Hello everybody! hello @Troy and all the Cracking the code team!
first post form me, from Italy! 
First off, congratulation for his wonderful site!
So, the question is about Cascade Seminar, chapter 7. It seems that the ascending five sequence fingerings (played individually) is different from the one in the five connected (desc+asc) sequence. It seems that in this connected one, at the end of the desc sequence there is a single seven notes block (or 4+3 if you will) before the asc five notes part begin. So the question is: is it correct that we have this two mini blocks (4+3) before the asc unit begin? and is it correct that in this way the asc part has a different fingering from the asc part played alone (in the connected sequence the asc part begin from G, instead in the single one it being from E)?
Thank you
Hi! Thanks for watching our stuff. The basic concept when you use the picking system we look at in Cascade is that, most of the time, you can only change strings one of two ways: upstrokes with alternate picking, or downstrokes with sweeping. Any way you can do that is “correct”, if you want to think of it that. Just keep in mind I made up these lines and this is how I play them. We’re not trying to say that Eric plays this exact phrase — only that this is one way you can connect these patterns together, since you have to arrange them somehow to follow these rules for the picking to be smooth.
If you’re saying the tablature for these examples doesn’t follow what I’ve described, then yes that would be an error. Let us know if that’s the case and we’ll fix it asap.
Thanks!
Thanks for your reply. Those sequences sound greats of course!
I just noticed that ascending runs in the full up/down sequence is different from the one described previously (when payed separately). I also I noticed that it wasn’t told so clear that there is that mini block of 7 notes connecting the descending and the ascending runs, which may be a little confusing when you’re coming from five notes units. But of course it needs a little practise and the following turnaround sequence helps for that.
Thank you:)
I want to add to this but I don’t know theory enough to properly communicate it.
When doing the Connecting 5s (descending and then ascending) I think I’m hearing the A# on the G string on the ascension.
It sounds cool …like bluesy! But what would you call that note? The augmented 4th or something like that?
Honestly i did’t hear that note and it’s not even int the tab…but of course you’re free to play it if you like;)
LOL ok thanks
I’ll look when I get home and list the exact one I’m referring to. I can definitely hear that note being played.
I was hoping someone could tell me like what that note is. In the Minor Pentatonic we have the 1st, 3rd, 4th 5th and 7th right? But what do you refer to the sharps and flats? (Or am I wrong all together …I’m just trying to learn lol)
I’m not sure what degree is beacause I’m very poor in theory as well!
So…let’s just call it blue note and let’s live in peace! ahah 
Hahahaha well it’s not gonna ruin my life if I don’t find out but I would still like to.
Either way let’s live in peace and rock on lmao
You’ve discovered the blue note. Good job!
For minor scales, the blue note is the sharp (yes, augmented) 4th aka the flat (diminished) 5th aka the tritone.
For major scales, the blue note is the minor 3rd. For relative major/minor scales, the blue note is the same note.
Example:
In the key of E minor, the blue note is b-flat. In the key of G major, the blue note is b-flat.
To use it, try adding it in as a passing tone.
Hope this helps.
Haha awesome! That really helps …I appreciate it!
The tab doesn’t reflect that note but if you view the “Slow” video and slow that speed down to 60-70% you can actually see Troy play that note. I like it lol
This is in the Fives Connected video.