Bad Habits?

[Twayn Williams]

Ive purchased a few picks to try out. So far my favorite is the ProPick Fingertone. These have a cutout that allows your fingertip to protrude through the pick and actually touch/feel the strings. I believe this is useful for finger muting, at least it seems good for this when I tried it on my normal electric guitar.

As a classically trained guitarist, I can't stand standard fingerpicks, so I also use Fingertones, for all the reasons you've laid out here!

[D Schubert]

Slightly off topic, are you planning to play regularly with others? Or play along with backup tracks and recordings at home?

[Glenn Stanfield]

As a classically trained guitarist, I can't stand standard fingerpicks, so I also use Fingertones, for all the reasons you've laid out here!

Thank you for this post, let's me know I'm not alone

Slightly off topic, are you planning to play regularly with others? Or play along with backup tracks and recordings at home?

I haven't ruled anything out. I plan to practice on my own. If I find backing tracks or recordings I like I'll try playing along.

If/when I get good enough I'd like to play with others. Both of my sons play guitar well, much better than me, I'd probably start there.

[Fred Treece]

I'm like the dog that sees a SQUIRREL.

Ha! You’re not alone

[Rick Rienks]

Thank you Troy and Glenn for taking the time to give me advice.

Sticking to and learning a single tuning seems a very inportant piece of advice given the number of times its been brought up. Open E is what I intend to start with. Rock and Blues are my preferred genres, not really into country so I don't think the standard C6 would be the one for me to start with from what I've read so far. Unfortunately there's not a lot of instruction for E, but hopefully I'll find enough.
***** here are a few thoughts related to your comment, above. (I don’t navigate this system very well, sorry)

I wanted to comment on Open E on my Supro 6 st. I started with open D but thought the “step-down” was responsible for the funky tone from the 6th string. Went back to Open E, then, for a m3 @ the 6th (?), tuned E-6 to “G” I guess I am in Open E + m3.

I like diagrams, so when not picking I created various F/B diagrams for scale practice. These also help me stay in key positions for sight reading as I like to create moveable 2-octave forms. In my tuning my reference of position (root) can be from 6th, 5th or 4th string (try planning a path for 2 8va scale from root on 4th string - weird).

Sight reading in various keys aids in note relationship studies and gives me a basic song list. For practice, not performance.

I can’t read at the level I did in the 1960’s thru 80’s but as I am IN my 80’s, it pleases me to meet a goal even at an elementary level. I guess I am suggesting neck diagrams may aid in understanding the key you work in and also the comments we read about other keys, re: convenience in moving between notes to build a melody.

Then chords or chord fragments come to view as do harmonizing notes for melody lines.

I have to say, the vast amount of information in this forum really is essential when picking up the “trombone or violin of the guitar world.” It is another instrument of “no specific pitch.” It is all in your hands. Fretted guitar seems soo much easier by comparison. But then I started that at 15.
By the 1960’s I was into “micro-tonal scales” within a whole-step bend, on one string. Lap steel offers us much.

Gratitude to all. R

[D Schubert]

Just a general observation, if you want to play with others (and some folks find their greatest pleasure there) I'd suggest that you concentrate on how to fill the space between the vocalizations with simple musical punctuation, rather than on playing a complete solo version of the melody. Early on, I didn't spend enough time on tasteful backup, which kept me from being included in the circle.

[BJ Burbach]

My worst habit is my old brain forgetting which I am playing.
Is it a dobro, PS, lap steel, weiss?
Terrible technique, loads of fun.
BJ

[Rick Rienks]

Just a general observation, if you want to play with others (and some folks find their greatest pleasure there) I'd suggest that you concentrate on how to fill the space between the vocalizations with simple musical punctuation, rather than on playing a complete solo version of the melody. Early on, I didn't spend enough time on tasteful backup, which kept me from being included in the circle.

So you are suggesting fill and chase lines. Hmmm. I see the point. Once you are comfortable with the scale tones for the key, the embellishments suggest themselves based on the chords and melody. Thanks for pointing out the social and musical value in, essentially, not overloading with too many irons in the fire.

Now to find a few other musicians to sit in with. That can be another challenge. I guess I took on the broader aspects to recover the skills I lost some years ago. Sadly, the music community here is . . . In the doldrums. Thanks again.

[Jerry Overstreet]

My worst habit is my old brain forgetting which I am playing.
Is it a dobro, PS, lap steel, weiss?
Terrible technique, loads of fun.
BJ

Same here. Second worse, forgetting what key I'm playing in.

[BJ Burbach]

Well, sure. These fancy tunings can lead you astray like that.
BJ

[Mike Neer]

Don’t forget all your bad habits, they might come in handy one day!

[Glenn Stanfield]

Don’t forget all your bad habits, they might come in handy one day!

LOL!! As if i didn't have enough already-and my Lap Steel isn't due for a few weeks so still have yet to begin playing. That's a great presence you have on YouTube Mike!

[BJ Burbach]

Ya, Mike. Always trying to find our voice, as best we can.

[Glenn Stanfield]

Just a general observation, if you want to play with others (and some folks find their greatest pleasure there) I'd suggest that you concentrate on how to fill the space between the vocalizations with simple musical punctuation, rather than on playing a complete solo version of the melody. Early on, I didn't spend enough time on tasteful backup, which kept me from being included in the circle.

So you are suggesting fill and chase lines. Hmmm. I see the point. Once you are comfortable with the scale tones for the key, the embellishments suggest themselves based on the chords and melody. Thanks for pointing out the sthmocial and musical value in, essentially, not overloading with too many irons in the fire.

As I understand this it's playing in between the rhythm and solo pieces? With guitar I prefer rhythm so this would be a step more challenging for me, as would be solo work. Definitely a worthy goal to set.

Thank you both for the observation and advice.

[Glenn Stanfield]

My worst habit is my old brain forgetting which I am playing.
Is it a dobro, PS, lap steel, weiss?
Terrible technique, loads of fun.
BJ

Same here. Second worse, forgetting what key I'm playing in.

BJ, Jerry and everyone else I'm liking these comments, keep them coming