Here's my go at it.

First attempt using the Teleport following the Teleport 101 course. I haven't played much over the past year unfortunately so also brushing off the rush and hoping to develop better practice habits again moving into the new year.

How long do songs usually take to appear in app after upload? I have attempted twice but am not seeing them on my profile yet unless I am missing something... Brand new to this so that may well be the case.

Gave it a shot at a couple less common keys as opposed to my last video demonstrating the caged system. First iteration was Db and second was G#m. There's a couple tough transitions but slowly getting the hang of it.

This is a 1, 4, 6, 5 pattern in the key of G. I plucked the bass note on the down beat and hit the chord on the up. The final measure i added a little embellishment by susing the D chord.

I followed the two annotated progressions in the keys of C and A using both the 2 and 4 chord shapes. Sometimes I feel I lack creativity when coming up with interesting rhythms but this is what I ended up with.

I chose to start off easy and give the octaves in C and A a try. Since begining lessons here the feet board has really started to come alive. I've under stood the concept of repeated patterns for a while but now that I am applying the concept it really highlights the various chord shapes, notes, scales, arpeggios, triads, etc. All up and down the fretboard.

I can't believe I never realized what a drastic effect reverb could have until this lesson. After really delving into the different setting options on my amplifier, it was obvious how this has a major impact on sound and your ability to cover up minor mistakes. Total eyeopener.

The first example of palm muting that came to my mind was "Paranoid" by Black Sabbath so I figured I'd play a brief excerpt for this lesson.

For this lesson I chose to play a 1, 6, 2, 5 in the key of E and a 1, 4, 5 in the key of G. When messing around with different rhythms I came up with a pattern that reminded me of "Good Loving" by the grateful dead in the second example. I guess it just goes to show how popular that progression is.

Here's a little riff I played through the "British Accent" preset on my spark 40 amp. I love the sound it produces (particularly with a little bit of volume); crunchy but not too overpowering.

Attempted a basic rhythm with some accents and palm muting using chords in three different positions along the neck. Got a little off beat towards the end perhaps but I think it sounded ok otherwise.

Played straight down the list of chords to practice all the various transitions and alternated the rhythm about two thirds of the way through. I think I came in on the second click of the metronome which was a little weird but hopefully kept alright time otherwise.

Trying my hand at the list of chords provided on the lesson. Ignore my daughter singing along in the back lol.

I need to get used to using a metronome more when I practice. I often find the cliques distracting but it is obviously a game changer when working on timing. I do utilize backing tracks frequently though which I find to be a bit of a compromise as they are much more musical and provide greater inspiration.

Tuning using a clip on Snark tuner. Typically utilize either that or the built in tuner on my Positive Grid Spark 40 amp.

Sorry if the video is a little out of sync with the audio; I'm not sure what happened there. My wife and I have been working on "Fast Car" by Tracy Chapman and performed it last night at an open mic night for the first time together (figured we'd start out with something easy and see how it goes). Tried to get a recording with her on vocals as opposed to using the backing track but it was difficult to get a full iteration in without our daughter needing attention lol (maybe next time...).

Tried my hand at combining the up the neck scale demonstrated in this lesson with the more traditional pentatonic box shape playing over a loop in EM utilizing a very basic I, IV, I, V progression. I found it really opens up the door to some fun slides and alternate forms of musicality that don't come us naturally in the box shaped scales.