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Gourmand

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Everything posted by Gourmand

  1. And it also helps if you don't do it on 3rd or 4th down. Those refs are aware of circumstance and they are more likely to throw that flag in drive-saving situations.
  2. so what is he supposed to do differently to 1) stop Mahomes and 2) not get flagged on that play?
  3. no, that is how they call it for ONE PLAYER IN THE LEAGUE.
  4. no they don't. not for Allen or LJ
  5. what? that was not a penalty. is he just supposed to not rush Mahomes full speed?
  6. FUCKING RIGGED
  7. good drive, but those are ones you have to convert for TDs
  8. we got lucky there but so did KC not to lose that fumble
  9. great start jffc
  10. And that doesn't even include the loss of Cade Stover. We could have really used him this week.
  11. Yeah absolutely. The Buffalo game was terrible because of the epic choke involved after the team played the most perfect first half of football I think I've ever seen a team play. The KC loss at home was such a huge blow because that Oilers team was scorching hot heading into the playoffs and one win at home would open the door for a redemption trip to Buffalo. Then, with the first half lead and the defense doing its job to stop Montana, it felt like the stars were aligned but of course by the middle of the third quarter Montana said nope not today you suckers. That one hurt so bad.
  12. from r/texans
  13. indeed. And Marcus Allen iirc
  14. In my 50s as well and I remember that experience. It sucked. But nothing sucked like Buffalo in '93. It's crazy to think Houston has not experience a pro football team in the AFCG since Earl Campbell and has only hosted ONE divisional game since that time. ONE DIVISIONAL PLAYOFF GAME! Btw, that divisional playoff game was against none other than the Kansas City Chiefs and it was exactly 31 years ago today. Fuckin Keith Cash, man.
  15. clarinetmastery.com might be worth checking out if you are looking for an online resource as well.
  16. This is great, kudos to you. I grew up loving music as a listener and was around a close family friend who was a jazz musician, but I was never encouraged/expressed interest in learning an instrument. I wish I could go back and do that all over again and take advantage of that access because I love learning it now and wish I'd been given a basic lesson in music theory when I was a teenager. Music is such a great creative outlet.
  17. Your personal opinion of Nick Wright aside, do you really think he's wrong here? I hope I'm wrong as well but we do not stand a chance Saturday. At all. I mean, sure, we have a mathematical, soyouresayingtheresachance.gif chance of pulling off the upset in the cold in KC on Saiurday, but we all need to be real. Mahomes and Andy Reid are in full control of this game. (do you hear me football gods?)
  18. he's not wrong. Chiefs are gonna roll us, even if we keep it close for the first three quarters. Mahomes will not lose this game.
  19. Helpful post, thanks! I think the exercise you recommended is exactly the one I've been working on yesterday and today. Started practicing in C (relative A minor), moved up to D, then E etc as an exercise on those top two strings to get a feel for the changing shapes of those dyads moving up the fretboard to play the major scale. So, for the C major example, playing only the root and third notes on the E and B strings up the fretboard would give you the full harmonized major scale of C > D minor > E minor > F > G > A minor > B > C. This has been one of those small game-changer light bulb moments for me because I only played the double stops that were easy and comfortable and sounded good without any consideration of the intervals or what it was I was playing. All based in the boxy shapes. My crutch is typically playing linear double stops built from the pentatonic boxes like this.... I'll also focus on the D and G strings for pattern 2 and play those together as well. (Are all these perfect fourths?) What I'm not doing enough of is string skipping or hitting on the 1s and 3s, it's all just basically playing chord chunks laid out right next to each other because they're easy to find and play together. The problem is that although my playing sounds like I know how to navigate the fretboard in a key and play the pentatonics and arpeggios and the full major/minor scale, my double stops are repetitive and formulaic. They fit structurally and sound good, but.....kinda meh after a while? Is the issue playing the same interval without changing it up enough? Seems like all I'm doing when playing those double stops is taking little pieces of the pentatonic boxes, and I'm nor really sure that's saying much wrt playing guitar. At least this exercise is forcing me to expand that comfort zone.
  20. agreed, I would easily lay the money line on the Chiefs in this one. Sure money bet.
  21. So the intervals, right? Such that you're learning the physical fret distance between the notes and the unique sound quality that relationship has? That is definitely something i struggle with knowing quickly. Even with the countless hours of practicing I've done over the last few years, even knowing the CAGED system inside out and how to quickly find the root notes based on the shape of the chord and neck position, I still find it really difficult to put all those puzzle pieces together into one whole picture across all six strings and down the neck. This double stop exercise in thirds you're talking about is really pushing me to expand that understanding of where those puzzle pieces click together. For example, let's say I'm in E and playing the C-shaped E chord with the root at the fifth fret on the B string. I know that 1-3-5 zig zag shape between the B and E string intuitively, also the little triangle 1-3-5 between the B, E, and G strings and likewise I can quickly see/play the 1-3-5 on the A, D, and G strings (with the root at the 7th fret). What I find tricky is, say, playing the root #1 on the B string and then hunting for the third without defaulting to the #3 on the E string at the 4th fret or the #3 but knowing there's another #3 on the D string at the 6th fret. I'm so used to playing those specific arpeggio shapes that it's hard for me to connect those shapes themselves, especially when it involves skipping strings.
  22. It's really just playing a piece of a chord (dyad?) by playing two notes simultaneously. No idea why it's called that though. I learned the CAGED system as a jumping off point to the pentatonics, full major and minor scales, blues scale, and country blues scale etc.
  23. Wrt scheduling the Ravens are to the divisional round what the Texans are to the wild card round. https://www.pro-football-reference.com/teams/rav/playoffs.htm
  24. Ok I have questions about double stops. First, why are they called double stops that makes literally no sense at all to me? More importantly, is there a specific preferred method to follow for using double stops or is it an anything that works kind of deal? For example, without really knowing the theory behind what I'm doing, I typically rely on the top two strings (the high E and B) as my easy anchor for double stops and always play them together on the same fret following the pentatonic chord shapes with the A-shape as my easy fretboard navigation point. I know the pentatonics and full scale shapes well enough to be able to move up and down the neck in the key I'm playing but my crutch wrt double stops is always playing the E/B strings together on the same fret. I'll also try to use that shape to focus on just the middle two strings as well-playing them together at the same fret-- but am not really comfortable enough with string skipping and finger picking to play, say, the only high E and D string together. Or the D and low E etc. I recently watched a short video on this and the instruction recommended playing two notes at time to harmonize the full scale where you're playing the root and third at the same time and moving up the neck accordingly to imply the next chord in the key. So if you're playing in D and you're starting at the first position you'd start with a D on the B-string at the third fret and an F# on the E-string second fret, playing them together, then move up and play an E on the B-string and a G on the E-string (flat third) and then from there play F# on the B-string and A on the E-string, etc so that you're implying a chord progression going from D >E minor >F# minor >G >A >B minor> C#>D. This was definitely an eye-opener for me because I didn't know about using double stops this way. So is this the way to use double stops and have I been doing it all wrong? How do you all use them? And how the heck do you make those stretches on the low-E and A strings to play just the root and third???
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