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  #46  
Old 08-25-2013, 04:00 PM
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Originally Posted by Lakedaisy View Post
Mornin' all. Toby - working on the 2nd lesson of the E pack. Looking at the 3rd measure, E note on the 2nd fret of the D string (on the 3 & beat.) Do you catch it with you 1st finger or come down and catch it with your thumb? It seems a bit awkward trying to mute the 6th string with my palm and bringing my 1st finger up to the D string. Something I just need to get used to? Thanks, Rob.

I would suggest using your finger to grab that note Rob as your thumb is pretty busy playing the steady bass on the bottom.
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  #47  
Old 08-25-2013, 04:54 PM
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I've just sat and watched quite a few of Toby's Youtube videos. I was wondering if he might be open to donating some of his brain tissue for a transplant into my head? Dunno if it would work but I've always been one for a shortcut. Just paid off my truck and freed up $350 a month in the budget. Gonna have to look over the catalog and get an order placed... since I'm betting he won't go for the brain transplant idea.
  #48  
Old 08-27-2013, 03:53 PM
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I've just sat and watched quite a few of Toby's Youtube videos. I was wondering if he might be open to donating some of his brain tissue for a transplant into my head? Dunno if it would work but I've always been one for a shortcut. Just paid off my truck and freed up $350 a month in the budget. Gonna have to look over the catalog and get an order placed... since I'm betting he won't go for the brain transplant idea.
Is THIS what you want?

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Old 08-31-2013, 10:24 AM
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Is THIS what you want?

HOW did you find my high school yearbook pic?!!!
  #50  
Old 09-01-2013, 08:18 PM
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How is everyone coming along with the lessons? I'm planning on adding another video to this thread soon.
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  #51  
Old 09-02-2013, 02:33 AM
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Hi Toby

Still ticking along. Trying to match and match different licks from the different positions.
This morning's challenge was finding the positions of the A chords in each shape so that I don't have to keep dropping back to the open strings.
Do you have any tips on finding the IV and V shapes at each of the positions?
  #52  
Old 09-02-2013, 07:01 AM
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Hi Toby

Still ticking along. Trying to match and match different licks from the different positions.
This morning's challenge was finding the positions of the A chords in each shape so that I don't have to keep dropping back to the open strings.
Do you have any tips on finding the IV and V shapes at each of the positions?
Could you be more specific in terms of the IV and V shapes? Are you referring to the CAGED chords or the IV and V chords in a I, IV, V blues progression?
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  #53  
Old 09-02-2013, 08:03 AM
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Still coming along pretty well. I've been pretty busy with work and stuff, but finding time to practice here and there. I'm finding that I'm starting to recognize some of these patterns and licks in music I listen to now and can copy them fairly quickly so that's pretty good. Kind of an impromptu ear training, really.
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  #54  
Old 09-02-2013, 01:00 PM
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Still coming along pretty well. I've been pretty busy with work and stuff, but finding time to practice here and there. I'm finding that I'm starting to recognize some of these patterns and licks in music I listen to now and can copy them fairly quickly so that's pretty good. Kind of an impromptu ear training, really.
That's good news Clint. Most of my students have to balance work and family with practice time. I tell them all that even on those seemingly impossible days getting in 15 minutes on whatever you're working on is better then trying to cram in a couple of hours every few days. There's seems to be something about 'reminding your fingers' for that short amount of time, every day.. that does the trick.

Glad to hear that those patterns and licks are coming along!!
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  #55  
Old 09-03-2013, 02:15 AM
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Could you be more specific in terms of the IV and V shapes? Are you referring to the CAGED chords or the IV and V chords in a I, IV, V blues progression?
When playing the E pack licks, each time I get to an A7 chord I have to go back to the A shape A chord (ie The open A chord) at the bottom of the fret board. It would be better to play an A7 lick without having to jump down the fret board.
At the risk of answering my own question:
If I am playing in E using the G shape and end the lick on the third string 9th fret E I can then play the A7 lick using the A on the second string 10th fret as the root and using the D shape. (or potentially a C shape).
Each root note is part of two shapes and the A is on the next string up from the E (on the same fret except for between strings 2 and 3 when the A is one fret up). The shapes can be identified by which string the root note is on so one I have found an A note I can find the shape at that point on the fret board.

I feel like all the information is there but my brain is not quite fitting it together.
  #56  
Old 09-03-2013, 04:05 PM
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Originally Posted by LeftArm View Post
When playing the E pack licks, each time I get to an A7 chord I have to go back to the A shape A chord (ie The open A chord) at the bottom of the fret board. It would be better to play an A7 lick without having to jump down the fret board.
At the risk of answering my own question:
If I am playing in E using the G shape and end the lick on the third string 9th fret E I can then play the A7 lick using the A on the second string 10th fret as the root and using the D shape. (or potentially a C shape).
Each root note is part of two shapes and the A is on the next string up from the E (on the same fret except for between strings 2 and 3 when the A is one fret up). The shapes can be identified by which string the root note is on so one I have found an A note I can find the shape at that point on the fret board.

I feel like all the information is there but my brain is not quite fitting it together.
Ok.. I got it now. Here's how I would approach this. First off, let's simplify things a bit. Stick with using nothing but your E licks throughout the entire blues song in E. I like the idea that for now you're staying in one area of the neck. I think that's an excellent way (of many exercises) to learn the lay of the land.

Now... staying in that 9th/10th position when you come up to the part where an A chord comes into play then use the closest one available to you. In that area it should be the C shape. Play that chord for perhaps a beat or two and then go back to playing some of the E licks in that same area.

Next, repeat as above but instead of playing E licks when you get to the A chord mix it up a bit by playing some A licks that lay in that same area. Don't forget though to go back to playing an E chord when the change comes around.

Try that same exercise in various areas of the neck. You're on the right track there amigo. By using root notes as your guide pretty soon you'll have the fingerboard down cold.
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  #57  
Old 09-09-2013, 11:10 AM
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I picked up a copy of Sept 2013 Acoustic Guitar Magazine as it has a section on blues soloing. The tips are on using a flat fifth (Blue note) to turn the minor pentatonic into the blues scale and using thirds to create double stops.
This weekends eureka moment is realising that the patterns overlap so it's easy to switch across from one to another.

I've been working on using A chords further up the neck which is going great, Now my problem is that there is no bass B string. There is the B on the 6th string 7th fret but that's about it. How can I keep the flow going over the B chord sections while remaining higher up the fret board?
  #58  
Old 09-12-2013, 04:00 AM
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I have also been working my way through some of Toby's lessons. The E and A packs.
My question is not so much related to the actual lessons but more to do with playing style.

When playing the monotonic bass style blues such as Kind Hearted Women, I often find myself doubling the bass. So playing an additional bass note on the &. I do this especially on the 4&.
Is there any reason why I should try and avoid or reduce how much I do this.
  #59  
Old 09-13-2013, 11:15 AM
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I picked up a copy of Sept 2013 Acoustic Guitar Magazine as it has a section on blues soloing. The tips are on using a flat fifth (Blue note) to turn the minor pentatonic into the blues scale and using thirds to create double stops.
This weekends eureka moment is realising that the patterns overlap so it's easy to switch across from one to another.

I've been working on using A chords further up the neck which is going great, Now my problem is that there is no bass B string. There is the B on the 6th string 7th fret but that's about it. How can I keep the flow going over the B chord sections while remaining higher up the fret board?
I'm assuming you're using the B chord as a V while playing in the key of E?

There are a couple of things you can do. I'll use my thumb to play that B note on the 6th string. That leaves the rest of my fingers to play lead in the 7th position. You can get an awful lot of mileage that way as you thump that low B note under some nice lead lines.

The alternative is not playing any bass note at all but rather doing some tasty double stops in the key of B during that duration of the B chord, or to play a few inversions of the B chord without a bass. Sometimes it's relieving to 'break the flow' of a constant bass.

Hope that helped.
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  #60  
Old 09-13-2013, 11:19 AM
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Originally Posted by Jezzer View Post
I have also been working my way through some of Toby's lessons. The E and A packs.
My question is not so much related to the actual lessons but more to do with playing style.

When playing the monotonic bass style blues such as Kind Hearted Women, I often find myself doubling the bass. So playing an additional bass note on the &. I do this especially on the 4&.
Is there any reason why I should try and avoid or reduce how much I do this.
This really is a subjective call Jezzer. Whenever I double up the bass I tend to shuffle it a bit which can sound interesting. That being said I don't do that all the time in every song. I would also suggest that you work on keeping a single bass thump on just the quarter note downbeats if not for anything but for building up your technique, style while also keeping it interesting and less monotonous.
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