TapperMike

I fall off of this train of thought and fall back into it. Because I exclusively tap on my ztar and I draw a lot of inspiration from the keyboard I've been tuning down to BEADGC Without open notes that puts me at a low C for the lowest not played and a four octave range. So I do Left hand scales, scale patterns and arpeggios, Right hand scales, patterns and arpeggios. Octave (both left and right hand as ztars allow for more then one note per string) And I have an assortment of both hand techniques: One plus One - Which means one finger from the left hand and one for the right. Works well for pentatonic scales, 6th, 7th and 9th arpeggios One plus Two - Which is one finger on the left and two on the right. Works well with diatonic scales and primary arpeggios Two plus Two - I'm still working out ideas for this. Works well for three octave scales. When I'm soloing without trying to accompany the solo I'll use combinations of all the above plus some others. It all works well when I use standard tuning but goes haywire when I use the perfect fourths tuning mentioned above. The scales are coming along but the chords are not. Between perfect fourths and tuning down I struggle to lock chord shapes/positions to names. Yesterday, I opened up Guitar Pro and began manually scoring out scale patterns for my new found tuning so I can get a better grip on it. If I were smart I'd avoid youtube. I'll see a great keyboard performance and try to emulate it on the ztar. Although I will say I've learned a lot from watching them. .

'Round Midnight - Thelonius Monk

I got nothing.

I've got so many methods it drives me bonkers and every time I turn around I stumble on a new one. I've got about six different diatonic scale pattern ideas that I'll run thru. And I'll apply them left and right in various combinations across all modes. I used to have a lot of pentatonic sequences but I haven't touched them in ages. I'll say this. My new ideas are no more complex then my old ideas but they certainly are harder to execute even at a slow pace. As well I tried expaning my range by using something similar to 6 string bass tuning - beadgc rather then guitar. Works great if I'm playing just bass but if I tune up an octave and get all 6 strings and both hands involved in chording I go nuts.

A Gallon of Gas - Kinks

When I was a gigging musician (paid studio work, stage) I didn't need to practice. I didn't need practice because I was focused on what I was doing. You get very good at what you do and pretty much all the things you like but are not a part of your regiment fall away. Now that I'm not a gigging musician I've gone back to practicing scales and patterns in different ways mostly due to a different instrument and approach. Sometimes I think there is simply too much to practice. Not that I'm in the heavy metal scene but I know of many of those guys practice scales for two to three hours straight. One thing I've gone back to is cycle of 5ths. A different key everyday

One way or another - Blondie

The Way It Is - Bruce Hornsby

Tom and John, You two are unstoppable. Hungry Eyes - Eric Carmen

Faith - George Michael

oh, oh, oh. What a fool believes - Doobie Brothers One of my favorite Michael McDonald songs.

Took me awhile Scuttle Buttin - Stevie Ray (Vaughn)

Jan's got a new pick. Mikey Likey. Legs - ZZ Top

I've had a few external usb soundcards (m audio, soundblaster, tascam, fostex) and honestly I don't miss them at all. As much as I'm a presonus fan I've gotten some bad reports on the low end stuff. For analog everything goes thru my yamaha awg, Though if I had my druthers I'd opt for a presonus 24.4.4 firewire is both faster and smoother then usb.

And as you age you still don't know what you want when you can differentiate between them. I've got 12 guitars and at my peak I had over 50. I'm always thinking about the next two. But I'm afraid once I get them I'll want another two after that.

Country Roads - John Denver

I used to host a blues jam many years back. The good players not only knew the solo's all the way thru they also knew how to personify improvisations. It's more then just crowding up space with lots of notes or knowing scales and licks. All blues greats stand on the shoulders of giants. If you listen to any serious blues players for a good length of time you begin to hear influences of those who've gone before them. Stevie Ray Vaughn started off trying to be Albert King. And he was very good at emulating King, When he stopped trying to be Albert King he started to sound like SRV, It's not enough to simply be able to hear what someone else has done. When you recreate the work it gives your playing a persona from which you can then take back and apply to your own playing. Playing the blues is much like learning an accent. While we all may speak english we do so with inflections that come from our environment. That's why if you really want to get into the blues you focus your attention to one specific artist and craft it to your own persona. For a long time I was all about Santana. Had every record learned his stuff backwards and forewards. Then when ever I'd learn a lick I'd instantly think, How can I santana-ify it. When you learn a lick. Play it enough times to remember it "straight" then try accenting different notes and shifting your timing. Finally get out and play. I'm all for listening to the blues and jamming along with band in a box but the best education you'll ever recieve is that of being on the stage with seasoned blues players.

Already Gone - The Eagles

It's funny I very rarely record these days. Recording is something one needs to practice at to get better. I'd have songs down pat but as soon as I started recording video all sorts of anxeity would arise. Take 2 leads to take 30. Rather then jump in from no where If you make recording a daily habid and treat the camera or mic in the same way you treat a lamp things will go easier. Also success builds on success.

Candy's Room - Bruce Springsteen

Shoot me now.... Never Say Never - Justin Bieber

Time After Time - Cindy Lauper

I concur with the above. A cautionary tale. I once had a very talented but untrained singer who didn't take the time to develop and take care of her voice. She developed polyps had to have surgery and never sang again. Vocal lessons are more affordable then the alternatives. Those being less of the singer you want to be and the possiblitiy of damage due to improper technique.

That wasn't just a page out of my life it was a chapter.

Lucy in the Sky with Diamonds - The Beatles