Yes Shane, sounded really nice and you look so comfortable dancing over the neck, impressive to say the least!
Interesting to read your insights on how you approach this, my neck knowledge isn’t great so anything I’ve done so far has been on a single pentatonic position which feels like it sounds tired quite quickly. But noted on your comments on improv posting, I need to bite the bullet as I’ve not done anything on that topic yet.
Super enjoyable that recording, taking a third listen now 
Thanks for the listen, and kind words Mark.
You can do alot with that first E shape minor pentatonic. I spent alot of time there, as Justin suggests. Learn the actual scale well, not just the pattern. Then eventually join it up to the next one. You’ll find the learning path accelerates this way. After doing this for awhile, I’m finding its the lateral movement on the neck where all the cool stuff is. You can then drop into these little box shapes here and there.
One neck knowledge, I found studying and applying triads really increased my fretboard competency pretty rapidly. Triads are absolute gems, in many, many ways.
All the best.
Cheers, Shane
Cheers Shane, I’m pretty comfortable with Em and Am pentatonic scales which is what I’ve been using over some backing tracks, as you say it’s the lateral movement that makes the cool stuff. I’m starting in grade 3 (both theory and full course) now so triads are on their way to me, nice to see what this will all develop into
I’ll be recording something soon(ish) for sure, so I have a kind of starting point. And then I anticipate that long term, gradual progress! 
Another super cool improv, Shane, like candy to the ears. Beyond my play grade to offer you any meaningful feedback.
Yeah, I noticed that as well recently. I’m just finishing off the rhythm section of my beginner blues study and moving onto the improv/soloing section very soon. So will definitely be revisiting your improvs to learn from them.
Appreciate the listen, and the kind words James. You’re going to enjoy getting stuck into the lead lessons. Can get happily lost for a lifetime 
.
Cheers, Shane
Hey Shane, that was great.
I’m a real admirer of how focused you are on your lead work.
A great example of how persistence and dedication pays off.
Well beyond any tips etc from me. All I can say is bravo! 
Thanks for the listen and kind words Brian. Much appreciated.
Sounded pretty awesome Shaney Ray Vaughan!
Top notch.
Sounds great Shane. As a wise man once said, the rests are even more important than the notes you play.
I love how you leave room to listen to what’s going on and adjust your phrasing accordingly. I think that in this context it sounds so much better than shredding at 200 notes per minute. Your technique is up to par as well, keep it up!
ETUDE - 12 Bar Blues in A. Chord based soloing
Hey Guys,
This is a short 12 Bar Blues etude from a program I’ve been following for a little while.
Its very much about chord based soloing, as opposed to the reliance on the pentatonic scale as a central framework. Its more about a note palette, rather than a scale. Learning alot, and having lots of fun. Think I’ve got about another 40 years of work and development ahead of me.
One thing I notice here, and in some other takes, is the buildup of unwanted tension. Funnily enough, this coincides with the minor errors. Something I’m continually working on, and feel like its improving. Anyway any feedbck, comments welcome,
Cheers, Shane
I think you managed to make the changes well because I would recognize the 12 bar blues progression without the backing track. IMO you could safely remove a few notes here and there to make it breath a bit more. Maybe try holding some notes a bit longer.
Are you able to identify where the tension comes from, and where you feel it?
Thanks for the listen and response Jeff.
Playing with less tension is one of my main goals this year. It appears in areas of a song, solo,etude whatever that were initially problematic. After honing in on these areas and ‘fixing’ them, there’s still sometimes a psychological ‘hangover’ on them.
In this particular etude its in 2 distinct parts of licks. Its something I work on daily, and I do think its improving, but frustrating at times - which of course doesn’t help with tension 
.
Cheers, Shane
Can not get my head around how much you have developed last 1,5 year Shane. Youre playing sounds so smooth and effortless.( Just like blues supposed to sound like.)
I think blues is youre thing Shane, it really suits you… can you put out an acoustic blues piece aswell? Would really loved watching that.
Can not offer you any tips ither than keep doing what you are doing 
Well done mate
Hi Shane,
I understand those short videos, but I think you can easy use more notes … a minute before or after 
…but no comment further ,going nice
Greetings
Sounds good to me, Shane. Can only say: keep on keeping on.
That was pretty awesome Shane. Nice ending too. I didn’t notice any errors. The tension isn’t noticeable to the viewer but I can get how it would interfere as a player.
This is not an easy concept to learn. The only comment I can make is keep on doing what you’re doing, it working.
Thanks for the encouragement @stitch .
Yes, I certainly realise its a long game, but feel I’ve made some solid initial progress. I’ve got clear path to follow, and, hopefully, plenty of time left.
And, in the end, its highly enjoyable.
Cheers, Shane
Thanks @jkahn. The tension’s there in parts, believe me. Working on it consistently, so I can see improvement.
Cheers, Shane