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Every time, every time you change strings, you do an immediate first finger shift into the next box, okay? So first you land, you land on the note, you land on the starting note of the box that you're in, when you're shifting strings, and then you immediately do a shift. Yes.
I know it's a pain-in-the-ass exercise, but it'll really make you own your neck, I tell you. I thought I learned it pretty good this last time, but I'm getting kind of lost. Well, it's just because we're calculating all these damn numbers right now, that's what's making it tough. If I just showed you the thing, you played it, you'd go, oh, okay, you know. Yeah, but because we're making ourselves really think about this thing and break it down, that part of the exercise is giving you the control to take it to the next level effectively, in a musical way, because it's the same way a language works. If you understand a word, but not only, you know, you can use a word in context, but you can also spell it, you can also tell whether it's an adjective or pronoun, all these things, you know, in the actual speaking of the word, really don't make any difference, because you're not thinking about it in that sense, but once you really know the technical aspects of the word, and how it relates to what you're talking about, technically, in a grammar context, it gives you more control in the application of that word, you can use it at a higher level, understand? So that's what all this technical stuff gives you, it gives you control to use the word with conviction. In other words, it turns guesses into choices, that's what all this theory stuff does, turns guesses into choices. Yeah.
And just trying stuff and seeing if it works, you know, mm-hmm, you say, well, the rule says I can do this, this, this, and this. Well, if I can do this, this, this, and this here, I can break the rule and do this. It gives you a control to work from a point of, you know, where you are, instead of just blindly trying something. Now, there's nothing wrong with blindly trying something, that's how discoveries are made, but, you know, it's balancing these aspects, you know, to where it's not all just one way, not just all the other. I think it's really one of the keys to success here, you know, is that you have a balance between your technical understanding and a balance between just reckless abandon, to where you just do something, you know, because that needs to be there too. It's all part of the creative process, you know, taking risks, taking chances, stuff that you know is totally against the book, and totally, you know, wrong to do, you know, by somebody's opinion, in a theory context, right?
Right, but then it leads to this discovery where, all of a sudden, you know, what was wrong to do is now the new cool, hip thing. The new, right, yeah. And then, say, how did Brad think of that? Well, he just broke a rule. Yeah, he just, you know, he, or rather than say broke a rule, I would say more, it's better to say you used the rule. Yep, you know, you didn't break anything, you just used it differently and came up with something cool.
Okay, so my mission for next week is just to learn these two strings. Yeah, get the four-note bridge on the E and A string. Now, um, get it, note, you know, I think geography-wise, you understand it, in other words, you could go through it, but see, the note function kind of helps, because, you know, your note function very well. Yeah, that part of it will actually help you, so normally I wouldn't say start on the note function number tier, but I think this might be beneficial to you, and help you in figuring it out, as opposed to just from a fingering standpoint, if you just watched me and mimicked that.
Right, notice I'm still doing first finger shifts as I descend, but I'm doing them at the end, as opposed to the beginning of the string entry, that make sense? Yeah. When you're shifting, when you're going back down the neck, are you still shifting into the same spot that you would have shifted if you're going up the neck, or is it a different shift point? Once I'm coming down, I'm doing the shift at the end of the four-note sequence, instead of the beginning of the four-note sequence. Well, I see it. Yeah, yeah, okay, so I'm basically doing the shift the same way as I did when I went up, mm-hmm, but in descending it's at the end of the four sequence, instead of the beginning of it. Yeah, that's what I asked. Yeah, that's what I meant. Okay.
But anyway, you have that, just, geography part, where I'm not thinking about anything but where to put my fingers, right, and kind of being aware of the boxes that I'm, you know, I see the actual shapes, but I'm not really naming them or anything. Then you have the note function number part, which is, I think, where you should work. Five, six, seven, one, two, three, four, five, seven, one, two, three, four, five, six, seven, two, three, four, five, six, seven, one, two, four, five, six, seven, one, two, three, four, six, seven, one, two, three, four, five, six, one, two, three, four, five, six, seven, one, one, seven, six, five, four, three, two, one, six, five, four, three, two, one, seven, six, four, three, two, one, seven, six, five, four, two, one, seven, six, five, four, three, two, seven, six, five, four, three, two, one, seven, five, four, three, two, two, one, seven, six, five, e.
