Hey, everybody, it's Lindsael.

Okay, so you play guitar already, but you want to learn how to play solos.

Awesome.

I love soloing so much that it's something I work on every day of my life.

I'm excited to share with you the magical building blocks that I use in my solos and the great uses.

It's so easy to get started.

I've organized this handbook into three sections.

We'll start my understanding chord progression structures and using what I call chord boxes to lay out a roadmap of any notes on the net in any key.

Then we'll practice the five pentatonic scale patterns and look at how they fit together over the chord boxes, giving us notes that are easy to find and sound great anywhere you play them in a progression.

And lastly, we'll introduce major scale notes to add some color to your solos.

I'll reveal my hacks for identifying the key of any song, and we'll explore ways to infuse your soul with that soulful, expressive touch.

Well.

Jam our way through it all, practicing what we learn over song progressions that I've crafted just for you for this course.

All of my solos are tabbed and synced to the videos with looping and slow moll controls so you can plain practice at your own pace.

I've also put together a practice journal with some diagrams and tools to help you on your solo le journey.

So grab your guitar and let's go.

All right, everybody, and welcome to our amazing, amazing evening set with Lindsay.

L Lindsay, how are you?

Hello everybody?

Hi Nathan, I'm doing so good.

How are you, Nathan?

I am doing so great.

Thank you so much for joining me for a launch party for your course.

We are thrilled to have you as a part of the True Fire family.

So welcome.

Honestly, I am so honored to be a part of the True Fire family.

For anybody watching who hasn't heard of True Fire up until this point, they have such a depth of knowledge and an incredible library of all of these crazy courses, and so when they asked me what I wanted to do, and I was like, one hundred percent absolutely, I am so glad that you did.

And people have been absolutely raving because the course has been available for instant access for the last few weeks now and we're getting great reviews from it.

But tomorrow the course in full launches for all access here at True Fire and anybody can go and download and stream it.

You can actually go and download and stream it now.

So once again, welcome to the live launch party for Lindsay's course called the How To Solo Handbook.

We are thrilled to have you as a part of this.

And for our folks who follow us who maybe don't know you, let's tell us a little bit about yourself and how you got started in guitar and what you do now.

Yeah.

Well, for anybody who is just meeting me for the first time, Hello, I am Canadian.

I'm originally from Calgary, Canada.

I've been living in Nashville, Tennessee for the past fourteen years, and for the past goodness couple decades, I've just been touring around the world, playing shows internationally, zig zagging and having the time of my life, getting to live my dream out in full force, which is still something that I kind of pinch myself every day.

And on top of recording my own music and doing my own touring.

This past year, Shania Twain asked me to play guitar for her, which is kind of thank you.

It's such a wild sentence to even say, I mean, Shani was the reason I started singing when I was a little girl, and why I wanted to become a songwriter.

And so now, I mean, life comes in full circle, sometimes in the craziest ways.

But now to be able to be on stage with her, like feet away from her playing the songs that made me want to be a singer and an artist and a songwrite in the first place, it's like, whoa, this is sort of a brain explosion moment.

But you and you grew up listening to her music.

I did too, I think you and I I mean, who hasn't grow up?

Oh my gosh, it's so hard to pick a favorite song.

I mean, no one needs to know is one of her first singles ever, and I remember watching and listening to that song and watching the music video where she's like sitting on the porch of that house.

It was also a huge song in the movie Twister, which they're actually doing a remake of movie now.

But I remember seeing her in that like first music video, being like WHOA, she's so cool, and then wanting to be her.

And now we play that song in the acoustic set on stage and I'm like, this is crazy, Like six year old little Lindsay is flipping out still.

But yeah, so that's been so much fun.

You know, some of my guitar heroes like Steve ray Vaughan went and played for David Bowie.

John Mayer is out on the road with Dead and Company, of course, and so some of my guitar here have gone and played with artists that they look up to and legends and icons that have really influenced them in their music.

And so the fact that I'm able to go tour with Shanaia this year is just so fun.

And I'm just so grateful to her for being so kind and welcoming me into her world.

But that was a very long answer to your question, Nathan.

But yeah, I'm just I'm busy.

I do a lot of things.

I love hearing amazing stories from folks that grew up with a passion for music and it's actually very interesting.

And by the way, folks, if you are watching, no matter what platform you're watching, you can leave comments and we will be able to possibly answer them.

If you have any questions for Lindsay, feel free to write them in the comments and we might be able to answer them during the stream, but we had a few that were sent in in advance, and I wanted to ask you a few of these that came in, if you don't mind, And I'm talking about, you know, growing up as a musician.

At what age did you learn how to play guitar?

So my grandpa, I have a very musical family.

I'm the first one crazy enough to do it as a career, But my grandpa, my mom's dad, was an incredible piano player, and so my brother and I started on piano when we were six years old, and then when I turned eight, I realized it was a lot cooler to play Shania Twain songs on the guitar.

And my dad played pretty much everything with strings on it, and his parents played all of these amazing kind of stringed instruments and so and so I was like, Dad, could you show me something on guitar?

And so the first rip he taught me was the intro to Stairway to Heaven and I learned that when I was eight years old, and I was like, this is very cool, and so so then I just I picked up the guitar and from eight years old on, I don't think it ever really left my hands and became like another limb off my body.

I would sit in the kitchen as my mom was making dinner, like practicing guitar.

And I had really no social life growing up because I would sit in my bedroom all day and play guitar and write songs and learn solos.

And you know, obviously I was a big Shanaia fan early on.

And then I started working with a guy but the name a Randy Bachman in my early teens, and Randy was the one who got me really into jazz and blues and rock music.

And so then I just dove down the depths of Jimmy Hendrix and Steve Rayvon and Clapton and essentially had no social life.

I mean, I think you can say that for any up and coming musician.

Once you get into that mindset where I have to play all the time, there's no other way out.

There's no social life.

It's just learning these tunes very very much so, but you just get so much joy from it.

And then when I was ten years old, I started performing.

And then when I could fuse all of these things together and realize that I can actually write songs that have messages and say and say those things and sing those messages on stage.

This is the coolest job on the planet, and so it was.

It was kind of wild, how like one thinks snowbilled into the next, snowbold into the next.

And I'm so grateful for the guitar and its ability to take me truly all over the world.

That is a great success story.

That is inspirational.

And actually, this is an interesting question that came in as well, is what would you go back and tell ten year old Lindsay about your future?

What would you say?

I love this question because ten year old Lindsay was just very nervous and very scared, and I think from a really young age, I always wanted to accomplish like the greatest achievement I could ever imagine.

Not saying that that isn't true now, but I think after doing this for a couple decades and realizing that it's all going to be okay, Like Ei, it doesn't an unfold and happen exactly how you want it to or how you feel it should, or how you've manifested it for a long time, which often I would say nine times out of ten, our lives don't unfold.

How we want them to or how we think they should.

But I wish I could go back and tell that ten year old little Lindsay that everything's going to be okay, and everything's going to work out incredibly, and if anything, it's going to work out better than you thought.

Sometimes I compare it to I have a little dog and when she gets all nervous because she wants like a treat, and I see her panicking because she's like, where's the treat, where's the treat?

Where's a treat?

And I don't know that there's like a bigger treat over here, but she's like trying to get this crumb over here.

And so I really compare it to sort of that metaphor, and I wish I could tell ten year old little Lindsay's that don't worry about it.

Like all of the little things you're worry about, there are so many bigger things that are cooler and more incredible and more like brain fascinating that you will discover soon.

That is that is great, and I mean, it's it's cool to be able to see the transition from how it was when you were starting out into what you've gotten into now.

And that's like I said, very inspirational for musicians across the board that are learning and wanting to, you know, maybe make it big someday.

So that's that's amazing, that's awesome.

So let's dig in a little bit now to your course, the how to Solo Handbook.

We are once again, like I said, so thrilled to have you do this course.

Can you tell us a little bit about the inspiration for this course and what made you think about making a soloing something that you wanted to start teaching about.

Absolutely, it's one of my favorite things for fans to come up to me after shows or and meet and greets and say, lindsay, you have inspired me to start playing the guitar.

And that is probably one of, yeah, the sweetest things that just makes my heart so happy if I can have anywhere close the influence that the artists that I listened to growing up had on me.

And I always had people dming me questions of how can I start to solo?

Like I know a few chords, but how can I really start to solo?

And so I would have like little tips or links I would send to fans and after getting asked that question so many times, and after also looking at the wonderful true Fire library that you guys have and seeing that a lot of the courses that you have are on even the more advanced side of guitar playing, I was like, Okay, how cool could it be to write a course for that player that knows some chords.

Maybe they're they've been playing for a little while, maybe they're actually brand new to guitar, because you can also start from there as well, but they just want that next step of Okay, how can I start improvising?

Or maybe they've even been playing and they've been learning a lot of solos, but they want to learn learn how to start improvising and making up their own solos.

This is sort of a course to teach you all of the things to teach you the first set of scales that you're really going to lean on to teach you even how some scales like overlap over each other to give you, like some real sweet juicy notes to throw into your solos, as well as I teach you how to play by ear if you're really wanting to learn, Okay, how can I listen to a song and figure out what key it's in?

Unless you're an incredibly gifted human and you have perfect pitch like some of my dear friends in my life.

I do not, and I wish I did.

But but if you do not, there's still very easy ways that you can figure out what key something's in and then figure out how you can play along just by listening to a few seconds of a song.

So I put all of this together in one course to be able to give you the tools to take you from that step of a player to this step of a player.

That's amazing, that's fantastic.

And so I have a couple of questions that have come in about the course itself and questions that are involved in the course.

So if you don't mind them and asking a couple of those, how would you differentiate soloing on an acoustic guitar versus an electric guitar.

I love playing on acoustic and electric for so many different reasons.

I will say soloing on electric is much easier, especially if you're just starting out.

I always recommend that if you are starting to play guitar, electric is far easier on your fingers as well as you can get a lot of inflection in the tone and in the way you play.

Your notes in electric that is a lot harder to get on an acoustic just because the strings are heavier.

And I love playing strats you know that have single coils that I feel like you can hear everything your fingers do on the neck.

You know, if your finger moves like the littlest bit or or you know you want to add tremolo, or you want to slide or you want to hammer on, you can hear all of the little intricacies of how your fingers move.

On an acoustic you can't necessarily hear all of those intricacies as much.

So I love soloing on an acoustic, especially if it's on an acoustic song and just an acoustic tone fits better.

But you definitely have to dig in a little bit harder and you're not going to hear this same transparency in the notes.

Got it?

That makes that make sense?

Now?

Another question that came in when it comes to this sort of thing is when you're practicing on either an acoustic or or electric guitar, what is your practice regimen?

How do you practice even as a touring performer.

I love this question because in the past couple of years, I've really really focused on being a better practicer.

When I was little growing up, I had practice logs, which we have in this course, by the way, and I would log my times.

I would log my BP, how fats I could play certain scales or certain licks on scales, different exercises.

And then when I got heavy into touring, I mean there were some years where I just didn't practice anymore, you know, in full transparency, I was playing so many shows, like I would be playing five or six shows a week, and so you could say, yeah, I'm playing a lot.

Still.

I still had a guitar in my hands very often, but I wasn't practicing.

I wasn't bettering my playing and my ear and even the way my fingers would move.

And so over the past year, I'm very grateful also for my incredible muso friends who have been good influences on me and have reminded me that practicing is as important wherever you are on this scale of how long you've been playing an instrument.

I think somebody told me once that Celine Dion still takes a voice lesson every day, and Buddy, I used to take a guitar lesson every day.

You would use to teach him something new about guitar, and I'm like, all right, if those two greats can continuously learn for their entire career, then I have a lot of learning to do.

And so I've really taken it upon myself to practice for at the very minimum five minutes a day.

And I know five minutes a day doesn't sound like a lot, but sometimes my schedule is a little insane and the only thing I can physically fit in is five minutes a day.

But I just feel as long as I touched my instrument, as long as I play something through that I'm trying to learn, it will it will keep me like really in the groove of what I'm doing, and it will help just like constantly better my playing.

So I've really taken a deep commitment to practicing again over the past year that I have I've really ignored for a while.

And it's also been so much fun learning all of these Shanai songs, because a couple months ago I jumped into a bunch of material that I knew all these songs and I could sing you the guitar solos, but to play them perfectly to the point where I could recreate them, you just need to learn things on a deeper level.

And I will even say some of the earlier Shania stuff is like chicken picken, Brent Mason guitar solos, and you know, she had a lot of incredible guitar players on her stuff, but Brent Mason and Dan Hoff are two of the very famous guitar players she featured.

And Dan haff I love him so much.

I've actually gotten to work with him.

He produced my last record, and working with him in the studio was such a cool thing.

But I will say Dan Hoff's playing style is a lot more in my wheelhouse then Brent Mason, and some of the chicken pick and stuff is not in my wheelhouse at Allso I had to sit down and practiced like crazy the past few months or the first few months of this year.

I was playing so much guitar, and I do play a lot of guitar, but I was playing so much guitar.

I was probably practicing twelve hours a day minimum, and so my callouses were at like an all time thickness.

I was like, WHOA, I can play anything right now.

I could play forever and my fingers would hurt.

And so yeah, basically, another long answer to your question, Nathan but I believe in solid practicing regardless of where you're at in your instrument.

I think that it's so healthy to consistently ignite your brain with new concepts and new ideas and whatever that is that you're trying to learn, you know, whether it's an instrument, whether it's a language, whether it's you're learning how to paint.

You know, you can even apply this to pretty much anything in life.

I think it's so healthy and important to consistently be challenging your brain and putting in new flavors and trying out new colors and seeing what kind of art you can make with it.

You know, that is fantastic.

That was a great answer.

And actually we had a question came in that's somewhat similar, kind of relating to the course.

How long would you recommend to practice each part of the course and when would it be advisable to move on to the next part.

Because there's many different sub lessons in the course, what do you suggest when it comes to this.

I will say that the length of time is probably different for everybody, but I will challenge you to take it on slower than you may think.

I would say, you probably don't want to move on to the next part of the course until you have the part you're on mastered.

I am a three on the enneagram, if that means anything to any of you listening.

So I am an achiever, and that just means I love to do a lot of things very fast, and I love to work through courses at lightning speed.

But I will say that it is so easy to just go through to the next lesson and not really g the concept of the lesson before.

And I will say that this course really builds building blocks on the last lesson, So the scales that you learned in the lesson, you'll actually be applying in the next lesson, and sometimes you'll be like overlapping this scale with this scale and then the lesson after that.

You really need to have a good concept of each lesson, So I will say, not necessarily an amount of time, but before you move on to the next lesson, make sure you have a really good grasp of the lesson that you just did to the point where you can play the scale without looking at any of the course materials.

Because I feel like then every new lesson you'll be able to understand and get completely because you've already got the foundation of the lesson before.

No, that makes sense.

And going at your own comfortable pace, I mean, you're nobody's telling you that you have to move on, so you can stay on that one section until you feel super comfortable.

So that's great totally, even if that's weeks and I know that sounds crazy, but depending on how much time you have every day for practicing, like I think it'll once you get to the end of the course, I think you will be very you get to the end of the course, I think you'll be very, very proud of yourself for like Nathan said, going at your own pace.

Even if that is like that feels really really slow, it's going to make the course very good.

All right.

So we're actually going to take a little moment now to play a little bit from the course.

We're going to give a free sample to everybody from the course.

So the part we're going to do is a performance from the section of the course called a taste for changes solo improv.

Do you want to tell them a little bit about what that means?

Yeah, of course.

When I was writing this course, I really wanted to give players the tools for not only learning scales, but learning some of the tricks that I have just gathered over the years on how to add grace notes and how to add major and minor notes in the same song.

And there's so many different ways you can learn all this material, but I tried to condense it in a very easy method, and so basically, like years and years of me studying guitar and me studying even modes and all of these intricate things that you can definitely get into.

But if you're just beginning and starting to play, these are some of the little tools and tricks that you can use to implement immediately compared to learning like a whole depth of deeper theory.

Got it all right, So we're going to watch a quick performance here from Lindsay's course the how To Solo Handbooks so enjoy and the Sea as the B A P A.

So there you go.

I hope you're getting familiar with some of those chord changes I just improvised.

That is nothing perfect in there, but I hope you can start to feel that when you can anticipate those chord changes, or when you can even add some of those passing tones, how you can incorporate it in your soloing and you can create a lot more melodic solos because of it.

So keep practicing those chords and let's start talking about soloing very good.

That was awesome.

Now you said in that so did you make that up on the spot during the course?

Yeah?

I mean recording these guitar courses are such marathon days because you're recording all this course material in a short amount of time.

And I really tried to play solos that were simpler so that every every lesson and every step of the course you could build on that.

I didn't want to know, necessarily play a really intricate solo that threw in a bunch of extra things compared to what you just learned, or the cored changes we just learned, or the the scale we just learned.

I only tried to use what we learned in that lasson in each solos, so the performances kind of go along with every lesson in the course, and then to get to the end of the course to a point where you can like really incorporate all of the things that you put together.

But I didn't want to go like too like crazy over the mountain so that people were like, whoa, wait, how did you get there.

That makes sense.

That makes sense, So we had a real quick I want to just take another moment to remind everybody who is watching about the course in general.

So the course is the how To Solo Handbook.

You can get it right now on true Fire if you go to truefire dot com.

It's actually the very first thing you'll see up on the website.

So if you go to truefire dot com, you can get the how To Solo Handbook.

You can download and instantly access it right now, and you can download and stream it tomorrow if you have true Fire All Access, It'll be available for All Access students tomorrow.

So lindsay, when it comes to developing your solos, we've had a few questions that have come in when it comes to creating a solo for a show.

How do you go about building solos for your live shows?

Yeah, I've seen some of these questions come in building solos for live as well as as extending solos for live compared to recording versions.

First off, when I'm in the studio, I always love a solo to be like additional lyrics to a song.

So I love solos to be something that you can sing, something that has a melody to it.

It has a lot of feel but also has a lot of emotion and sort of conveys them that this song, the message of the song is saying.

And so therefore a lot of times in the studio when I'm recording a solo, it'll be a lot simpler than what I may play live.

And it's why I love to extend solos live because then I sort of get the other side of the fence where I can do fancier things, or I can stretch a solo and go places that I wouldn't necessarily go on a record.

But when I'm writing solos, I really like solos that are singable, that are something that will be memorable, you know, that are extra hooks to a song.

And so I always start by singing something very good and yeah, because I've heard that a lot with with different musicians, that singing it really can help you notate it and help you come up with interesting ideas, because sometimes the voice can do things right off the bat that you maybe can't do with your fingers on a guitar in that moment.

So that's a very interesting thing to hear.

We had a couple other yeah, so true, and I will even say, oh yeah, just to add, when I pick up a guitar, I think so much about the theory of it.

I think about numbers and notes and okay, if I'm here, then it would probably be a great place to go here.

And then when I'm just singing a melody, I don't think about any of those things, you know, I just think about what kind of melody would feel great over a piece of music.

And so it does also take some sort of the logic out of it, and it's more just what feels good, very good.

All right, So, folks, if you guys have any more questions for Lindsay, feel free to put them into the chat.

Now.

We'll be going for a little bit longer, so feel free to do so.

Once again, thank you all so much for being here for our launch party for Lindsay's the Howto Soolo Handbook on truefire dot com.

So I had a couple other questions that came in.

What is a favorite solo that you use as practice sometimes?

Is there another iconic guitar solo out there that you use when you just want to sit at home and practice and play something for you gosh?

I love this question, well, since I have Shanaia on the brain lately.

It's been it's been so much fun learning the solos to you know, obviously her massive songs like that don't impress me much or man I feel like a woman, or from this moment that are just you know those Dan Huff like really juicy bens and and just all of the notes are so intentional, and it's it's been really cool to sort of learn and and even see like the the logic behind all of those songs, you know that that Dan Huff used, or or even Mutt Lang, you know when he was producing a lot of the songs.

But I will say the solo that has been one of the most fun is Shanaia's song Love gets me every time because it it's like very chicken pickinny and I really had to sit down and learn it like one note at a time and figure out like what was happening.

So that's when on my brain a lot recently, and now I love it because I have it down, I have it in my hands, and it's so fun to play.

I kind of feel like Brad Paisley up there, which is which is normally not my style at all.

So recently I've been having a lot of fun playing the solo to that I saw somebody else mentioned in the chat about the solo for Hotel California.

Yeah, Hotel California was probably one of the first solos I learned.

I really got into Tommy Manuel when I was little and I and I loved like learning fingerstyle stuff and the soul at a Hotel California, I felt like very fingerstylely.

And so sometimes I love to, you know, take a nice throwback and play that solo as well.

That's great.

I love that because I mean, I'd come from a piano background, and I always have a few licks that are always there that are my go tos when I just want to practice and warm up.

What is your warm up technique for a show?

Gosh, my warm up technique.

I mean I talk about a few exercises in the course.

I really use a bunch of my fingers moving.

Maybe I'll show you one.

I don't have a guitar plugged in right now, but but if I could show you, uh, it would be like I use I call it.

I don't know I call these I don't even know what the official I call them like spiders because they just so I do those, and then I just do different combinations of you know, chromatically, like your finger one and two and your fingers three and four.

And so I found like going like one two, one, two three fourth before and it's a good way just to warm up your left hand and your right hand and get the juices flowing.

And then once I do those two and I go all the way up every string, up every fret down the neck.

And then once I do both of those two, I usually practice bends just to make sure my my fingers kind of get used to the muscle memory, and I just I go up each fret till I go up the whole neck with bends as well.

I also will say that that you know some of these Shania songs, I'm playing different tunings and learning to instinctively bend the same in different tunings has been also so cool to learn because I'm used to playing you know, ten ten gauge strings an electric and when you put heavier storrings on there in different tunings, those that muscle memory of bending definitely changes.

So so I also have been learning how to have different muscle memory depending on what what different string gage I'm using.

Very good I gets a real nice nerdy there.

Oh yeah, oh yeah.

I love the nerdy stuff, I really do, and people because I think it's important that people learn who you are and know your your methodology for doing this sort of stuff because a lot of us are very similar.

We're all music nerds.

This is just how we function and I think that's that's amazing.

So we keep getting this in the chat.

You're probably saying it too.

Is is Hendrix your dog?

Hendrix is my dog?

Of course I named her after Jimmy Hendrix.

Let me see if I can get her.

You may Headix come.

Oh, here we go, Hennix come.

I don't know.

She might be on a walk right now.

We'll see if she's something because he doesn't come up on her own.

You got some emails in for this with three or four people asking about Hendrix too, so I have to very famous.

Oh here we go, surprise here.

She is very very famous in the flesh.

What do you want to say to the internet.

Yeah, everybody loves you.

I know that.

Once I got Hendrix, everybody just hangs out with me to hang out with her.

Now I'm not the cool one anymore, and naturally she's just she's just the reason why everybody wants to hang out with me.

But but I get it.

She's pretty amazing.

She's absolutely adorable.

That's fantastic.

Well, uh, that's you know.

Sometimes our pets become more famous than us.

I mean, it's a thing that happens.

That's just how it goes.

Really so so true.

So when it comes to because we got some questions in from aspiring guitarists because at true Fire we have people who are just starting off, people who are intermediate in advanced players.

Do you have any advice that you would give two new and budding guitar players on their journey to greatness.

Yeah, I will say, if you are a relatively new guitar player, learn songs that you love, like, don't force yourself to learn music that feels like work, or just if some other people are learning songs and you're like, oh maybe I should learn that.

Just learn stuff that you love because it's going to encourage you to practice more and play more and at the end of the day, that is what's going to make you the better player.

So so yeah, play stuff that you want to play.

I know that sounds very simple, but it is crazy.

How how much or how much, I have forced myself to learn stuff that I don't even like, and then I'm sitting there like trying to like really figure something out compared to just learning the stuff that I love.

And so when you when you really study the stuff that you know makes you happy, you will practice a hell of a lot.

And that's incredibly important too, because you don't want to lose the passion for playing and you don't want it to become a chore.

And this is the question personally that I have, is when you're on the road and you're doing this so often, how do you keep yourself fresh?

How do you prevent yourself from the inevitable sometimes inevitable burnout of this industry?

Yeah, burnout as real.

I think for all those years when I was touring so much and I wasn't practicing, I was definitely trying to get myself through a pretty deep level of burnout.

But of or trying to seek out players or music that really stimulates your brain.

Sometimes listening to something that is totally different than the style you normally play in and try to improvise over it is also a way to just get out of a rut.

You know, if you're always playing the same genre or same type of music.

You know, maybe throw on something completely different and it's a way to sort of get you thinking about things differently.

You know.

I felt like for a little while I was I was playing all the same things as a player, and so I just really started to listening to different kinds of music, even if it isn't guitar music.

You know, some of my favorite guitar players listen to sacs or guitar or all of these like weird kind of instruments, and it inspires them on the guitar, you know, like listening to a really great vocalist like Arifa Franklin will inspire you to play things differently.

So so yeah, I'd say make sure you have a really wide scope of the music that you're listening to and and sonically like the instruments or vocalists that you're taking in.

And if you feel like you're gonna rut, maybe like pivot hard, pivot and try to lism is something you've never heard before, Right, that's great, And that's actually you know, I've spoken to a lot of guitarists and musicians and the industry, and the top thing they say is just go see shows, go listen to performers, go get the experience and see how they do it, and just talk with them and get to know them and see how their experience is similar to yours.

I mean, I think that's incredibly important, just to be varied in your styles.

And you mentioned it earlier too.

Besides what you currently play, are is there any types of genres that you're wanting to get into more personally than you know, more than what you're just doing now.

Yeah, there's something about funk music that always sort of ignites my brain.

And I've played a little bit of funk in the past, but you know, when I get to play with people like Corey Wong and stuff like that, and get to see him in his band live, it just makes me so excited to pick up an instrument and get on stage.

And so if anything, I think that my muso part of my brain will start diving into that world a little bit more.

And then it's just so weird.

Like as a songwriter, I write certain songs, but then it's crazy how those elements and of like all of the different kinds of music that I make end up kaleidoscope of all the different things that you're listening to so so yeah, probably funk funk.

Funk is becoming huge these days, and I'm seeing so much more of it and so many more like independent funk groups starting up.

It's become my daily to do playlist just listening to that.

So's that's happy to hear.

All right, So we're getting close to our time, and I want to talk a little bit more about the course once again.

If you go to truefire dot com and you can get the how To Solo Handbook starring Miss Lindsay l here.

And when it comes to this course in general, what are you hoping that students will take away from it once they've gone all the way through the course.

I'm really hoping that students are able to elevate their playing and if you know, a guitar player is really wanting to learn those tools and those steps of how do I start soloing, how do I start making my own melodies up and improvising to something?

How do I figure out how to just play to a piece of music when I when I don't have a tab, right, I don't I don't have anything to google.

And so I really hope that students by the end of the course feel like they have tools to truly play whatever they want they I hope that then they feel empowered to be able to jump into any sort of jam session or play along to any sort of record that's playing, and it really sort of opens up their world to how they can practice and how they can play with their guitar.

I love that.

That is so great And so if you want to so once again, folks can hit over to truefire dot com and they can download the course tonight.

If you aren't all access student with true Fire, it'll be available for you tomorrow.

So let's see here.

I think we got one month.

What was how long did it take to create this course?

And what would you say is maybe the most difficult lesson in this course?

Ooh?

You know.

Thankfully, the course just seemed to make sense as I was writing it out, because I was like, Okay, well, if I were to start from a handful of chords that a guitar player might know, then what's the next thing they need to learn?

Maybe a few more chords of like colorful chords, because then we learned how to solo over those chords and over those new colors.

And then if we know those chords.

Then what's the first scale you need to learn?

What's the second scale you need to learn?

How then could you learn a few of the greatest notes you could pull in either of those scales?

Then what we took all of those scales that you just learned and figure out how they overlap in the same key.

So writing the course actually didn't take two long weeks, and the hardest lesson was probably near the end figuring out how to teach how to pull up everything together, because, like I said, these are things that I've just learned over playing guitar for over twenty years, and I'm like, Okay, how do I say this in the most easiest way?

You know?

How do I teach someone to play by ear when I know the logic behind what I'm teaching, but I don't necessarily need to teach all of the theory behind it.

I just taught I teach like the patterns that I'm looking for, and then the minute you figure out what pattern is, what you know exactly what key you're in.

So probably the hardest part was figuring out how to teach it in a easily understandable way.

Yeah, and I know, I mean, and it's great because people have been saying so far that it's universally understood, which is a very good thing.

We're glad that everybody understands it and that they are enjoying it so far.

So Lindsey, thank you so much for joining me tonight to kick off the launch of the how To Solo Handbook.

We are once again so proud to have you as a part of the True Fire family.

And as such, if you want to let our viewers know what you're too, You've got the upcoming events and show dates you might want to drop, but feel free to drop your following information and how our followers can now become yours.

Yeah, thank you so much, Nathan.

Thank you to everybody who came and hung out with us on the live tonight.

I appreciate all of you for being interested even to see what this course is about.

I hope you check it out if it interests you.

I am about to head over to Europe with Shanaya.

I'll be playing some shows with her over there.

We're playing Glassonburian Hyde Park and then I'm doing my own club show right after we play Hyde Park.

It's at a place called the Amera.

So if you're in London or around London.

Please go to my website and check that out.

All other shows were playing this year.

You can also find out my website or Instagram, TikTok all the things.

I'm just Lindsey with an A and then ell but come over and hang out.

Very cool.

Well, thank you so much, Lindsey.

Once again, from all of us here at true Fire, we appreciate and thank you for joining me on this live tonight.

We're so excited to see how this course is going to do.

Head over to truefire dot com get the how to solo handbook.

I'm Nathan.

Thank you so much, Lindsey, and we will chat with you soon.

Thanks so much, Nathan, Thank you everybody,