Well we've talked about sequences quite a
bit in the intermediate section and
I'd just like to revisit that because
there's such a great.
Source of vocabulary and just being able
to play all kinds of things.
Being able to improvise and, and do a lot
of different things.
Get comfortable on your instrument in a
lot of different places on the instrument
and just in general.
Be aware of, of you know, where you are in
Where you are in the scale.
Things like that.
They're just very useful little things.
So just wanted to suggest a few little
sequences to play, you know.
And and as, as I said people like Sam Bush
Other great musicians use a lot of
sequences, they practice sequences.
You don't necessarily hear them in their
soloing, but you hear
them in the sense that they're comfortable
anywhere on the neck, anywhere in a key.
And a lot of that is just moving through
these very systematic.
Ways of playing scales and
it's a great way of organizing your
thinking within a key so
again we covered some of the secrets
that's related to Blackberry Blossom.
You can do that down, we can go it up.
Those kind of things,
that's very simple one.
We can start thinking about like, skipping
Getting even basing sequences on parts of
fiddle tunes, like.
Like even if we take something like
We could go we could move that down.
We can do.
Now we don't always necessarily have to
take the sequence up by scales either.
We can go.
You can just kinda take random jumps, and,
and just general shapes.
You know, that's where it starts
interesting because we're using
thematic shapes but in a more creative
We're moving around and that.
That's when it starts getting interesting.
We could go up and down.
We could go, let's trying something like.
We could do that.
Let's see, how, how, how would we do that?
That kind of a thing.
So, there's a lot of ways to approach the
idea of [INAUDIBLE] without making them
sound too, worked out, without making them
Like you're in some kind of straight
jacket of, of music.
So yeah another thing.
Yeah, just like looking through, you know,
just like searching through well, what,
okay how about oh, you just take any
[SOUND] Oh, okay.
We could go.
Right, so what-,
. . how could we like take that and turn
it into a sequence?
We could go first of all let's take it
down on the, on the bottom string.
Right, so then we could like go.
Maybe we wanna go.
Turn it inside out, actually and
then go up.
And so forth.
So we're actually changing,
developing this sequence.
Trying different turning things inside
And as we do this, even if we wind up not
liking the actual sequence, just the fact
that we are, you know, using our fingers
in systematic ways.
making ourselves more able to play [SOUND]
whatever we want to, whenever we want to.
And then finding the, the stuff that we
like, and then being able to play
it in any key is sort of the point of all
And [SOUND] just I just think that the
are a great way to sort of systematically
do this in a real efficient way
Just like to suggest a couple of good
sequences that you might be interested in
exploring and maybe extrapolating on.
There's one that I really like a lot which
is sort of based on the diatonic arpeggio.
Idea where we're going back and forth
between two and four, one and
three finger wise.
This one goes down, it kinda goes like
we can do that in that open position where
we're playing a lot of open strings or
we could close it up, put in a flat key.
Like that, so that's kind of interesting
because it's got a it's
just got a nice shape to it comes down
there's another way you could come back up
with that, go the other way.
Right again in the closed position.
Things like that so were constantly
working with this.
That kind of one,
three, two, four business.
And then there's all kinds of funny little
hot lick type triplet sequences.
One of my favorite ways of playing triplet
through any, just about any chord
is, again, it's sort of works through the
See what you think about this.
you can, so we just take that from let's
see, where'd I take it from?
Take it from the G-note it's kind of in
the key of G.
[LAUGH] Something like that, You know,
and, and those kind of things, they tend
to pop out, you know?
You can't get too attached to that, that
kind of thing, because it
just starts like, sounding like, oh, you
know, oh God, he played that lick again!
But at the same time, it can definitely
come in handy.
I'm kind of reminded of some of the, some
of the things that, Jerry Douglas has a,
has a lick like that.
That he plays about once every two or
three months, and it's just it's very
exciting and it's kind of the same lick
and he's say, oh, that's Jerry.
Cool [LAUGH] but, you know, you don't want
to get too attached to anyone like, but
once you get really comfortable with it,
you know it's hard to stay away from it.
So that's when you start to think about
changing it some way turning inside out.
What are we doing?
It's oh maybe.
doesn't sound that much different, even
though it's turned inside out.
So maybe there's another way to do
something like that.
You know, something like that,
where you're not coming back up, but more
of sequences to try.
And yeah, you should try all of those see
what you like and
then if you have a favorite triplet
I'd love to hear it and
if you wanna share that with the rest of
the group, that would be fun
little bit of a little 20 second video
that features your
favorite triplet sequence would be really
interesting, and, to everybody, I think.
So if you feel like sen, send that in
we'll have the,
the triplet department, you know, of us