Thanks I am enjoying the extra strength but it's wasting time to get back in sync, I like the D'AdDario EXL115 Jazz/Blues and the Chrome flatwounds, I noticed a lot less picking noise with the flatwounds.

Where I come from and the players Ive hung around, they always tell you to use the heaviest gauge you can cosistently
bend a whole step. This way you got the fattest tone you could use.

I use 10-46 on my main strat, but my tele and 50s strat i use 12-52's. Does wonders for the tone, and your hand does
eventually speed up.

Cheers,
Chris

I have 13's on my acoustic, also. One way I do NOT lose any "finesse" when going back to my Gibsons is by going to the electrics immediately after completing my last exercise on the acoustic; usually "The Trill." So, I'll do "The Trill" for 60-90 minutes, and that's it; directly to the Gibsons.

Even tapping chops can be greatly improved this way: Practice them on acoustic for 15-30 minutes, then go directly to the electrics. The difference is similar to running a hot knife through butter!

I hope I don't look too foolish asking this, but in one of your ScaleTone Form System videos, you mention "Chord Theory Worksheet #1", but can't seem to find it in the Lesson Downloads. Is this for students only? Thank you as always.

kind of off topic but is there anyway someone can create categories in the forum ?

Tetra-Chords: Are these named so, because each part (Lower & Upper) consists of 4 notes?

Beautiful, Pebber,,,,,THANK YOU! I was sure that "Tetra"=4; just wanted to make sure I was on the right path. On that 1st PDF (16 ways to play), I can see a resemblance to the Scaletone Forms Patterns! This really helped a lot!

I wonder, what was the basis was for giving such importance to the Tetrachord? Why not pick 3 notes? Why not 5? Does it have something to do with eight notes from a root note to it's octave in most scales?

In the last week alone, my mind is just really expanding, musically speaking....I feel many doors opening!

I've known for a while that you taught Buckethead...but it has never occurred to me to ask how long did you teach him for? 1 year? 2 years? Sorry if this question has been answered before but I don't know where to search for this kind of question.

LOL, more Buckethead questions....

Can't we just talk about guitar....

Not sure if this is where i should post but here goes.. Im interested in the scaletone form book you mentioned in your videos. I'm wondering if the book is still a work in progress, or if its available. I'm also curious if arpeggio-modes and chord-modes will be covered in the book? I've heard the ideas referenced before but am not sure what they are exactly. I'm assuming they are inversions, but i really like your slant on things so I'd like to learn more about where your goin with that.

All the basic information about scaletone form, CAGED, 7 position system, 14 position system, the Russ Tuttle 12 position system, along with all the arpeggios, chords, pentatonics, and how to practice it all is here

http://www.pbguitarstudio.com/GuitarLessonPDF.html

ya i already downloaded just about everything from that page. Im familiar with caged, the 7pos system, the 12, scaletone, etc... Ive been watching some of PBs videos and i heard him mention chord modes, and arpeggio modes. I am curious if there is a book available either with these concepts, or with anything else that has not been covered on youtube. Ive watched just about every single video, and i really like the way PB explains everything.

Watching all of PB's Youtube videos is definitely the place to start.

So, now, armed with all of this knowledge, have you begun to work it into your daily practice? How much are you practicing daily?

If I could add my 2 cents (which I'll do, anyway), I would think that just the stuff on the link Ursin so kindly provided WILL keep you busy for up to 10 YEARS.

,,,and NO, as a Student of Pebber's, I am NOT lying.

If you ask me, the longer the book takes, the MORE sense it will make; the better prepared I will be!

Pebber:

I am writing out the F# Mixolydian Scale, and I would like to know if, because I am writing it as an ASCENDING PATTERN, I use ALL SHARPS, as opposed to flats?

F#, G#, A#, B, C#, D#, E

This is really cool!!! And I don't know what just happened but as I typed this (the first time) my screen flashed and my comment disappeared. Oh well, I was just going to echo Pebbers last comment in other words... Failing to prepare is preparing to fail... and Thanks for Everthing Pebber and Adam!!! Peace, Don

I do know that if you are in a certain key you only use that key signature... so if you are in F# Mixolydian, you would still use sharps even if you are descending. But I guess you could say that when you are descending it could be Gb Mixolydian..

But if you were in a flat key, say Gb Mixolydian, you would still write flats even when you are ascending.

Is that what you're asking?