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Woodshedding - Learning to Play!
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I'm a bedroom guitar player - professional student - spend a lot of time with the instrument noodling, learning little things, not enough time mastering songs for performance. I know what kind of player I am - please no advice on this point. In all fairness, I have learned quite a few songs all the way through - I have the capability, but never had or made the time to practice them regularly to keep them from fading. Work and family had higher priorities. I call myself a "professional student" lol I do enjoy what I do with the instrument, and still want to improve.

That said, along with songs - I do work on exercises to help improve my playing, ear, and musicianship.

One exercise I'm working on currently and have stayed with for quite a few weeks (btw - I'm recently retired):

1.) staying with one major scale (I chose E) and fluently learning the notes from top to bottom in all major (e.g. CAGED) positions. You can also look at this as learning the E scale in all it's modes, starting with the sixth string, index finger on root.

2.) learning to play the triads and their inversions in E on 3 consecutive strings, both up the neck and also within, say 5 frets.

Now I had worked on some of these things in the past, but never within one key with an emphasis on memorizing the shapes and connecting the positions within a single key - instead I learned these things piece-meal with less thoroughness, frequently learning one or 2 of the major fingerings and moving them around the neck changing keys, rather than all across the neck in one key.

This is a really tall order for a beginner, but definitely doable by someone that has played for a few years. Maybe there are beginners out there that can do this, and I just didn't have the discipline and foresight to do this.

I wish I had done this years earlier, I feel like it would have pushed me forward faster.

Please share whether
1.) you see this as a worthwhile exercise and why or why not
2.) whether you have mastered this,
and most importantly
3.) Are there any exercises you are currently working on that you wish you had focused on years earlier, that I might consider next ?

Happy practicing.

Woodshedding - Learning to Play!
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On guitar:
Slowly, without looking at the neck or body of the guitar:
Pluck each string five times then advance to the next string. With each pluck use a different finger of your chord hand to advance one chord. For example; pluck open E, pluck again and use index finger to advance to F, pluck again and use middle finger to advance to Gb, pluck again and use ring finger to advance to G, pluck again and use your pinkie finger to play Ab. Shift hands to A string and repeat. Continue all the way down to the high E string. Reverse and work your way from bottom string to top string while also working your fingers from pinkie to index. DO NOT HURRY and make each note sound clearly. When you mess up, slow down and start from the top again. Once you build speed and can perform this exercise without mistakes, move four frets up the neck and start over.

This exercise teaches your hands the position of the strings and frets by feel so you aren't looking at the guitar all the time to see where your at or where you're wanting to go.


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Woodshedding - Learning to Play!
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Play songs.

Exercises do help. yours seems fine.

But Its easy to get lost in exercises and "practice"

Check this short out
I wish I had learned this sooner



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Woodshedding - Learning to Play!
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Originally Posted by mrgeeze
Play songs.

Exercises do help. yours seems fine.

But Its easy to get lost in exercises and "practice"

Check this short out
I wish I had learned this sooner
I agree and also like the video.
I play bass guitar, a little keyboard and some percussion and as a hobbiest I play either by ear or with the assistance of a chord sheet.

Right now I'm recording a catalog of 60s and 70s Pop and Rock favorites from my youth and having a blast trying to figure out how they sounded so good.
Practice for some may be fine and good, and if it works great!
But I picked up music late in life and want to record the most I can, knowing that none of it will be perfect, but it sure is fun smile


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For me there’s no better place in the band than to have one leg in the harmony world and the other in the percussive. Thank you Paul Tutmarc and Leo Fender.
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Originally Posted by Bass Thumper
[quote=mrgeeze]
Right now I'm recording a catalog of 60s and 70s Pop and Rock favorites from my youth and having a blast trying to figure out how they sounded so good.
Practice for some may be fine and good, and if it works great!
But I picked up music late in life and want to record the most I can, knowing that none of it will be perfect, but it sure is fun smile
Yeah, I can go with that. I didn't start late but I didn't put any effort into it either so I was a poor student running along happily with what limited chords and minimal bass theory I knew from 76 until about 2000. After 2000 I took up cello and had a tutor for my lessons. I'm easily bored PLUS my tutor was young and adventurous so I turned by lesson sessions into recording sessions. I'd learn a bit, prac that for a week and then apply that to a song I was recording. I managed to get the tutor into it ...she sang and played cello on the tracks as well. We even wrote four or five songs along the way. Even now I learn new guitar or bass things to use in a new song I'm writing recording. Recently I wrote a song that pedaled chords and then varied those chords by inversions or one note changes like from A to A2 then Am etc. Learning the inversions, shell chords and how to play pedal bass without getting bored or boring was good too. Learning with a directly applicable purpose is what works for me as opposed to piling in the knowledge and then using it later.

Last edited by rayc; 10/01/24 10:33 PM.

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rayc
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Originally Posted by rayc
Learning with a directly applicable purpose is what works for me as opposed to piling in the knowledge and then using it later.
+1
If I pile in the knowledge and don't use it . . . it's forgotten.


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For me there’s no better place in the band than to have one leg in the harmony world and the other in the percussive. Thank you Paul Tutmarc and Leo Fender.
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