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Stuck in a rut?

So you can play OK now, you know a few scales, your hands are working well enough and you can even improvise and jam with friends or riff around by yourself at home. That's great and you've come a long way but maybe it's just not doing it for you any more, you feel like you're playing the same old stuff all the time. You're stuck in a rut.

It happens to all of us, congratulations it's part of the journey and you'll get through it eventually but in the mean time here are a few hints to help make that happen.

Getting it right

There's a lot to be said for getting it right. I know there's the whole "no rules" thing that a lot of cbg enthusiasts adhere to but frankly, it's bullshit. Creativity is great, personalising your own style is essential, but that doesn't mean you just make shit up. You could make a guitar with no strings on it, sure go ahead, but it's not going to work real well.

Practice makes perfect

If it's possible to distill learning down to one idea it is this:

  

  

  • Start with what you know or what you can do.
  • Identify what you need to know or do next.
  • Practice that.
  • Hey, now you know something else!

 

And you've created a cycle in which every element is fed by the one before it.  

A journey in Listening - eight bar forms

So we've learned to listen to single notes rising and falling in pitch and we've learned about three important chords, the I the IV and the V. We've found them on our guitars, listened to them move around in cadences and heard them in action in a twelve bar blues. Now it's time to hear them at work in other songs and learn to recognise them for yourself.

A Journey In Listening - The Blues

So you'll recall from the previous blog that we are learning to identify by listening to them, three important chords: the tonic chord (I), the fourth chord in the scale (IV) and the fifth chord in the scale (V). 

To help you recognise these three important chords lets examine a little more closely the standard twelve bar blues progression. While there are variations on how we navigate these twelve bars the most basic version contains three lines, each of which has four bars and it looks like this:

Learning Music - A Journey in Listening

This is the first in a series of blogs aimed at demystifying the study of music using methods that I've found effective over many years.

While it can seem overwhelming to start with, in the end it comes down to unravelling the language that musicians use and connecting it to the music you hear, one step at a time.

 

To understand music theory you need to directly connect new concepts to musical examples you can hear.

 

Video Community on You Tube

I'm interested in an invite to the video community.  I'm a 70 year old newbe to CBG.  In December of last year I "discovered" them and started building.  I have built 7 so far.  Each one I make I try to make a little different than the last.  I have learned alot.  Some are better than others.  I have one fretted one that is just perfect.  That's the one I practice with and am learning on.  I have discovered that I seem to be rhythm challenged.  I try to do some of the rhythm workshop every day along with the other classes.  T

Why is G D G b the most common 4 string layout?

BCurtis's picture

Been working through the 3 string slide course, learning a lot and having fun. I currently own a 3 string license plate CBG. However I had a 4 string standard CBG made and should be arriving soon. I am looking forward to starting the 4 string fretted course. The 4 string will be more for chord and fretted playing, where the 3 string is more for blues and slide playing. I was curious on the most common tuning of the 4 string, G D g b.  So in open tuning you have the root, fifth, octave, third (of the octave).  Why is the third placed as the third of the octave?

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