Roger This Video Series


Teach X-picking technique on one string muted. Then move to two strings dududUduDudUduDu 


You would think that the more chords you know the mor songs you can play. The truth is you can play hundreds of songs with just three chords…Roy Schmeck’s 4,400 guitar chords. Another fact is that you can play ANY chord in first position. Harmony is neither high nor low. 


Want to know a good Cm and Gm in open position? Well I have a good solution.

Rogers Cm and Gm


Adjectives in English absolutely follow this order:

Kisnis consciousness conscious

A lovely little old rectangular green French silver whittling knife

Opinion

Size

Age

Shape

Color

Origin

Material

Purpose

Noun


Flight of the Bumble Bee on mandolin for a fast fun furious lick!


Your style is based on your favorite Tunes and licks that you have learned over the years – period! (not  necessarily the 10 most recommended because back then the only source to learn tunes wasn’t the internet. By that I mean there was only radio and records, with with a few live Pickers thrown in thrown in there … it might be interesting to note that the tunes my dad taught me back in the early 70s, are 90% of the same tunes that are in the jams today.! Isn’t that great news. For one thing the tradition is THAT strong, for another thing I’ve been turning these tunes inside out for 50 years and they’re still in style! Try that with a pair of pants!

With the addition


Tunes that start with a major scale  Joy to the World Swing 42 Tigard rag


Fergusonyx – subtitle for my fingerpicking lessons…

The name comes from the Greek onux, meaning “nail” or “claw“, referring to the mineral’s color, it was used by the Romans for a variety of stones.


5 ways to… 

8 top tips for….

To do ______ , avoid these 3 mistakes…

Top 4 strumming patterns…

5 easy flat pick licks… 

6 things you don’t need to know in order to:

Play the blues  

Flatpick 

Play swing jazz 

ragtime/ fingerstyle

10 Things I wish I knew as a 

beginning guitarist flat picker, 

mandolin picker, 

fiddle player, 

Bluegrass musician,

2 most common finger picking accompaniment patterns. 

542…must know tips for acoustic players


Take a turn for the better, take to the next level accelerate, increase potential. I have

exercises and shortcuts that will light a fire and Fast Track your playing

high octane

Fast progress… Unanticipated,  unforeseen, develop Elevate improve and advance 

fine tune and build on your current technique!

 build-up,  heightened, intensify magnify then reinforce

Fine tune your workout by scaling up to amplify your progress. 

Another word for Progress… Rock formation Metamorphoses Transfiguration transformation growth, Turning Point.

Another word for very Advanced… Experienced, informed, well-informed, traveled, 

my finger board is well-traveled, 

highly developed, fastidious, enlightened, accomplish,  knowledgeable, 

my fingerboard is well-read. 

Highly developed, knowing what’s what, plugged in wised-up, hip-to and Tuned In.

Another word for highly regarded teacher or leader…  Tudor guide counselor professor “virtuoso picker” and Entertainer


New lesson… Going from the one to the six as in Sweet Georgia Brown or whatever where you can drag the same little lick down chromatically… Or any part of the chord. Of course keep I (the tonic chord) major.

Go to thelessonfoundry.com and look at Dave Gories profile. He can help you does his teaching through Zoom pretty inexpensive for real actual lessons End quote


Tyler Grant’s pitch for lessons:

https://www.facebook.com/119778712811/posts/10158235569332812/

I’ve been out there making a living with this kind of music for about 25 years now

I’m a lifelong student of music and guitar I consider myself a journeyman guitarist till the end

this course is designed

to give you a few tools that in my method have become standard tools for approaching songs and tunes bluegrass guitar solos, and also elements of Bluegrass playing such as speed accuracy timing and tempo

you’re going to walk away with

new techniques including cross picking, Melody strum, techniques that you can take as a model and and put onto any song or tune that you’re working on.

You’re going to have insight into

jamming on this style which is most of the fun for us as Bluegrass players. You know we’ll be sitting out picking all night it’s kind of what we do in this world.

I’ve been a beginner I’ve had that terrified feeling

of hearing that count off and trying to get your lick just right at just the right moment I’ve taken the time and gone through these steps and I understand what all these beginning and intermediate students are going through

I have a very concise and well-organized approach

to showing you the basics of this style I like to take all those foundational elements and use those to Free Yourself any convention you might be thinking of and really become your own player and have your own unique voice you can take it anywhere you want to with

my method I’m Tyler Grant looking forward to exploring bluegrass guitar with you here at jamplay.com now let’s pick


The value of exact tempo for play-alongs… jams… and why I offer this service with my lessons. Not everybody has the patience to take advantage of the play along, but they are highly recommended!

Some of the most fun and memorable jams (memorable because there are so few) are when you’re technically “on” enough to hang with the up tempo – nearly losing it on every corner –yet gracefully recovering just before the next curve. I can create that perfect  tempo in our play-alongs that is at that optimal fun/learning level.


I always keep my eye out for musical shortcuts for my students. I do this on all the instruments. It’s kind of a game of mine. 


No product that mentions latency—and then fails to explain how it solves the latency issue—works. Soundjack, JackTrip, Jamulus, JamKasam, Quacktrip, Sonobus, and similar work.

First video be wildwood flower using two string melodies. Use this as a teaser for the next layers


Guitar runs:running in place.

Pink Floyd was named and after two Blues men from Georgia. Pink somebody and Floyd somebody else.

Faran In African mythology (Songhai of the upper Niger), hero who fought the water spirit Zin-Kibaru. Each night Zin-Kibaru would play his guitar, enticing fish to eat the rice that grew in Faran’s pond. Faran was angered, and the two decided to fight. During the battle each one cast a spell on the other, but Faran’s spell was stronger. Zin-Kibaru lost, leaving all of his magical instruments and spirit followers to Faran.


Soloing with intent


Hit the Road Jack progression

Start on root of i minor …blather w/blues scale … hit root of V when if comes . Voila! logical solo.


Harmonize the Harmonic minor using only

I  V7b9.



Harmonize Major scale using only I IV and V

Different ascending than descending.


Mandolin fiddle small lesson book play along fun duet possibly where we are in the key of D. Whatever we do on the D and a string for D we move 2 the G & D string for the G chord and the A and E string for the a chord AB Lou is a great example we could have two or three different  the G & D string for the G chord and the A and E string for the a chord A blues is a great example we could have two or three different Blues examples Carroll County is a good one.


Use the song “Lesson too late for the learnin” to show how we can change a basic I  IV  V   progression of triads into a I7  ii7    iii7  Jazz progression.

Using diatonic substitution and passing chords


Right hand rhythm training using isolated technique approach (ITA) ba ba ba Barbara ann

Shave & a haircut


First three starters

Hare and Hound Swing Folders

Carter Style & Beyond

Flatpick Essentials / Technique


Video – glossary of terms


and explanations directions on fingerboard. And music 1 3 5 vs  I IV V

Put your first finger on the second fret of the third string – the third of the I chord…

lower that note and it becomes the b3 of the IV chord.

Instead of saying 5th or 3rd we say 5 or 3.

What does 3 refer to?

[]Finger

[]Fret

[]String

[]Note in scale

[]Note in chord

[]Chord in key

[]Beats per measure

[]Measure in song

[]Section of song

[]3rd Chorus


Lead with the right.


The right hand babysits the left hand and is what the left hand needs to help get it going. Left hand is lead with the right. The right hand babysits the left hand and is what the left hand needs to help get it going. Left hand is very lazy, right hand has an easy enough job that it can help coax the left hand out a little bit like a big brother. New analogy you must get your vehicle in motion before you can steer it stop sitting in a parked car pretending to drive.


Play all your Melody both in swing and straight time. This will give you a much better feel for the piece whichever attitude you  decide on. For instance reels are straight time and hornpipes have the bounce (or the swingy, lopey feel).

Also on the same juxtaposition topic… my example is Clinch Mountain Backstep but using a major pentatonic. You have to wonder if we heard it first in the major pentatonic would we agree that was “better” than the minor pentatonic version of Ralph Stanley.

Demonstrate IV I V I BOUNCE 2020.pdf


HOW TO  IMPROVISATE

Andalusian cadence and Swing 42.



I’D LOVE TO CHANGE THE WORLD


Kind of like House of the Rising Sun for chord making value. It’s a cool progression whether you’ve ever heard the song or not. Þ


CRASH COURSES


Bluegrass

Gypsyjazz

Swing

Western

Big Band

Blues

Same lick different chord


HACKS


Stick your tuner anywhere

Pulling strings wit nippers

Over top under top re-stringing technique 

Sticking pick on flat top 

Velcro


   SONG CHUNKS


Proud Mary

Going around the bend

Intro to stairway

Intro to Dream On

Thunderstruck

Black dog

Life in the Fastlane

Walk This Way



Consider standing for my videos so I can move around the camera and better show my hand positions. Also consider 2 takes on my left hand one with my fingers out of the way so it’s obvious what I’m doing and the other with my fingers in their normal place as they would look during playing.

Why (how) to choose one fingering option over another 3rd  6th and 10th on the mandolin… and guitar.

Use first phrase of

You Are my Sunshine

Farewell Blues

Determine camera angle for

Each instrument

Hand movements

Body language


AND OH YES, ..W.W.

ALWAYS REMEMBER TO GET A GRIP…(JUST KEEP IT LOOSE) and let the pick’s tone be heard. You can hamper it like a bell


Search Dropbox for improvise, guitar, ideas, teaching, technique.


Link to most all my MUS files:

https://www.dropbox.com/sh/ab2ii3120crzg7m/AACgj64U2UNgImrrJ6i-JNV3a?dl=0


Technique  suggestion

    Wurdza Wisdom

(W.oW.)


ON SPEED in order to play fast you have to practice playing fast. Here’s  how.


If you take a fun lick and play it as a loop…just work on speeding it up and staying true to good technique, you will get the “feel” for playing faster.  Once you’ve experienced it, it’s not so illusive and you will know what playing quickly involves. Simply translate that to other phrases. It’s an attitude.



Search tabledit for fiddle tune stuff. I  Put midi file in band in a Box …add accompaniment


IMPROVISATION..


Andalucian cadence Am pent

A (blah- blah – blah) E


    TWO SHAPES ONLY – MOST IMPORTANT


for all scales, chords and octaves.

one is G  the other is E.


guitar

mandolin…  i- i? – 4 – 4? – etc…

B? E E? A A? D D? G G? C C? B?

And just tri-tones



  REGARDING TONALITIES


Malagueña in “E” using C scale.

Blues in A using Am pent.


? thoroughly explain how to go between the

  • Root and the third
  • 3rd and the 5th  
  • 5th and the 8th steps.

E? A7? D? G. Fingerstyle with chromatic bass lines.


M & m Pentatonic IMPROV shortcuts 3 note scales


? for Major chords use notes

1 wholestep above the root

1 & 1/2 steps below that note

Circle root

? for minor chords use notes

1 wholestep BELOW the root

1 & 1/2 steps ABOVE the root

Circle root



Herman Johnson’s “Herman’s Rag” with #mawstyle

I have lesson openings this winter for anyone interested in learning how to play fiddle, mandolin, composing, and beginner guitar! Lessons can be on Skype, FaceTime, or in person in Mount Airy, NC. Message me here or call 1-(406) 871-4075






https://www.dropbox.com/sh/o1dtr7lduo2tu8n/AABdl_rfrN0X3wF42F48llBua?dl=0

4 audio files of me explaining Midnight Special, the little Groove that goes on the blues Boogie, the a minor pentatonic scale, and the 12 Bar Blues




(“STOLEN LICKS & CONCEPTS”) ??call this one INSPIRATIONS – from whom I received inspiration


Features (intricacies, nuances, and approaches?)  from some of my favorite pickers, including; Doc Watson, Don Reno, Django Reinhardt, Bill Monroe, Bob Wills (list 6 or 7)

Plus I have lessons on …

“In the “What I Learned From” series, I share secrets that I learned from my favorite players like Eric Clapton, Lenny Breau, Mike Bloomfield, Joe Walsh, Jimi Hendrix, Chet Atkins, Jeff Beck and many others.

In addition, I have created dozens of lessons on essential topics like music theory, technique, scales, modes, tone, and much more.”







SWING 42 chording in mando VL


  • I vi ii V in C  (3 string pattern 1)
  • Skip the Em?b5 – A?b9 for later
  • Triplet B7 modulation
  • I vi ii V in E
  • E to G chord modulation back to C

M pentatonic vs / m pentatonic guitar


  • Bouncing G lick BG style root to 8va
  • Examlpe Clinch Mountain Backstep (ROG THS)

What scale to play over the minor, minor major 7, Minor 7, minor 6 chord change.

Bye Bye Blackbird

Michelle

More

Stairway

Analysis:  lower tetrachord of minor scale giver take a note.


CHORDS ??


Major Minor 7th

C D E F G A chords all sound the SAME (M)


CATEGORIES ??



TECHNIQUE



ROGER THIS.  interesting tidbits ROG THIS wurdza words of wisdumb


Three notes in a basic chord (triad) how does that look on the fingerboard for:

C in open pos

313513

G open pos

1355138

Am open pos

515135

F open pos

X31358


EAR TRAINING


D and F# are parts of the following chords:

D, Bm, GM7, E9, C9b5, A13sus

Students drone d and f#

as I play the changes

This goes with 3610 video(s)



SELECT STORIES AND ANECDOTES ??


Mom dancing to dad’s fiddle playing and he just kept it going cuz she was so enthusiastic. Come to find out, since she was around the corner in the kitchen (very much out of line of sight) Dad couldn’t see that she wasn’t dancing to his fiddle, but was stomping out the fire on the curtains.

Line all the tuning keys up & your’e in tune

Bluegrass and folk music were some of the first styles to be widely published in the form of tablature… well… excluding Renaissance lute music of Spain, Italy and France in the 1400’s.

Pete Seeger coined the terms

hammer-on and pull-off

Sittin’ on dad’s foot as he played.

1 (473) 6251 anecdote

Dad and his third eye.

Frosty 33s 

Uncle Billy  break dancing on skillet.


NAME ALL NOTES ON THE FINGERBOARD ?


Just the anchor notes

  • Open
  • 5th
  • 7th
  • 12th 

SWEEP PICKING


Two octave sweep picking triplet lick G position

Gm also


HACKS ??


  • A guitar flat-picking trick to simulate syncopated finger-picking Style. Down up down up Etc adjust the melody around the syncopated ups. (RT) (Roger This)
  • LickM stickMpick
  • Square knot string fix
  • mount your tuner with putty

DAD’S ADVICE ??


Dad said, “It’s better to know where to find an answer when you need it rather than try & remember too much information at one time

Oh yes, and…now with smartphones we can quickly find answers to about any question in the world! 

Your default grip on the pick should be very light.


RHYTHM – RHYTHM -RHYTHM –RHYTHM



TEXAS STYLE BACKUP  ??


Open position in the following keys:

  • G, A, C, D, E,
  • Andy Griffith progression (famously familiar example)
  • IV IV+ … as in Adobe Hacienda
  • | I  I9 I iv | I  I9 I iv |
    • Idling on I






TWINNING WITH ONESELF ??


  • Old Joe Clark – guitar [B]
  • Mozart piece
  • Black & White Rag
  • Huckleberry hornpipe ALA Clarence White
  • Droning with oneself (guitar)
    • Big Sciota
    • Sally goodin
    • 12 Bar Blues in A

BEGINNER-MEDIATE  ?



ROGER THIS ??  ?


Licks

Tricks

Harmonics

Pure

Artificial

Hammered

G6

Em7

Big Ben (NV)

Snare drum

Songs

Jailbreak

Under the Bridge


CONCEPTS   ?FWIW


Observations

ii iii and vi are relative to

I IV and V.

If you harmonized every chord in the key as 13th chords (1 3 5 7 9 11 & 13), every chord would share the same notes – therefore each chord would be the same.

Maybe there’s an alternate method similar to Pat Martinez starting with the diminished seventh chord for beginners. We would just start with every chord in the key being a 13th chord and start skinnying it down from there


WHAT STUDENTS MIGHT ASK ??

FREQUENTLY ASKED QUESTIONS

?



  • Interesting facts about the pentatonic scale?
    • Triad plus 2
    • Easy to learn
    • Fits more places
      • Disregard function
  • Why learn arpeggios?
  • Are there any easy Jazz chords for the mandolin?
  • How many kinds of chords are there?
  • Where do chords come from?
  • Is there a way to tell the name of any note on the guitar?
  • Should I memorize every note on every string?
  • What do they mean by the key?
  • The chords and notes that sound good together
  • How do you get the licks from scales?

Good luck

  • What sound is that they use in gypsy Jazz?

WHAT WOULD YOU “PLAY OVER“:


(NV)… the iv Minor when it’s played between the IV and the I.

basic triad

m6

Ain’t Missbehavin

Desperado

Fanfare lick

mM7


A NUMBERS GAME ??


  • What’s the difference in 1 3 5 and I IV V  V  – VII  and V7 ii V I? A A B A,  A A B B



Mine (verb) my mando chord book texts for more instructional ideas



?CATAGORIES   ?? ?



IMPROVISATION ?


Licks

Fancified melody

Key centers

Running changes


TECHNIQUE ?


L hand

R hand

Mando Guitar


FINGERBOARD HARMONY  ?

T H E O R Y


Scale related to 1 4 and 5.

7


ARPEGGIATION ??


  1. Mark’s
  2. Django’s on “Rhythm”
  3. Jimmies Jam
    1. Hawaiian
  4. Little Rock
  5. Mockingbird Hill
  6. Music box Dancer
  7. Yellow Bird
  8. Swing 42
  9. Minor Swing
  10. El Paso
  11. [B] to So Happy Together
  12. Clarinet Polka
  13. Black & White Rag
  14. House of the rising Sun
  15. Intro to Sweet Georgia Brown 

One Django improv strategy…  1  2  b3  5

Just by adding one note to the arpeggio



COMMON CHORD PROGRESSIONS??


I IV V

Blues

8 bar

12 bar

IV  I  V  I

I  vi  IV  V

I  V  vi  IV

I  vi  ii  V

vi  ii  V  I

Andalusian Cadence

I  ii  iii  IV

ii V  I

ii°  V  I

I  IV  vii°  iii  vi  ii  V  I

i  iv  VII III  VI  ii°  V  I

B B7 E E7 A A7 D D7 G G7 C C7 F B7


FREE INCENTIVES ??


Make free video of me showing my version of Big Sciota  – I already have the tab and the audio.

UFGW (Ultimate Flatpick Guitar Workout)


IV I V I  IN BASIC KEYS (1st pos)



MANDO ??


Swing chords on 3 strings

Ain’t she Sweet

5′ 2″

Dream a Little Dream of Me


SWEET ADELINE LICK  ??


Listen to th Mockingbird

Flattop Rag end

Ol Ball Game

Mayberry RFD

Pebbles and Bam Bam theme


NOVELTY MANDOLIN TUNES  ??


Arab Bounce

Get Up John

Evening Prayer Blues

Lonesome Moonlight Waltz

Indian Blood


MANDO BLUES


  1. Plain 12 Bar
  2. With chromatic approaches
    1. (RT)
  3. Power chord triplets for licks
  4. Tri-tones at work.
  5. Powering up from I to IV

THE ENTIRE HARE & HOUND FOLDER



ANALYSIS ??


  • Melodic
  • Harmonic
  • Rhythmic

WAGHORN BLUFF SCALE


minor pentatonic with M3 instead


ENTIRE GP LESSONS FOLDER



BLUES ??


  1. Plain 12 Bar
  2. With chromatic approaches
  3. Power chord triplets for licks
  4. Tri-tones at work.
    1. Florida blues?
    2. Bill Monroe blues
    3. Farewell blues?
  5. Powering up from I to IV
  6. Diverging Blues Cadence from Measure 11 to measure 12 on 2 strings

(group with 2-string licks [riffin]) ala Les Paul’s How High the Moon hook.


SAME MELODY DIFFERENT CHORDS  ??

Ideas for writing melodies 


What Are you Gonna Do?

Limehouse

House of R Sun (my RD mando version)

Exactly Like You

Don’t Get Around Much Anymore


3rds 6ths 10ths ??


Using only two shapes (patterns) organized  like this.

1st shape  2nd shape 2nd shape  1st shape

Two equal halves to the whole equation

Mando

Major pentatonic jamming using scale sequences and finger patterns (2 string sequence)

Guitar

E and G

E = A    A = D

G =C     C = F

Drone open 5th and root

BlackBird

El Paso

Yodal lick

Farewell Blues

Encourage students to play these following:

These exercises:

I ii iii ii I

I ii iii IV iii ii I

Then sound these out by ear

You Are My Sunshine

Joy to the World (Xmas)

8 more miles 



JAMMING WITH DOUBLE STOPS  ??


Using M3 ?? 1 step moving to IV.

3rd double stop up a step and a half has a bluesy alternative…etc

Where a IV7 happens (certain styles)

M3 up a m3 to the I7…then up 1 step to IV…

THEN…



Pythagoras string theory from my bone head



m2 DISSONANCES  ??


Guitar

b3 – 3 – 1 (or 8) open string lick opportunity

Eb – E – C

Bb – B – G

Dm9

Em9

Am9

Limehouse

(Inversions matter)

CM7

1 3 5 7

7 3 5 1

3 2 1 harmonized for singing songs

Mando version


FIDDLE TUNES (2 levels for each?) ??


Flop Eared Mule

SpanishTwo step

Liberty

Bill Cheathum

Soldiers Joy

Big Sandy River

Missouri Waltz

Tennessee Waltz

Ol Joe Ckark

Ragtime Annie

Snowbird

Redwing

Chinese Breakdown

8th of January

Get outta the wheat field Granny, you’re going against the grain

We’re gonna rip off a little spasm here called…

Kentucky Waltz

Black Mt Rag

Carol County Blues

WhistlinRufas

Cheyenne

Orange Blossom Special

BlackBerry Blossom

Arkansas Traveler


OLD TIME FIDDLERS  COLLECTION



PLAYING “INSIDE THE CHORD”  ??


Sus 4 Sounds

Augmented Sounds

Maj pent Guitar G pos folk

min pent Guitar E pos blues

Major chord

Creep V up in half steps

Creep the root down in half steps

minor chord

Creep V up in half steps

Creep the root down in half steps

Major Triad

Maintain the root

3 & 5 down chromatically 1 step

3 & 5 back up for conclusion


THEORY FOR BONEHEADS



BEGINNING FINGER-PICKING  ??


Delta style

Memphis

Country

Down-home

Urban

Harmonica

and so on?


FINGER STYLE BLUES (LL)  ??


Key of E

Hammering on the G#

Two inside and two outside

T I T M.  ( thumb index middle)

Alternating  the open E and the G note.

Alternating  open B and D note

Alternating  open E and the F# note

Alternating  open B and the C# note

Move to A7 chord move RH fingers over one string.


TWO BLUESY BASS CADENCES


My ending using divergent lines and two famous Blues bass lines simultaneously.



CHRISTMAS ??


Mando w/double stops

Guitar finger style collection


IMPROVISE GYPSY JAZZ ??


How to impersonate a Gypsy Jazz guitarist – or any other instrument – as the ideas are musical not just for any particular instrument.

1) How to easily find this short cut for soloing over the i and iv in HARMONIC MINOR

Starting with the basic 1-³-5 of the i or iv chord – in a melodic way, play the notes

1/2 below each of these chord tones then resolve UPWARD. Also circle using chromatic under and whole step over – because the i and the iv are often embellished with a 6th.

2) Why it actually works. – what’s going on. (what you don’t actually HAVE to understand)

these notes found 1/2 step below the minor triad notes are the

  • mM7
  • the 2
  • the b5 all very full of flavor!

1) How to easily find this short cut for soloing over the V7 (b9) in HARMONIC MINOR (note this is a Major triad)

Starting with the basic 1-3-5 of the V7 chord – in a melodic way, play the notes 1/2 above each of these chord tones then resolve DOWNWARD

2) Why it actually works. – what’s going on.

These notes are all in the Harmonic minor scale!  In fact, these are 6 of the 7 notes in the scale. If we were to include the b7 with the

1 3 5, we would have all of the notes of the scale/key.and if you play the scale that the chords word arrived from, As long as the scale keeps moving we will be hitting chord tones and non chord tones similarly.

Another option for the V chord in gypsy jazz is to go one half step above the root of the V chord and play a diminished 7th chord. This really makes the V chord a dominant 7 flat 9 which is what works with the harmonic minor scale.

Need to know some fingerboard!


TWO MOST IMPORTANT CHORDSimprov


Its all about the notes in the

  • chord-of-the-moment
  • destination or “target” chord

Learn your arpeggios


SO – ROGER THIS!  (TESTIMONIAL) ?? gypsy Jazz


..as a bluegrass guitarist (among other things bg) and having been through music school and life’s other institutions, I wanted to get a hang on what makes gypsy jazz sound so cool .

Django knew and played tons of standards but the gypsy sound is largely based on the harmonic minor tonality.   Also know that there are three main elements to music in general – melody, harmony and rhythm.  I

was taught to analyze different styles by these three basic elements. I learned a couple Django licks, but was much more interesed in what he was thinking – and how he came up with his ideas. So armed with the 3 elements, I went hunting. Sometimes, it’s hard to separate harmony from melody – because they are the same elements eilther played one note at a time or many notes together at the same time.

Minor Swing, for example,  is simply the most basic i iv V song there is – HARMONICALLY.  melody is mostly chord tones.

Psuedo Djangoesqe licks



THE SHORT STEP(s) BETWEEN  ?? THIS COULD REPRESENT SEVERAL “SHORT-STEPS” BOOKLETS.


Folk/bluegrass and swing


MELODY HARMONY AND RHYTHM


RHY…Certain styles swing while others rock.


IMPROVISATIONAL TOOLS  ??


1 2 #2 3… 3 4 #4 5…5 6 7 8

Licks


DYNAMIX


  • 1 and 3 vs 2 and 4
  • Nonsensical 2 string, 3 Note, descending lick on B & E string
  • emPHASis
  • 3 string cross picking emphasis on individual strings

SEQUENCES  ??


Pentatonic m & M

Chromatic

Blues

Major

Harmonic Minor

scales/arpeggios

Etc

The two useful for BG jamming

1231,2342,3453, asc and desc

13,24,35,46,57, asc and desc

Fly Me to the Moon

BlackBerry Blossom

Whiskey with a Twist


.


Triplet

One-string riffing

Useful whole tone scale position

Root to octave = tonality


   TECHNIQUE.  TECHNIQUE.  TECHNIQUE ??


Django right hand tricks

Little Rock Getaway

Swing 48

°7

Augmented lick at top of Swing 48

Sweep picking G shape

X picking exercises

Using arpeggios to improvise

Double stop riff in


JAMMING  AND  IMPROVISATION ??


Types of improv

Embellish melody (emmellish belody)

Licks

Patterns

Key Centers vs. Running changes

There are lists of which scale to play over what scenario

From To Use

Playing “around” the chord vs. Scale


X – PICKING ??


Wildwood Flower

(if you x pick long enough it can creep into your playing.

I don’t claim to have written or originated any of these ideas…I just discovered (or “evolved” into them)

Steve Kaufman and I both arrived at similar versions having never discussed it.

Emphasize different string

Backwards (see pick exercise)

X-Pick Exercise

Beaumont Rag

Little Rock Getaway

In The Mood  (C)


ROGER’S BOUNCE


New instrumental featuring my favorite bounces


C A G E D ??


Sometimes you have to hear a a concept or theory  several times before it begins to make sense. Try thinking of the caged connections like this……Instead of using the same chord shape and barring it to create different chords, this is just the opposite… we use different chord shapes in order to keep the same chord all the way up to fingerboard.

We read left to right. For one pattern n the other begins and you can see where they overlap.thought I’d invented it.  after studying Mel Bay’s deluxe scale and arpeggio book


AMERICANA 3rd TRICK  ??


So basically any style (or song) that would support a IV7 dominant, i.e. blues,  bluegrass, rockabilly etc

Jimmies Jam

Walkin after midnight

Ex in E on guitar- little strings

Interstate Rag

Sweet Georgia Brown

Intro lick

Major pentatonic lick then b the 3 for the IV7

repeated on-going lick (mando)

Changes in mysterious places

Johnny Gimble’s Fiddlin Round

shows a II – V using same strategy


HOW I LEARNED TO IMPROVISE


Over Roger Maddy’s bluesy mando piece….then speed it up.


Ex of arpeggio licks

Clarinet Polka

Black & White Rag

Django-ish way to go from C – F. (VL)

Voice leading can be visual as well as aural (VL)

E7 A7 D7 G using chromatic bass runs.(VL)

Flat and finger pick

Re harmonizing (Happy Birthday cadence)

I VI II V with chromatic approaches  (VL)

Breaking up I vi ii V (with ii m7b5 – V of ii) ala

Django’s Swing 42 (I Got Rhythm?) (VL)


B B7 E E7 A A7 D D7 G G7 C C7 F B7



AROUND THE HORN??



LICK MINING


ROGER’S BOUNCY LICKS ??


Little rock Getaway

Elcumbanchero

Big Sciota

Beaumont Rag

write a tune called Roger’s Bounce



True fire about a video with them.



RAGTIME ENDING (VL??)


(Glorified IV I V I)

Window faces the south

Beaumont Rag

Django’s Tiger

Tico Tico

Kentucky Waltz

Here comes Santa Claus

Take Me Out to the Ball Game

Recognizing the whole phrase as a thing.


12 BAR BLUES


Why A and E?

A6 ?? fullstep to A9(VL)

Cliché blues guitar noises (two note triplets)

Harmonized pent scale (VL)

2 string grooves  in A

Walk up to IV

Addressing measures 11 & 12 (VL)


FIDDLE


  • R arm Mechanics in a nutshell
  • Putting the horse hair to the cat gut.
  • Tip vs. Frog for bowing
  • Tuning in the low 1st finger on each string using Eb Bb and F double stops including open strings.

. Hack


Chromatic lick on one string …see Guiar Player Magazine

ala Django – sometimes he’d play 2 notes while ascending.(VL)


HARMONICS LESSON


1  3. 5. 8. On 5th. 4th and 3rd fret.

Big Ben

Grandfather’s Clock

Django ending

Dividing the string in

1/2  octave

1/4 further octaves

1/3  fifth

1/5. Third


GUITAR OCTAVES ??


relate to C A G E D

Not just the root but 8va of ANY chord tone


MANDOLIN  FIDDLE:


Joy to the world on two strings in D (VL)

Listen to how each scale tone sounds against the root (tonic).

Holy grail (VL)

chord/strum examples

Fill licks Bluegrass

major (VL)

Banks Ohio

bluesy

Sittin on Top the World


TECHNIQUE


Posture

Sitting

Standing

Left hand

Ist position

Bar style

Position playing

Right hand Finger style

Thumb

2 fingers vs 3 fingers

Right hand Flatpick style

Ascending and descending lagottos

Pushing off versus pulling off

Sequencing scales and arpeggios

Sweep picking

G shape in triplets

Gm shape in triplets

C shape

Em shape

X picking

Fixed finger exercises



EAR CALIBRATION


V7 – I in new key.

Listen to how each scale tone sounds against the root (tonic)…thanks Stewert Williams…



THAT GOLDEN RING revamp GP lesson


Mention Flattop Rag

Road to Columbus


GUITAR:

Boom Chuck C F & G WARM UP (VL)


FINER ART of BOOM CHUCKING


12 bar Blues

Malagueña (LL)

Follow my tab through the various “global concepts”

Wish You Were Here

House (LL)

Hey Hey

Blackbird

Flatpick tunes

     Big Sciota

Major Pentatonic ascending

     G then C  , F

… E Then A & D

Jam on “around-the-horn” tunes with root-to-octave licks (truncating as necessary…ala old home place

Then V – I licks. See “lick mining”


minor Pentatonic descending trips E (VL)

then A (classic box) then A from 10 on B strng.

then… how E min desc is like (G Maj ascending) (VL)

adding notes to each – the m descending and the M ascending.

adding beats as opposed to adding notes with

Single String Triplets


Original 10/6 flatpick (VL)

THEORY and FINGERBOARD HARMONY:

look at OC final to get ideas for generic beginnermediate guitar.

where chords come from(VL)

3 types of chords M, m, 7 (VL)

Music is…Melody Harmony Rhythm

Extended chords

Embellished chords

Substitute chords

Passing chords

from to use

Common progressions

The phone #…

1 (473) 6251 anecdote

LICKS…5 on each instrument in different styles…

Bluegrass, Swing (ll V I)

blues

What is a lick… works like common melody

Beethoven 5th hook


following chord of the moment…

3rds 6ths and 10ths

     mando and guitar


IMPROV DEVICES:FOR EACH STYLE


Have student jam over one chord for a long time… equivalent to a heart stress test.

Playing over:

Major chords

minor chords

Dominant chords,

jamming with triplets,


NAVIGATING  THE  B STRING …:(VL)


Two primary shapes; G  (octave 4 strings  away and at the nut -yeilds C & F) and

E shapes) (octave 3 strings toward the saddle – yields A and D shapes)


getting around with “CAMPFIRE shapes”

the CAGED shapes for guitar and the GDDCA for mando (sorry it doesn’t spell anything memorable)



“Campfire” refering to chords which have both open and fingered strings.

Psychology of playing with others

They are not listening whether it’s a jam or a band performance.

Perfect place to gain confidence


THEORY


learn to think in these sequences:

For spelling chords

a-c-e-g-b-d-f-a-c-e… =   Every Good Boy Does Fine   +   f   a    c    e

I ii iii IV V vi vii viii VIII

I  IV vii iii iv ii V I

I  IV V

ii V I

e-a-d-g-b-e

a-b-c-d-e-f-g-a-b-c…

a-g-f-e-d-c-b-a-g-f…

Musics chunks page

melody/harmony/rhythm

names of strings

definitions of chords, strings, scales, frets,

chords come from scales :

notes in the scale make up chords – each chord uses three different notes.

notes are 1 3 and 5 (we use Arabic numerals)

Of the twelve keys, five or so we (as guitarists)

tend to see most of the time.

There are seven chords in each key.

We use Roman numerals when talking about the chord’s relationship to the key. For instance, the I  IV and V (we use Roman numerals) are the chords in a key/scale that are major (built on the first, fourth and fifth scale tones using the “every other note” method [1 3 5 from either I IV or V).

ii iii and vi are the minor chords.  (vii is diminished will be discussed later.)

what you might need to know to play in these different styles:

blues

dominant chords I IV V

minor pentatonics and blues scales in 5 positions

bluegrass/folk

use a capo

swing and light jazz

four and five note chords (7th and 9th chords)

Things you don’t need to know in order to play this style of music.

two kinds of notes, notes in the chord of the moment

and notes not in that chord

play scales from root to octave

– learn arpeggios first, the other “scale”

notes will found in between the harmonic tones.


EAR TRAINING


Biab.. I V7 set up then deliver mystery chord and ask members to name that chord

Demonstrate how you can’t tell a song just by the uncopywritable chord progression

first learn to hear the root chord (the home-base, the last chord of the chorus ending cadences, of a song or composition.  It will often be the first

chord of a piece and almost always the last chord.  It will sound resolved as though it were content to just end there with no desperation to resolve.  the IV once launced (departing) sets adrift not really looking for any place special to go. The V chord is a nice short visit and does not lack the desperation to resolve.

a nice short visit with the V chord and we know its time to move on … and we know where we are going… we can hear it, sense it. The V chord is does not lack the desperation to resolve.

8 , 16 bar phrases often end with the root chord.


TECHNIQUE




METRONOME vs DRUM APP.



TECHNIQUE.          DYNAMIx


Ex. N) Using only the G string, play the example “straight eighths” (see “sequencelesson txt on page 3.mus” as quietly as

possible. This is done by relaxing the grip on the pick –  otherwise playing as usual.

Now –  on   “one”  and   “three”  simply pinch the pick then quickly relax again. This

“ONE  and  two  and  THREE  and  four  and”  gives the music a certain “feel”. If you can get a

graceful flow going  (motorized dancing hand) the “feel” will come across loud & clear. Also on the

topic of “feel” if we swing or apply a “shuffle” feel to the passage, it will loosen up and sound a

lot more musical especially as an exercise.

with your motor (later)

Sounds like it looks

“The easy way us the right


IMPROVISATE


Have student play a “chordy” song i.e. Wild Horses Little Wing  (or just some song that goes between I & vi) HOTEL CALIF, Mr BoJangles

Have them play the Major pent over the Major chords (ala Grisman) and then

the minor pent over the minor chords (also ala Grisman) back & forth in the five different positions

results:

student will learn all five major AND minor Pentatonic scale patterns

PLUS learn PLAYING OVER CHANGES

How to learn how to make the D major and the B minor sound like different scales.

________________________________________________________

Chordy songs or Hotel California

THEORY

learn to think in these sequenceS:

a-c-e-g-b-d-f-a-c-e… =   Every Good Boy Does Fine   +   f   a    c    e

I ii iii IV V vi vii VIII

I  IV vii iii iv ii V I

I  IV V

ii V I

e-a-d-g-b-e

a-b-c-d-e-f-g-a-b-c…

a-g-f-e-d-c-b-a-g-f…


THEORY


melody/harmony/rhythm

names of strings

definitions of chords, strings, scales, frets,

chords come from scales :

notes in the scale make up chords – each chord uses three different notes.

notes are 1 3 and 5 (we use Arabic numerals)

Of the twelve keys, five or so we (as guitarists)

tend to see most of the time.

There are seven chords in each key.

We use Roman numerals when talking about the chord’s relationship to the key. For instance, the I  IV and V (we use Roman numerals) are the chords in a key/scale that are major (built on the first, fourth and fifth scale tones using the “every other note” method [1 3 5 from either I IV or V).

ii iii and vi are the minor chords.  (vii is diminished will be discussed later.)


EAR TRAINING


first learn to hear the root chord (the home-base, the last chord of the chorus ending cadences, of a song or composition.  It will often be the first

chord of a piece and almost always the last chord.  It will sound resolved as though it were content to just end there with no desperation to resolve.

the IV once launced (departing) sets adrift not really looking for any place special to go.

The V

a nice short visit with the V chord and we know its time to move on … and we know where we are going… we can hear it, sense it. The V chord does not lack the desperation to resolve.

8 , 16 bar phrases often end with the root chord.


what you might need to know to play in these different styles:

blues

dominant chords I IV V

minor pentatonics and blues scales in 5 positions

bluegrass/folk

  use a capo

swing and light jazz

four and five note chords (7th and 9th chords)


THEORY


NL

two kinds of notes, notes in the chord of the moment

and notes not in that chord

THEORY

NL

play scales from root to octave

– learn arpeggios first, the other “scale”

notes will found in between the harmonic tones.

TECHNIQUE

The volume control for your acoustic guitar can be found

in your right hand.  The tighter you hold the

pick, the louder the volume.  (Your right hand.also houses your tone control -as you move away

from the bridge, toward the fingerboard, your tone becomes gradually softer)

TECHNIQUE

LH advice:

(it is important to only apply as much pressure or energy as needed as one hand feeds off the other

and (especially in guitar playing) the easy way is usually the right way.)

BLUEGRASS

“Technique” the other side of “knowledge”

When it comes to flatpicking bluegrass and fiddle tunes, you will want

to be able to play faster passages with ease. One way to polish your speed-picking

technique is to play through scale sequences slowly mastering the moves until you

reach higher speeds with consistant accuracy. Isolated practice (L. hand vs. R. hand)

This approach is easily applied to any scales that

we may know, e.g. minor or blues scales sound great sequenced.

DYNAMICS

Ex. N) Using only the G string, play the example “straight eighths” (see “sequencelesson txt on page 3.mus” as quietly as

possible. This is done by relaxing the grip on the pick –  otherwise playing as usual.

Now –  on   “one”  and   “three”  simply pinch the pick then quickly relax again. This

“ONE  and  two  and  THREE  and  four  and”  gives the music a certain “feel”. If you can get a

graceful flow going  (motorized dancing hand) the “feel” will come across loud & clear. Also on the

topic of “feel” if we swing or apply a “shuffle” feel to the passage, it will loosen up and sound a

lot more musical especially as an exercise.

with your motor (later)(VL)

_____________________________________________________

lessons

sizes?

one page “apply globally”

sequences

particular tunes in different styles

wish you were here types

jamming bluegrass

jamming rock/blues

particular style

finger style blues

flatpicking

bluegrass

swing jazz

fas an illistration for the last page of grail…


NAVIGATING THE B STRING.


Basically two shapes give us all our major scale patterns  E & G

Flatpick keys

down yonder 5 b5 4 3 (3 2 1…)

__________________________________________________________

two shapes for all scales, chords and octaves.

one is G  the other is E.

my licks “roving” like black mt rag also on the minor side use lonesome fiddle blues.

guitar

mandolin…  i- i7 – 4 – 47 – etc…

___________________________________________________________

three main kinds of “playing”

playing

this is by playing by yourself

practicing

this is also by yourself but includes the added

performing

rehearsing…

——————-

ISOLATING  L & R HAND EXERCISES ..  

put a capo on and play a familiar tune, but finger behind th the capo.

———————-

we need a book on hoiw to use one great lick.  how to find your great lick

(clue… it’s on some one elses solo right now.__)  you’ve heard it you love it

you’ve played the recording for

others and said listen right… HERE!   that’s one of your licks.  or it should be

it is speaking to you   “… please learn me!”  

figure out what it is you like about it… could be how it works over a particular chord

or it could be a ryhthmic lick. could be emplying some kind of pattern that your ear

really responds to, i.e.  a scale sequence or an arpeggio pattern.

for instance… i have some fun licks that can only be played over the IV chord but only in certain kinds of music. (See Americana 3rd)

_________________________________________________

C + E + G = C Major

This is why we finger C like this…

QUESTIONAIRE FIRST DAY:

(some entries are more for private guys)

how long they’ve played

other instruments played – how long

do you like to sing how long?

musical goals

email

phone

instrument

birthday

todays date

how they heard of me  etc.

finger or pick?

who do you listen to ?

what kind of music do you like to hear?

what kind of music do you see yourself playing?


THE HEARING SERIES


NOW HEAR THIS

using band in the box.

Calibrate our ears with a I – V7 chord change

hearing wholetone scale

hearing diminished arpeggios

hearing modes

hearing random (straight up from the lowest harmonic tone right up to the highest harmonic tone scale) minor pentatonics over (explain “over”) haering the basic 12 bar blues progression

hearing a variation of 12 bar blues

hearing altered dominant scales over 7b9b5 chord

Is this next note higher or lower than this?

By how much?

Chromatic

Diatonic

Arpeggiated

hearing and making

Maj

Min

7th

Sus 4

Dim

M7

m7

9th

hearing notes in chords

hearing chords in keys

hearing triplets over swing rhythms

hearing for fiddle students

You have to Learn the skill of listening.

What to listen for

The background

Melody

Rhythm

Try watching TV while playing a rehearsed piece

hearing I IV and V

A CARTOON (perhaps debuting the MARBELHEDS) oh.. and the heads can sometimes appear on the staff and sing a little tune and harmonize together.  with characters being notes in the scale. They eventually pairing up with new friends (certain clicks – so happens to be “every other one”) in the school (key) to become more of a three or four member team or group working together – their job -to hang out together and have fun – sound good and find other groups to play with.

when the I chord talks, it is always the ionian playing over a bed of Tonic chord with emphasis on the harmonic tones.  ( this could be accomplished (accomplessed?) with the arpeggiator on my studio quad.)

the “key” is the school where they all come together and play and have a lot of good music.

“I know” says the I chord, ” let’s take turns until ii iii and vi show up.  We hardly see vii anymore says  IV I. – Yeah she is home schooled says V ! Well, lets just play with who is here right now. with who is here now (I , IV and V)… We will start (the I chord group)… the IV s ,you come in, and then the V’s do it then you IVs have another turn”.  narrator… “see… I is the leader of all the groups but not necessarily the one we hear most.  although “I” does enjoy having the “last word”.

note: try to have the individual voice of the group reflect its character… i. e.  a V chord might have a more “Dominant” personality – always having the next-to-the-last word. reflected by maybe a koud BiaB instrument. (everyone in each group talks at once to show harmony and finishes each others sentences to show melodic movement of

the characters could have many episodes to watch:

the I IV V groups of marbelheads really like each other – have a lot in common (being Major and all)

chords (like the individual notes that make them, are as actors taking on roles — A appearing as a IV chord in the following production…

listen to A as a IV chord

now appearing in this production as the dominant 7th chord … aka  the V chord.

listen to A as a V chord

Now starring in its own feature … The A chord … as the “one” and only “one chord”  aka… the I chord.

listen to A as a I chord

doesn’t matter how many of each you have , as long as there is at least one of each.  there need not be balance in numbers (amount) only in audibility.

————————————-


extra grooves for 12 bar including measure  4  riff


———————————————

issue “loui loui” along with the major chords listing the I IV and V’s

assign: play Loui Loui in 5 keys


What is the V7 of:

What is []the V7 of?


autumn leaves

I ii iii IV V vi vii VIII

I iv vii iii vi ii V I

add passing chords


have a power chord sheet hand out along with other chord



   CM7   C#dim  Dm7  D#dim… etc  


on each course of four strings. Cover both on one video.


European root movement

in 4ths…

Standard guitar tuning (1ow E to high e) is predominantly in fourths, starting with the low E string… then A  – D  – G  – B – then the little E.  I suppose thats why we tend to think of the circle as moving in 4ths.

leading to the discussion of turn arounds.

V

I vi ii V


COMMON CHORD PROGRESSIONS


tuning


.


Do we need to know (       ) …  to improvise?



IN ORDER TO (      ) DO I NEED TO KNOW (    )



FROM TO USE CHART


Voice leading from 3 Note I chord to a 3 note IV chord using 1+ (augmented) as a passing chord. Coming back between the IV chord and the I chord we use the iv minor. This is that is that the heart of the from to chart.


From to use – intro to bg pickers


Intro to hearing the following chords :

  • Major
  • Minor
  • 7th
  • Augmented
  • Diminished

  • We do not need to know how to play the modes True []False []
  • We need to learn ALL our major scales True []False []
  • You will not need to know …
  • Practicing scales is for jazz guys and classical players only True []False []
  • We need to know how to read standard music notation True []False []

bluegrass and fok music are some of the first styles to be widely published in the form of tablature… True [x]False []

well, not including the Renaissance music of Spain, Italy and France in the 1400’s.



Couldn’t we find a way to step up the electrical charge so we could power a turbine using electric Power.


This is a nice place to segue into Western swing style guitar accompaniment.


.



MANDO RHYTHM


A class devoted to mandolin strumming, arpeggiationg, and chopping techniques.

When and where we might see them and actually use them! Class will also cover basic

I-IV-V chord constellations for the mando fingerboard.

Bluegrass chop

Swing strum

Campfire strum


MANDO GRAIL  TIME


NAVIGATING THE MANDO FRETBOARD

The Mandolin (and violin family) unlike their cousins (guitar, uke, banjo, dobro) is tuned totally in (using, to,) consecutive 4ths (5ths the other way). This means that anything we do on two adjacent strings, will translate perfectly to any other pair of adjacent strings – even up the neck. By studying the “Mando-Grail”, we will learn to recognize those repeating patterns

and expand on this.

_____________________________________________

MINING LICKS


The overall goal is to enlighten and open-up possibilities for students.  To use the “Ruby Slippers” metaphor from the Wizard of Oz, We have learned so many licks in melodies but haven’t began to use them to their fullest.  Sometimes, all we need to do is simply click our heels together.

ADVANCED FLATPICKING topics will include:

ORIENTATION

    Outline goals

    Get more detailed assessment of class as whole

    Review basics find common ground re: technique vs. intellect

WARM-UPS

    Daily left & right hand technique builders


ANATOMY OF A TUNE


    Analysis of flatpick standards

         melodic, harmonic, rhythmic

    What is it about a tune that makes us want to take the time to learn it above others

    Harmonic & non-harmonic tones


TUNE EMBELISHMENT


    Licks (root to octave and others)

    Connecting dots of arpeggios

    Triplets and other flourishes

    Exploring our own licks


EXPLORING BLUEGRASS IMPROVISATION


    Use of scales:

        Maj. & min

         Maj.  & min. pentatonic

        Chromatic

    Use of arpeggios

    Sequencing

Bluegrass scale


PLAYING “ROUND – THE – HORN”


    European root movement

    Recognizing V-I as I-IV

Don’t Let Your Deal Go Down

Sweet Georgia Brown

4′ 14″

Salty Dog Blues

Mr. Sandman


DOUBLE STOPS


    Riffing with double stops

    Alternate functions of Maj & min 3rds and 6ths


 PLAYING BLUEGRASS SONGS (vs. TUNES)


    Overall arrangement

    Texture

    Your contribution


LEAVING THE DOOR OPEN


    Viewing other styles

    Recognizing techniques and licks by their function

    Possible donors for bluegrass


start gathering my analogies, (comparisons, similes and metaphores?)


TECHNIQUE consistencies


My analogy is first finding the sweet-spot of a given string where you get the most tone, dynamic control and speed.

then using your fore-arm as a “crane” you move your hand to the sweet-spot of each string. like an archer, golfer or a bowler… consistency is the key and in each example the technique is CONSISTENT .  The golfer uses the same stance and swing and makes any “adjustment” for distance and power by using a different club. A bowlers stance and approach down the alley is always consistent – any “adjustment” to make the ball go right or left, is done by changing where he begins his approach – the middle,  left, or right of the lane. Where an archer need only raise the tip of his bow, flatpickers should use consistent technique, making adjustments my “craning” the hand to the sweet spot of each string.

This is how I do it, but there’re more than one way to skin a cat. Watch carefully other players who are fluid and have great flow.  

Many different approaches.

R hand

Practice ALL my techniques for right hand fluidity including emphasizing different beats while cross picking

now I could see the point driven home with a little cartoon (for the “visual” learning styles)

batter – swings

typist has the “guide keys” (different analogy)

… all about consistency …with any kind of technique – it eliminates one thought process by having ONE thing NEVER change!

choose the right thing to  never change and make that your staple of technique for each hand.



T