DianeB
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Posts posted by DianeB
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@Strings In the Fingerstyle course lesson book, there are basic, intermediate, and full versions of "Ode to Joy". If you're interested, let me know, and I'll send it by private message. I don't think Steve would mind.
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The Udemy course is an unauthorized copy. It was brought to my attention by another forum member about two weeks ago. I alerted Steve, and he and Legacy took steps to have the course removed.
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@Greg800 Yes, Greg, that lesson aired March 24. I don't see it posted either. It's possible that Steve wasn't satisfied with the audio and wanted to retape it.
In brief, he suggested that you choose a note, say C, and find every C on each string all over the fretboard. Say it and play it. In a couple of days, look for the C's and now the G's. Continue adding notes as you go by fifths or fourths.
I've caught myself doing a form of this. Sometimes when I'm in the middle of his major scale mastery workout, I'll pause and think: ok, Eb scale next. Find all the E flats. It helps.
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1 hour ago, NeilES335 said:
"As a man thinketh in his heart, so is he" Book of Proverbs, chapter 23, verse 7:
Now, that is classic Canadian humor!
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@Randy120 Ha! Yeah, Randy, once I pushed my eyes back into their sockets, I had a good laugh at that. And I'm better now at stopping before frustration sets in. I take smaller bites of the challenging stuff. Hope all is well with you.
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Forgive me for repeating this, but it's spot on Randy's topic, and maybe you missed it before. It's a podcast by Brent Vaarstra of "Learn Jazz Standards": Why I Stopped Hating My Playing. Bonus treat: at 4:00, you'll hear me take a bucket of cold water squarely in the face. Thanks, Brent. A little blunt, but I needed that.
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Update: Steve reported in the chat Friday that Bob has cancelled his travel plans. So he will not be coming to Nashville for the Live Lesson as scheduled.
From Steve's Facebook page, Saturday: But we will have our normal Tuesday night live lesson this week talking about Ways to Practice Scales Like a Boss and answering questions about the Triad series. See you there. - Steve
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@Dave White Wonderful! And $20,000 for IOJ will bring a lot of joy into the world!
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From The Guardian: "The road will kill you": Why older musicians are cancelling tours
"Health concerns have caused a number of high-profile singers to quit the road but what will it all mean for the industry at large?"
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I used Acrobat to combine the three triad PDFs (major, minor, and sevenths) into a single 5.6 Mb file, attached here for convenience.
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@Daveguitar_61 If I understand your question correctly, yes, in a harmonized B natural minor scale the fifth is a v minor (F#m = F#-A-C#). But in the context of this example, we have a specific form, that of "Hotel California," with a descending B-A#-A-E line. That specific fall requires F# major (F#-A#-C#). Felder used a common flamenco (but not pop) progression. Its working title was "Mexican Reggae". Of course, Henley and Walsh shaped it into the rock standard we all know, but in later years, the band returned it to its acoustic, flamenco-flavored origins.
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Hello, @Preetam, and welcome to the forum! I will assume you are just starting out with guitar. I hope you will take some time to learn about good posture and the ergonomics of playing guitar. The Musician's Way website is a good start. The object is to be aware of your entire body, and which muscles are in use for supporting weight, providing balance, and musical control. For now, think of your arm, including the shoulder, as an extension of your hand. The thumb normally provides stability while the fretting fingers apply the minimum required force. The wrist, elbow, upper arm, and shoulder should distribute the weight. The fretting fingers should touch the strings on their tips, not their pads. And this is all easier said than done!
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Recently I’ve read some new books that might be of interest. These are oriented toward general self- or skill improvement, not necessarily music, although music skills are well represented. I found valuable nuggets in each. One of these might perk up your practice, as they did for mine.
If you enjoyed the late George Leonard’s Mastery (1991), I encourage you to follow up with his equally concise companion volume, The Way of Aikido (1999). It provides the backstory to the aikido lessons in Mastery, and we learn what it’s like to become a newly minted black belt. (Hint: You start over.)
From the NYT best seller list we have James Clear’s Atomic Habits (2018) — build good habits and break bad ones. Chapter One alone is worth the price. Also well reviewed is Peak: Secrets from the New Science of Expertise (2017) by Anders Ericsson and Robert Pool.
And we have a pair from co-authors Brad Stulberg and Steve Magness, who have made new careers of studying the research on performance: Peak Performance: Elevate Your Game, Avoid Burnout, and Thrive with the New Science of Success (2017). In writing that book, they discovered that burnout was a subject in itself. They tackle the issues that arise specifically from following your passion in The Passion Paradox (2019).
To borrow author Tom Peters’ phrase from a related context, “there is an eerie similarity of language” among all these authors’ findings and recommendations. I heard the same themes echoing again and again: Deliberate practice. Consistency. Self-awareness. Tradeoffs. Challenge.
Warnings abound: The object of your passion can consume and crush you. Feedback is healthy, but pursuing external validation is a fool’s errand. Rest — short, medium, and long term — is a biological necessity for growth.
The principles apply to learning guitar or improving at almost anything. The links above go to Amazon, but first check your local library. Enjoy!
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@kenneth It's good that you're mindful of pick direction. The choice depends to some degreee on what's happening in the music: alternating bass? string skipping? and such. At this stage I'd encourage you to use alternate picking (up-down-up-down) as much as possible. It's hard to acquire speed if one's picking is all up or downstrokes.
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Thanks, Mandy. On this theme, give a listen to Brent Vaarstra's podcast on Learn Jazz Standards: "Why I Stopped Hating My Playing". You can skip over the initial announcements to about 4:00, where you will hear the sound of me taking a bucket of cold water squarely in the face. Enjoy! I have to towel off, again.
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@josev The key of G major (or E minor) is indicated on the treble clef with a single sharp on the F line. All notes on the F line are played F#, because that is what the interval pattern of a major scale (M2 - M2 - m2 - M2 - M2 - M2 - m2) requires if the tonic (first pitch on the scale) is G. So a G major scale is: G - A - B - C - D - E - F# - G. If a natural sign appears in front of an F in that piece of music, the sharp is canceled for the duration of that measure and F natural is played. This same key signature might also signify E (relative) minor, which employs the same pitches but starts on the sixth scale degree and follows a different interval pattern (M2 - m2 - M2 - M2 - m2 - M2 - M2): E - F# - G - A - B - C - D - E.
At first, learning this will seem like raw memorization. In truth, there is much underlying symmetry, and as you become better acquainted, the patterns will emerge. Stick with it!
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@Cathlabrob Hi, Rob, and welcome to the forum! Humidity issues are a regular topic around here, and Greg will almost certainly cover the subject. Meanwhile, here's the thread with some potentially useful tips, links, and videos.
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@Steve Krenz Maybe I was seeing things, but this morning I was sure I saw a comments field there after your test. Now it's gone.
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Oh, no, no, no. The tears are starting. Paul was one of the sweetest, most generous, most soft-spoken men I've ever known. I will always remember him sitting with me outside Third and Lindsley in the late afternoon sunshine, chatting and waiting for the show, only weeks before he discovered his illness. I followed his blog over the months with hope, growing apprehension, and sheer astonishment at his courage and candor. He took the picture of me over there. I'm heartbroken to have to say goodbye.
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@T. W. Hello, Terry! Welcome to the forum and the course! In the beginning, memorizing the music is not the point. It's about developing basic hand skills and familiarity in playing guitar from printed music. Steve expects a student to be referring to the printed music as they work their way through playing along with the jam tracks. Being able to play a song from memory will be a happy side effect of sufficient practice, but is never a requirement for progressing through the sessions.
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I've discovered that the "Recent Status Updates" frame on the main page has a mind of its own. I deleted Mike's (Popeye's) birthday message for me (I love ya, Mike, but who wants to see that every day?), only to find it was replaced by one of Steve's old LL blurbs. Deleting that only displayed the next, even older blurb from Steve. I give up. 🤨
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@josev I'm not aware of any errata that have been collected -- other than the Lesson Book's Canon in D that was corrected in the Bonus Book: similar glitch. Steve used Finale to create the music notation, and I've heard him say on multiple occasions that the software sometimes does not generate the correct tab when he places a note on the staff, and he would have to correct it manually. I see what you're referring to, and he probably just didn't notice it. In this instance it should be obvious how to properly fret the strings. Good eye.
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@mPasGamer I had to check to be sure, but, no -- the Song Hits set is comprised of 10 DVDs. Each has an introduction, an instruction, and a performance section by Steve. You can, of course, play along with Steve. By definition, on a backing track someone is playing something. But there are no "jam-along" CDs like those found in the L&M Guitar Course.
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Steve Kaufman's 2020 Acoustic Kamp Canceled
in Guitar Open Talk
Posted
From Kaufman's website: