Members cbh5150 Posted April 23, 2011 Members Share Posted April 23, 2011 Cool, Mark - thanks Link to comment Share on other sites More sharing options...
Members Mr Songwriter Posted April 23, 2011 Members Share Posted April 23, 2011 Cheers, that's a good lick, I always thought that rolling up from the b3 to the 3 was a way of approximating one of the blue notes (the one that's halfway between those two)..sort of an alternative to bending the b3. Link to comment Share on other sites More sharing options...
Members DonK Posted April 23, 2011 Members Share Posted April 23, 2011 Thanks for posting, nice! BTW, after watching your video on picking and picks the other day, and noting your advice against anchoring, I decided to try it while I was noodling around that night. I've had a 30-year habit of anchoring my pinky and ring finger on the pickguard - not rigidly - but nonetheless with those two fingers extended and moored to a general spot (I let them slide around). So I played for a few minutes making a point of keeping my pinky and ring fingers curled in toward my palm, and I couldn't believe the improved control I experienced for single-note picking. Or maybe I should say how much easier it was to maintain precise control. After 30 years, I could certainly control my pick, but I realized that when anchored it involved a struggle that I'd simply learned to deal with, not realizing what was happening. Not anchoring felt a bit weird at first, but I quickly got used to it, especially as my picking hand felt so much more relaxed. The hardest part was integrating it with hybrid picking, which I do a lot of. At first, I felt like I had to work to keep the pinky and ring finger tucked to avoid going back to the anchor, but after less than an hour it felt natural enough that I found myself easily switching between tucked and extended for hybrid-picking. One thing I noticed instantly - and I realize for some this will be a "duh" thing, but when you get wedded to something it's easy to overlook the obvious - is that when anchored you tend to change the pick angle because your wrist is acting as more of a swivel than a hinge. In my case I was constantly compensating for that, because the angle at which I wanted to strike a string was typically different from the natural angle induced by the swivel. Without anchoring, the pick is parallel unless you don't want it to be. Anyway, that video did wonders for me. Link to comment Share on other sites More sharing options...
Mark Wein Posted April 23, 2011 Author Share Posted April 23, 2011 Thanks for posting, nice! BTW, after watching your video on picking and picks the other day, and noting your advice against anchoring, I decided to try it while I was noodling around that night. I've had a 30-year habit of anchoring my pinky and ring finger on the pickguard - not rigidly - but nonetheless with those two fingers extended and moored to a general spot (I let them slide around). So I played for a few minutes making a point of keeping my pinky and ring fingers curled in toward my palm, and I couldn't believe the improved control I experienced for single-note picking. Or maybe I should say how much easier it was to maintain precise control. After 30 years, I could certainly control my pick, but I realized that when anchored it involved a struggle that I'd simply learned to deal with, not realizing what was happening. Not anchoring felt a bit weird at first, but I quickly got used to it, especially as my picking hand felt so much more relaxed. The hardest part was integrating it with hybrid picking, which I do a lot of. At first, I felt like I had to work to keep the pinky and ring finger tucked to avoid going back to the anchor, but after less than an hour it felt natural enough that I found myself easily switching between tucked and extended for hybrid-picking.One thing I noticed instantly - and I realize for some this will be a "duh" thing, but when you get wedded to something it's easy to overlook the obvious - is that when anchored you tend to change the pick angle because your wrist is acting as more of a swivel than a hinge. In my case I was constantly compensating for that, because the angle at which I wanted to strike a string was typically different from the natural angle induced by the swivel. Without anchoring, the pick is parallel unless you don't want it to be. Anyway, that video did wonders for me. Very cool! Making changes like that is usually a lot more difficult.... Link to comment Share on other sites More sharing options...
Members faberbz Posted April 23, 2011 Members Share Posted April 23, 2011 Great stuff. Thanks for posting this, Mark! Link to comment Share on other sites More sharing options...
Mark Wein Posted April 23, 2011 Author Share Posted April 23, 2011 Great stuff. Thanks for posting this, Mark! No problem! I'm not sure what we'll have on tap for next week but there should be a blog on Monday and a "Lick of the Week" on Thursday pretty much weekly for a while...let me know how you dig them as time goes by. Link to comment Share on other sites More sharing options...
Members ashasha Posted April 24, 2011 Members Share Posted April 24, 2011 Yeah so I've been messing around with this quite a bit since last night and I never realized that I've been messing around with the 6th for a while now (I have less than zero theory so bare with me). Basically instead of doing the slide up to the sixth I'd do a pull off from say the 5th fret to the 3rd, but I'd bend up to the 4th (possibly a bit higher for added rudeness). But I never even thought about ascending to it for some reason. Of course now I've just been playing this thing all over the place on the fretboard and having all kinds of fun with it. Link to comment Share on other sites More sharing options...
Mark Wein Posted April 24, 2011 Author Share Posted April 24, 2011 I've been discovering that if I get my students (and myself for that matter) thinking chord tones instead of scale patterns they tend to play with a greater sense of melody and what they play relates to the harmony they are playing over much better..., Yeah so I've been messing around with this quite a bit since last night and I never realized that I've been messing around with the 6th for a while now (I have less than zero theory so bare with me). Basically instead of doing the slide up to the sixth I'd do a pull off from say the 5th fret to the 3rd, but I'd bend up to the 4th (possibly a bit higher for added rudeness). But I never even thought about ascending to it for some reason. Of course now I've just been playing this thing all over the place on the fretboard and having all kinds of fun with it. Link to comment Share on other sites More sharing options...
Members adlo76 Posted April 24, 2011 Members Share Posted April 24, 2011 agreed Mark. tends to make them slow down as well so the tune breathes more which is usually nice. Link to comment Share on other sites More sharing options...
Mark Wein Posted April 24, 2011 Author Share Posted April 24, 2011 agreed Mark. tends to make them slow down as well so the tune breathes more which is usually nice. I think we just tend to run licks and patterns if we think pentatonic scales since thats how most of us are taught in the beginning... Link to comment Share on other sites More sharing options...
Members adlo76 Posted April 24, 2011 Members Share Posted April 24, 2011 I think we just tend to run licks and patterns if we think pentatonic scales since thats how most of us are taught in the beginning... yea, that was kinda my point. especially on the patterns. they're usually really simple patterns that allow for the hands to develop quicker (and play quicker) than the ears.the melodic chord tone side isn't as obvious physically so it slows down the hands which really makes the ears take notice to the note content and how they sound. Link to comment Share on other sites More sharing options...
Mark Wein Posted April 25, 2011 Author Share Posted April 25, 2011 yea, that was kinda my point. especially on the patterns. they're usually really simple patterns that allow for the hands to develop quicker (and play quicker) than the ears. the melodic chord tone side isn't as obvious physically so it slows down the hands which really makes the ears take notice to the note content and how they sound. Exactly. Link to comment Share on other sites More sharing options...
Members newbuilder Posted April 25, 2011 Members Share Posted April 25, 2011 Glad I caught this before it disapeared! I don't ever really do any lessons and the ones I have done in the last year or so have come from you Mark...thanks. Link to comment Share on other sites More sharing options...
Mark Wein Posted April 25, 2011 Author Share Posted April 25, 2011 Glad I caught this before it disapeared! I don't ever really do any lessons and the ones I have done in the last year or so have come from you Mark...thanks. Cool! Actually my "blog" post will probably be posted this evening. I'm planning on doing one on sitting position with the guitar since thats been an ongoing topic at my place... Link to comment Share on other sites More sharing options...
Members Selsaral Posted April 25, 2011 Members Share Posted April 25, 2011 I got time to work on this over the weekend and Chuck Berry follows this formula very strictly: major pentatonic on the I chord, minor pentatonic on the IV chord, and wildly mix them on the V chord. Huge breakthrough for me. Same thing for Honky Tonk Women, even though it's not a 12-bar. Time to learn this in open-g. Link to comment Share on other sites More sharing options...
Members tbry Posted April 25, 2011 Members Share Posted April 25, 2011 No problem! I'm not sure what we'll have on tap for next week but there should be a blog on Monday and a "Lick of the Week" on Thursday pretty much weekly for a while...let me know how you dig them as time goes by. I am a beginer acoustic player and I assume these ideas translate to acoustic...it may be a bit advanced for me but I have always thought if I can learn to play some blues sitting alone I could maybe transfer some of that to playing with others...will try to check out your licks of the week...I like your slow it way down and show each note to be played...some guys just figure you get it ripping it up or even when they think they are going slow it is still to fast...thanks for sharing this stuff...just a few licks and especially turn arounds helps me sound like I have a clue!! I assume they will be in this thread? Link to comment Share on other sites More sharing options...
Mark Wein Posted April 25, 2011 Author Share Posted April 25, 2011 I am a beginer acoustic player and I assume these ideas translate to acoustic...it may be a bit advanced for me but I have always thought if I can learn to play some blues sitting alone I could maybe transfer some of that to playing with others...will try to check out your licks of the week...I like your slow it way down and show each note to be played...some guys just figure you get it ripping it up or even when they think they are going slow it is still to fast...thanks for sharing this stuff...just a few licks and especially turn arounds helps me sound like I have a clue!!I assume they will be in this thread? Cool! I'll probably start a new thread each week since last year my "mega lesson thread" rubbed some folks the wrong way in this forum: http://acapella.harmony-central.com/showthread.php?2575293-My-lesson-blog-is-getting-re-started-on-the-new-site&highlight=lesson You can definitely use these concepts for acoustic guitar, too. You might dig these a little bit, too...they are by one of the instructors in my teaching studio and the links underneath each video will take you to the tab notation if you want it: [video=youtube;MEYlcGfnrc8] http://markweinguitarlessons.com/forums/content.php?185-Tom-Harkenriders-12-Bar-Country-Blues! [video=youtube;gO64A2cJAm4] http://markweinguitarlessons.com/forums/content.php?366-A-Lonnie-Johnson-Style-Lesson-from-Tom-Harkenrider! Link to comment Share on other sites More sharing options...
Mark Wein Posted April 5, 2012 Author Share Posted April 5, 2012 Anyone interested in a further exploration of this idea? Link to comment Share on other sites More sharing options...
Members fretmonster Posted April 5, 2012 Members Share Posted April 5, 2012 I love that riff. It's a great way to flirt btw major and minor blues as well, depending on whether you land on the major 3rd or the minor 3rd. I've been loving your clips Mark. Keep em coming. Yeah, I've been trying to incorporate more of that major sound into my blues playin thx to Mark and his friends (Junior Watson). Link to comment Share on other sites More sharing options...
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