Howdy Community 
Join Richard in this Vintage Club session as we explore an advanced fingerstyle technique! We’ll take the Pinch-Inside-Outside-Inside picking pattern and extend it beyond the middle four strings of the main riff for a more complex texture. We’ll also tackle the verse sections of the song ‘Dusty Wind,’ pushing your skills to new heights.
Happening August 5th - Reserve your spot here!
Missed the session? Recap will be uploaded in our Clubs Archive. 
Thanks to all who attended.
The resources will be available some time later this week.
Resources from the session that introduced the Pinch-Inside-Outside-Inside technique and ‘Dusty Wind’ are here.
Blimmed out today Richard but will look at the session material. Thank you for these sessions. Was deep into DITW leading up to my latest 
!
Same, I saw the notification 30 minutes too late so I will look look at the recordings. The subject looked pretty interesting to me 
It was a nice time-out from Blimming. Thanks for the lesson!
-M
Unfortunately I had missed this live club yesterday. Many thanks for the great resources, Richard, they really help.
Many, many years ago I spent hours and hours and hours practicing this picking pattern in the intro and throughout a simplified version of verses and chorus. I remember, I managed to sing while playing the pattern - if playing inconsistently and too slowly.
I’m so tempted to check if I my muscle memory still works and if I can learn to play this pattern better… even if I should probably continue with my regular Grade 2 practice routines… 
Great session yesterday, that for sure needs a lot of homework at my side. Although I was already familiar with the intro, had that in my practice routine for a while now, I couldn‘t keep up with the different inside-outside patterns due to an external distraction at home 
. I‘m looking forward to the hand outs, they will lead me in another temptation for a digression from my actual planning 
!
What makes me a bit „sad“ is, that I really struggle to separate my third and fourth finger far enough (have an old injury and a curved pinky) which gives me challenges to use my pinky e.g. on fourth fret. I‘m having a hard time even to reach the beginning of the fret. Sometimes I can work around by switching fingers, but when I need all four, there‘s no choice… Turns out here and elsewhere, that this might be a limiting factor for the future 
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Hi Andrea,
regards your pinky and the chord shape challenge you are facing, is it specifically for the Am/G-chord where you can’t find a workaround?
I recall Ruaridh @Eccleshall suggesting an alternive fingering in the chat for this specific chord using the ringfinger instead of the pinky for the bass-note and leaving one string open, but I’m not sure I got it correctly. Probably Ruaridh can explain this much better himself? 
Sorry to hear this old injury is still holding you back a little, though. 
But on the contrary, there is more than one way and finding creative solutions is also part of making music, I guess. Making the best with the possibilities we have.
Hi Lisa, thanks for your reply and the tip. I face those difficulties whenever four fingers are needed to build the chord, for example Em7 (if you want to play the 4 finger version) or the E Shape-variations taught in Module 22, etc.
When I play the Intro of Dust, I simply can‘t reach with my pinky to the next fret, when changing from Asus 2 to Asus4. I have to switch from fingers 2+3 to fingers 1+2 first, that‘s the only way to reach fret 3 with finger 3 instead of finger 4. Possible but inconvenient. That‘s just one example. And the more get into embellishments etc., the more I face those problems. But as always: patience! Hope dies last!
HI Lisa,
There is indeed a very good alternative fingering for Am / G
You use your ring finger to fret the low G , leaving the third string open.
However, in this song it’s not the best to use , because it would make the next chord change very clunky.
So, I would say stick with the original fingering as demonstrated by @Richard_close2u It is definitely the one to go for. It might feel weird at first but it is a very good grip and worth persevering with.
Enjoyable and informative session as always, thanks Richard
And thanks to Fanny for getting the recording up so quickly. As often happens I was called away half way through the live session so have just watched the second half at leisure!
Richard
ANNOUNCEMENT
The full set of Vintage Club #17 resources are all ready for you. We are changing the means of hosting these resources on the site. There will be direct links under the Learn More page with no need for a separate Resources page.
Here is the Archive page with direct links to all resources - both written and audio tracks.
There is a lengthy written resource plus several listen-to & play-along audio tracks.
ps
Apologies for the slight time-lag from the actual event. It has taken me several days and hours and any number of re-writes and edits (I really must train myself to host sessions that do not require such a time-consuming follow up in terms of writing resources and tabs and creating audio files etc.) …. 
Enjoy.
And ask any follow up questions you may have.
And share recordings of you playing.
My pleasure Toby!
I hope it maintains your interest too Mathieu and you gain a lot from the learning.
Happy to provide a distraction from your immersion Michael.
Kudos Nicole - it would be wonderful to see / hear a recording of that sometime!
All ready now Andrew - see post directly before this one.
That is a shame. Making that transition smoothly is an important part of the whole piece. Have you tried starting that four bar passage (the Asus2, Asus4, Am, Asus2 part) with your Asus2 formed with fingers 1 & 2. That would at least give you a smooth start and continuation through the first two chords. Then a quick change to the regular formation of Am would be the only ‘clunky’ part.
That fingering works, thanks for suggesting it Ruaridh. It is played in many, many songs. It does introduce the open D within an Am chord (making it Am7/G technically). @Helen0609 Try it and see if you are happy with the sound. Otherwise, ignore the Am/G slash chord and just play regular Am.
@FannyJustinGuitar does so much fantastic work behind the scenes! Thanks for recognising that Richard.
Let’s see if I can still do it. It’s definitely on my list… 
Once again many thanks for all your effort and these great resources.
Thanks Richard for the extensive additional material 
That’s what I’m actually already doing and what I have worked out for me as a work around. Unfortunaltely this slightly disrupts the smooth “meandering” flow which is characteristically for the Intro. Currently trying to get that change to Asus2 more subtle 
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I will give that a try, when I dive deeper into the song after summer holidays. Thanks for the tip @Richard_close2u and @Eccleshall.
Also thanks to @FannyJustinGuitar, there must be so much work behind the scenes to do! Very appreciated !
I enjoyed this session last week and I was also attending the previous Club (I think nr. 15) on this topic. As always Richard was slowly building up things until the final product
I kind of got distracted in the last part of the session and I think I might missed this, but what is the structure of the whole song?
My guess would be: main riff + verse + chorus A + chrous B + verse + chorus A + chrous B + outro
I actually don’t know this tune and I am not a big fan of transcribing (jet), hence the question here
The linked audio tracks are at 90 bpm which is great for practice. If we want to play with the original recording though the long term target is twice as fast 188 bpm, correct ?
Thanks for the kind words @bk2
Online sources and sheet music offer differing information here.
The original is about twice as fast compared to the 90 bpm yes.
I have just edited my Guitar Pro file to 188 bpm and played it along with the original. After the intro and verse there was a tiny mismatch, the Guitar Pro file was pushing slightly ahead of the song - suggesting 188 bpm is a tiny bit too fast.
That said, this was recorded in 1977 … no click tracks. Maybe the played it as humans do and not as a metronome would.
So 188 bpm or thereabouts is the golden target if you want to match the original yes.
Puh, this makes me sweat 
!