4*

D.      String 1, 2, and 3*

Note: Strings 4, 5, and 6 in the syllabus are the thinnest strings

*B, C, and D are given the asterisk because the list of lesson because they will be elaborated upon.  Right now, the first 12 lessons are plenty to focus on.

**** Project by Jordan Rudess and Rod Morgenstein - Possibly The Disc That Put Rudess On The Map

Before this disc you probably wouldn’t have heard of Jordan Rudess, and while that remained true afterward, this effort, Project, was something that probably brought Rudess some much needed attention from the music industry.  The second discs that brought Rudess even further into the spotlight where Liquid Tension Experiment, and Liquid Tension Experiment II.  Suddenly, he was among the leaders in the industry.

In my opinion, Project never reached the greatness of the Liquid Tension Experiment discs, but it is a very good effort on the parts of both musicians.  Of course Jordan Rudess was already playing the part as the Dixie Dregs keyboardist, which was probably his greatest gig to date when he recorded Project, but this disc has original material, and it wasn’t Rod Morgenstein’s effort alone that pushed this disc to greatness.  Jordan Rudess and Rod Morgenstein played their hearts out on this disc and the result is unforgettable.  So, while I won’t go on to give this one 5 stars, I will say that this gig was the stepping stone for Rudess to go on to making 5 star albums with the greatest progressive band ever, Dream Theater.

If you already have some of the prog rock essentials, which are listed in many places on the web, then you might want to think about picking this one up.  It is a great album, and would probably only disappoint someone who is trying to be cool.

4th Hopping Wires 1, 2, flat 6, 2, and in 4s

Note:  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.

Note4:  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.

Note4:  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

4:1  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 6^th is always played with the pinky finger.  The 4^th note is a 2^nd played with the ring finger again.

4:2  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.

4:3  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.

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

4:5  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. 

4:6  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.

4:7  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 8^th fret, and play it with your pinky 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 6^th which is the 3^rd note of the sequence with your pinky finger at the 8^th fret. 

4:8  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.

4:9  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 already played on a lower pitched string used for this exercise.  Use alternating picking throughout the exercise.

4:10  Repeat this as many times as possible.  Eventually, if you repeat these exercises enough you should be able to gain some speed.

47th Guitar Snake River Rapids Exercises: Ring, Index, Ring, Pinky in 4s

You don’t have to start with exercise one.  Start with this exercise if you like!

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.

47:1  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.

47:2  The exercises in this blog will involve the index finger, the ring finger, and the pinky finger.  Unlike earlier exercises, it will go below the 5^th fret.

47:3  On string 6, at the 12^th fret, play the following pattern using all down strokes: 14^th fret w/ring  finger, 12^th fret with your index finger, 14^th fret with your ring finger, and 15^th fret with your pinky finger.

47:4  On string 6, at the 11^th fret, play the following pattern using all down strokes: 13^th fret w/ring finger, 11^th fret with your index finger, 13^th fret with your ring finger, and 14^th fret with your pinky finger.

47:5  On string 6, at the 10^th fret, play the following pattern using all down strokes: 12 fret w/ ring finger, 10^th fret with your index finger, 12^th fret with your ring finger, and 13^th fret with your pinky  finger.

47:6  On string 6, at the 9^th fret, play the following pattern using all down strokes: 11^th fret w/ring finger, 9^th fret with your index finger, 11^th fret with your ring finger, and 12^th fret again with your pinky finger.

47:7  On string 6, at the 8^th fret, play the following pattern using all down strokes: 10^th fret w/ ring finger, 8^th fret with your index finger, 10^th fret with your ring finger, and 11^th fret again with your pinky finger.

47:8  On string 6, at the 7^th fret, play the following pattern using all down strokes: 9^th fret w/ ring finger, 7^th fret with your index finger, and 9^th fret with your ring finger, and 10^th fret with your pinky finger.

47:9  On string 6, at the 6^th fret, play the following pattern using all down strokes: 8^th fret w/ ring finger, 6^th fret with your index finger, and 8^th fret with your ring finger, 9^th fret with your pinky finger.

47:10  On string 6, at the 5^th fret, play the following pattern using all down strokes: 7^th fret w/ ring finger, 5^th fret with your index finger, 7^th fret w/ring finger, and 8^th fret with your pinky finger.

47:11  On string 6, at the 4^th fret, play the following pattern using all down strokes: 6^th fret w/ ring finger, 4^th fret with your index finger, and 6^th fret with your ring finger, and 7^th fret with your pinky finger.

47:12  On string 6, at the 3^rd fret, play the following pattern using all down strokes: 5^th fret w/ ring finger, 3^rd fret with your index finger, and 5^th fret with your ring finger, 6^th fret with your pinky finger.

47:13  On string 6, at the 2^nd fret, play the following pattern using all down strokes: 4^th fret w/ ring finger, 2^nd fret with your index finger, and 4^th fret with your ring finger, 5^th fret with your pinky finger.

47:14  On string 6, at the 1^st fret, play the following pattern using all down strokes: 3^rd fret w/ ring finger, 1^st fret with your index finger, and 3^rd fret with your ring finger, 4^th fret with your pinky finger.

47:15  On string 6, at the 2^nd fret, play the following pattern using all down strokes: 4^th fret w/ ring finger, 2^nd fret with your index finger, and 4^th fret with your ring finger, 5^th with your pinky finger.

47:16  On string 6, at the 3^rd fret, play the following pattern using all down strokes: 5^th fret w/ ring finger, 3^rd fret with your index finger, and 5^th fret with your ring finger, 6^th with your pinky finger.

47:17  On string 6, at the 4^th fret, play the following pattern using all down strokes: 6^th fret w/ ring finger, 4^th fret with your index finger, 6^th with your ring finger and8 7^th fret with your pinky finger.

47:18  On string 6, at the 5^th fret, play the following pattern using all down strokes: 7^th fret w/ ring finger, 5^th with your index finger, 7^th fret with your ring finger, and 8^th fret with your pinky finger.

47:19  On string 6, at the 6^th fret, play the following pattern using all down strokes: 8^th fret w/ ring finger, 6^th fret with your index finger, 8^th fret with your ring finger and 9^th fret with your pinky finger.

47:21  On string 6, at the 7th fret, play the following pattern using all down strokes: 9^th fret w/ ring finger, 7^th fret with your index finger, 9^th with your ring finger and 10^th fret with your pinky finger.

47:21  On string 6, at the 8th fret, play the following pattern using all down strokes: 10^th fret w/ ring  finger, 8^th fret with your index finger, 10^th with your ring finger and 11^th fret with your pinky finger.

47:22  On string 6, at the 9th fret, play the following pattern using all down strokes: 11^th fret w/ ring finger, 9^th with your index finger, 11^th fret with your ring finger, and 12^th fret with your pinky finger.

47:23  On string 6, at the 10th fret, play the following pattern using all down strokes: 12^th fret w/ ring finger, 10^th fret with your index finger, 12^th with your ring finger, and 13^th fret with your pinky finger.

47:24  On string 6, at the 11th fret, play the following pattern using all down strokes: 13^th fret w/ ring finger, 11^th fret with your index finger, 13^th with your ring finger, and 14^th fret with your pinky finger.

47:25  On string 6, at the 12th fret, play the following pattern using all down strokes: 14^th fret w/ ring finger, 12^th fret with your index finger, 14^th with your ring finger and 15^th fret with your pinky finger.

47:27  Repeat exercises 47:3 – 47:25 on the string 5.

47:27  Repeat exercises 47:3 – 47:25 on the string 4.

47:28  Repeat exercises 47:3 – 47:25 on the string 3.

47:29  Repeat exercises 47:3 – 47:25 on the string 2.

47:30  Repeat exercises 47:3 – 47:25 on the string 1.

47:31  Repeat exercises 47:3 – 47:30 using alternating strokes (up and down) instead of just down strokes.

47:32 Repeat 47:3 – 47:30 without palm muting w/down strokes.

47:33 Repeat 47:3 – 47:30 w/palm muting and w/down strokes.

47:34 Repeat 47:3 – 47:30 w/alternating strokes, w/palm muting.

47:35  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: 15^th fret w/ring finger, 13^th fret with your index  finger, 15^th fret w/your ring finger, and 16^th fret w/pinky finger.  Repeat this pattern 4x counting to 4 each time the pattern is repeated.

47:36  Follow the pattern in 47:3 - 47:34 as far up the frets is as still easy or playable on your guitar. 

47:37  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 Review of ***** The Blessed and The Damned by Iced Earth – The Definitive Collection of Their Work

I am a huge fan of Iced Earth.  Surprisingly, 4 discs of their stuff has gotten me nearly endless hours of happy listening enjoyment .  The other 2 discs are Days of Purgatory.  In the following blog: “50 Great Metal Bands: Maybe Some Are More Deserving, But I Figure This Is a Good List,” I rated Iced Earth number 3.  Also on the following list for www.amazon.com, I rated this work, The Blessed and The Damned of Iced Earth number 3, “40 Great Metal Bands and an Awesome Album by Each.”

Metal has been a defining characteristic of my life and it really started before my time with the Baby Boomer generation’s band Black Sabbath, which has also been a favorite of my generation as well, and may continue to enthrall younger generation for years to come.  So, IMHO, it is probably a good idea to pick up one of the great musical works of our time because I do believe that some of the metal of our time will be remembered as Beethoven and other classical masters will be remembered.

2nd Review of **** Days of Purgatory by Iced Earth – All That Metallica Could Have Been

While Metallica stopped writing music like this, Iced Earth stepped up and filled the void, and did it even better that Metallica had ever done.  Iced Earth packs the punch of Metallica’s heaviest songs like Damage Inc., and for lack of originality I subtracted a star.  However, don’t let that stop you from purchasing this album, as it is a tremendous work of art, and maybe on a different day of the week I would have rated it 5 stars, just depending on the mood that I am in.

I first got into Iced Earth about 14 years ago.  That would be 1999.  Days of Purgatory was my first purchase from this band.  Perhaps, that makes me a dinosaur, but when I put these discs into the player they never disappoint me.  I wouldn’t be surprised if I could listen to this stuff by itself indefinitely without getting tired of it.  The only reason to move on and put different stuff in my player is for the sake of diversifying, not out of getting bored of the songs.