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Mike, this lesson has taught me something very valuable.
I have no idea how long it would have taken me to focus on my right hand – I certainly never considered it an area that needed improvement. Like you indicate, I thought that all of my problems were in my fretting hand. Then, I listened to my picking hand only. Even in songs that I thought sounded pretty good – the picking hand alone showed where all my weaknesses really were. The great part is – I can now work to improve it – measure by measure, song by song. For me, this is not just on songs that I struggle with. I run them all through this metric. I am discovering quite a few weaknesses. But, my muscle memory is improved and my practices are a lot more efficient. And the fixes are relatively quick and painless. A little work, yes. But no more going down a rabbit hole masking over problems.
Thanks so much Mike for teaching this!!!Hi Mike. Please do more like this – Slow, rich, sustain – 3/4 or 4/4. I want to be able to emphasize the harmony and volume, and feel. Beautiful stuff!
Thanks so much. I hope others enjoyed this one as much as I did.Mike,
These backup lessons are really great! They open my ears to the feel of the tune. I really appreciate the discussion of the fiddle player perspective. It gives me so much confidence to be able to carry a rhythm with simple but important phrasings. It’s like providing a platform for any lead including your own. I love playing to the fiddle only track. It’s also given me inspiration to try some of my own backup to other fiddle tunes. I think I would be a better player if I learned a few backup variations before I ever learned the lead. Great work Mike. Thank you.Hi Mike
I need some advice regarding this song as well as ‘Lonesome Road Blues’. I am not hearing one of the key melody notes – at the time that I expect it – in both songs. The 2nd fret on the first string is tabbed as the last note in the 2nd measure in both of these songs. But I am hearing the note later in the 3rd measure. This throws my timing off and makes it difficult for me to focus on the melody and time. I realize that this may be an intentional syncopated idea. But I find that I spend a lot of time trying to hear the note in the place that I am expecting to hear it. I have also been working my melody and timing by humming or softly singing along while playing. The humming has really helped my timing and tone/emphasis. But the syncopation throws me. For now, I have substituted licks that more closely follow the melody. Have you any other recommendations?
PS – I am really benefiting from your mastering series and timing and scales.
Thanks in advance.
Tony Wilder
I am very grateful for the video link above.
Thank you.
But the song Arkansas Traveler is not included.
Can anyone clarify the left-hand on measures 7-9?
I am not seeing the thumb used at all here. But the tab says that it is for 11 and 12 frets on 5th string.
I am managing to play the same notes. But I am using my 3rd and 4th fingers of my left hand to fret the 5th string.
Any comments here?Thank you
Tony Wilder
Hi. I am just now getting a grip on playing in different keys. Some of the free lessons that you offer on scales and string/finger exercises have really helped here. I have avoided these things in the past – because I foolishly could not see the value. In reality, these really help my ear PLUS my hands.
The question that I have is really about songs like This Little Light…
For whatever reason, I have not really considered these capo up to A or B songs to be in a different key – because the positions are the same as G.What I want to know (finally getting around to the question) is why choose A?
In a jam setting, I know that I may need to play whatever key is chosen. But are there other reasons as well? Position, tone, experience, tradition, common vocal?Anyway, thanks for those scale lessons. They are the greatest!
I want to thank you so much for your advice.
Your emphasis on melody first is something that I overlooked for years.
Songs like this help.
I would even say that I should learn backup after melody. THEN learn a lead break.
It sure helps me. It also helps me to play with others.
Also thanks for the left hand fingering. A tiny thing. But VERY important.
Thanks also for the scale and left hand exercises.
Great Stuff!!!Hi Mike,
I hope all is well with you.
I chose this song as an example of a difficulty that I have.
This sing tabs an E note as the last note of the first full measure.
The way that I hear the melody, the E note is on the first note of the second measure.
So, I get confused and struggle to play it.
I hear (the way that I hear the melody) the E note with a significant emphasis.
Putting an emphasis on the end of a measure – may be an interesting variation. But, it confuses me. Do you have a recommendation? Maybe I could learn a version that is more “straight” to the melody first before I try something syncopated?Thank you in advance for your thoughts
Tony Wilder
I just want to say that I still struggle with the timing on this. I have a tendency to play this slide into the B string as a triplet – where I can hear all three notes separately. Timing-wise, it works OK. But, it sounds much like swing rhythm. Your exercise (and the tablature) makes it clear that we should strive to make the fourth fret tone right about the same time as the B string is played. The same is true for most other slides and hammer-ons unless they are written explicitly as triplets. Please correct me if I am missing this. And thanks for the help!
