If you followed last week's advice, you took the time to review the past year's progress, and acknowledging your weak spots. The best way to address each item on your "work list" is to actually list them out, then spend a part of each practice routine addressing each one. If you have more things to do than you can address in a single session, you'll need to prioritize your list. We'll talk more about the next week. For now, grab a pencil and paper (or your practice journal!) and make your list.

This week, as you get your new year started, take the time to review all you've done in 2008. Make sure you take note of the advances, and give yourself credit. Look at the weak spots, and determine what you will do to improve in those areas. By taking the time to work through this process, you will gain a clear picture of where you want to go - and how to get there - in the coming year.

OK, tomorrow, there's a good chance you're going to get some new piece of gear. It may be a new amp; it may be a stomp box; it may be software. Whatever it is, there's one thing that's more imporant than anything else:

Read The Friendly Manual!

Then, turn it up REALLY LOUD so everyone knows you got a new toy! And, since you read the manual before letting fly, you'll sound REALLY COOL!

Happy Holidays!

Tis the season, y'all! This week, pick out several holiday songs to learn. Don't be afraid if one of them is a waltz... just figure it out! (It's in "3".)

Here's the thing - music is about fun... it's about spreading a little happiness around. And I can't think of a better way to do that than to learn some songs that everyone can sing when the family gets together.

Just think. It will be like a Norman Rockwell painting. A beautiful tree, decorated with a thousand ornaments and a million lights. A light snow falling... moonlight on the yard. And the family gathers to sing their favorite carols... everyone crowding around the ... bass amp!

Happy Holidays!

This week, we continue with dexterity drills. Using the same pattern of notes as last week, play the exercise as triplets. This will cause the downbeat to fall every third note, so every other time, it will drop on the SECOND note played on a string. This may feel and sound strange, so make sure you start at a very slow tempo.

Remember, it's not about music. It's about dexterity.

Here's an exercise that's all about dexterity and NOT about music. Place your index finger on the twelfth fret on your lowest string. (For most of you, that's the E string.) Place your hand so that you have one finger per fret - middle on 13th, ring on 14th, pinkie on 15th. this is your basic position.

Now, play E and F# (that's index and ring), then skip to the next string (A) and play Bb and C (that's middle and pinkie). Next, on the D string, play D and E (index and middle again). Skipping to the G string, you play Ab and Bb (middle and pinkie). Once you've reached your top string, reverse things, playing the two notes you skipped on your last string, then working your way down. When you get back to the "bottom", move the entire exercise down a single fret and repeat. Continue until you get to the first fret position. Beginning with 12th fret E, here's what you'd play:

E - F# | Bb - C | D - E | Ab - Bb | G - A | Eb - F# | A - B | F - G ...

Then, move down one fret and repeat. Start at a SLOW tempo and strive for perfect accuracy. It's not as easy as it may appear. More next week...

As tomorrow is Thanksgiving here in the US, I think it's more than appropriate that we take this week to give thanks. So, every time you pick up your instrument this week, why not take a minute to be thankful for:

• The gift of music. We're all incredibly lucky to be able to express ourselves through music.
• Your gear. It takes a significant investment to play bass, and we're all very lucky that we've found the funds to pay for nice basses and nice amps (Eden!).
• Your teachers. No, not me! But your REAL teachers, in bands, in practice rooms, and in life.
• And, perhaps, your spouse or signifcant other - who puts up with the expense, the weird schedule, and all that time you spend making noise in the house as you put in your practice time.

Next week, we'll dive back in. But this week, just take a moment each time you grab your bass to be thankful. And have another piece of pie!

One of the most important aspects of Funk lines is the space between the notes. Space creates interest, sometimes tension (in a good way). Space leaves room for other parts, so that the various instruments weave into a serious groove... instead of everyone blowing all the time, creating a jumbled mess.

So, as you explore Funk lines, don't forget to leave some space here and there.

Sometimes, you want to set a "mark" at the end of a four or eight measure phrase, by adding a short riff at the end of your bass line. This is called a turn-around. This riff should lead logically to the downbeat/beginning of the phrase. More often than not, this turn-around will occur every second or fourth time you play the bass line.

Funk lines most often use a technique I call looping (just like the computer programmers). If you listen to the great funk lines, they repeat over and over and over. The bass line establishes the groove, and stays there. This gives the listener (and dancer) something to lock into and shake some booty.

So, find yourself a good one or two measure phrase and beat it like it owes you money! Learn to replay that short series of notes with authority and freshness every time it rolls around - even if the song is ten minutes long. For examples, listen to James Brown (darn near anything), Bootsy Collins, or Ohio Players. Another great example is Delbert McClinton's "Shaky Ground". Notice that, no matter what anyone else does, the bass player just lays into the groove and stays there -- Funk Looping at its best.

Here's a thought to consider when working on funk lines, and it comes from the Master Funkster, Bootsy Collins. The single most important thing about a funk line is a very strong downbeat at the beginning of the "loop". A big, fat (or PHAT!) thud on the root tells everyone where the line starts, giving them an anchor. In fact, Bootsy has often said it almost doesn't matter what you put after it, as long as the ONE is solid as a rock.

More next week...

Actually, two final thoughts to consider as you explore skipping:

1. When to skip - The art of using these techniques is knowing when to apply them. It's not just a question of which beat to put a skip on, but also how often you do it. There is no hard and fast rule, as it's often a matter of taste, or simply flipping a coin, choosing between one spot and another. However, skipping too often takes away its "coolness" and interest. So... keep in mind that skipping serves the line best when used sparingly, just like a spice.

2. Where to skip - OK, you've decided that skipping is for real bass players, too. Now the question becomes, "which notes do I use?" The easy answer is: any note that works. I'll offer one basic concept, but the fun is in experimenting to see what YOU can find. For starters, try using the octave, flat 7 and fifth as a skipadee-doo leading to the third. For instance, when going from the I to the V, you could do this:

8-b7-5 3 4 #4 | 5

In the key of A, it would be:

A-G-E C# D D# (Eb) | E...

And off you go, skipping merrily along!

OK. So, if it's one note, it's a skip. What if it's a whole triplet? That's a skipadee-doo. (Think tri-puh-let) And, again, used sparingly, it adds interest to a line. Here's an example:

1 2 3 4 | skipadee 2 3 4 | 1 2 3 skipadee | 1

Have fun skipping!

Yeah, ok. If I had skipped anywhere in grade school, I'd have been beaten up, same as you. (Unless you're a female bass player, in which case, you're safe.) However, there are a few "tricks" you can use to spice of your walking bass lines. And today's tip is about "skipping".

First, let's agree that we're thinking in a swing feel - that is, a triplet feel with two thirds of the triplet being your "downbeat" and the third part being the "upbeat." Think doo-bie doo-bie scoo-by doo... Listen to horn lines and such in big bands to hear tons of great examples of this.

Now, when you apply the concept to a walking bass line, which is commonly 4 quarter notes to the bar, you could call that shorter note -- which you are going to use ONCE IN A WHILE -- a skip. This note can be a leading note to your next "main" note, or it can be a ghost. It can be as simple as repeating the note you played as the downbeat.

This week, listen for examples of skipping, and do a little experimentation on your own, just for fun. Next week, we'll start looking at specific ideas.

For the past several weeks, we've been looking at variations on a walking pattern. This week, let's think about walking in general.

A walking bass line is one that progresses through the chords in a generally linear pattern, usually four beats (notes) to the bar. When learning this style, it's not uncommon at all to get a bit lost. That's not surprising, and it doesn't have to be a serious problem. Just remember the advice I got from Jazz guitarist "Blackie" Nelson almost thirty years ago:

No matter what, never stop walking.

Here's the thing - even if you hit a wrong note, it's only one beat, and you can never be more than a half-step out. Keep walking resolutely and chances are you'll be back to where you need to be within just a beat or two. And chances also are that most people won't even notice. More on this next week.

For the past several weeks, we've been working with the "two down" trick. In the basic maneuver, you play the root twice, then the two "down" notes. The first variation used the third of the chord. The second variation uses the octave of the root. Now that you have the basic idea, along with a few variations, under your belt (or strap), it's time for some personal experimentation. Here's the question:

What else can I do with this?

For the next week, spend a few minutes each day exploring the concept and attempting to answer the question with something new that you found. Once you find an idea, work through it until it feels and sounds smooth. Then look for another one.

For the past two weeks, we've been working with the "two down" trick. In the basic maneuver, you play the root twice, then the two "down" notes. The first variation used the third of the chord. This variation uses the octave of the root. Again in A, again going from I to IV:

A A^ E Eb | D

Again, this will work with just about any two chords. And, as always, it's still about where you're going, not where you've been.

Last week, I showed you the "two down" trick. In the basic maneuver, you play the root twice, then the two "down" notes. An easy variation to that is to play the root, then the third of the chord... then do your "two down". For instance, in A, going from I to IV, it's like this:

A C# E Eb | D

This will work with just about any two chords. And remember, it's still about where you're going, not where you've been.

Here's another trick for walking bass lines. Use the two notes directly below or above the root of the chord to which you are leading. Now, last week, I told you to hit the root and use the next three beats to walk to the next chord. This time, however, you'll need to hit the root TWO times, then walk. For example, using one measure of A, one of D and back to A, you could do this:

A A C C# | D D G G# | A

Or this:

A A E Eb | D D B Bb | A

This will work with just about any two chords. And remember, as I said last week, it's about where you're going, not where you've been.

When walking down the street, which is best? Looking behind you, or looking forward? If you said "behind you", I'm betting you run into stuff a lot. Well, when walking through changes, the same rule applies. The chord you walked away from is not as important as the chord you're walking up (or down) to.

When walking, even through standard Blues changes, you create tension and release with your line. You set up the NEXT chord. Once you've played the root of the current chord (or some other harmonically pleasing note), concentrate on what your next down beat will be. If you're going from A to D, hit the A, then worry about how to get to the D. You're done with the A. Look ahead and move forward. In other words... Watch where you're going!

Quick! Play something diminished!

What's dminished? you ask. A dminished chord is a minor chord with a flatted 5th. So, Root, b3, b5. (Yes, there are even stranger things awaiting you on the 7th (flat? double flat?) but let's not go there right now. Let's stay with the flatted fifth. Here's a way to play correct notes without having to stop and think about it:

Place your index finger on the root note, on the E string.

Your middle finger goes to the fret *in front* of that note, and on the A string. This is the flatted fifth.

Place your ring finger on the next fret forward and on the D string. That's the root again (one octave up).

Finally, your pinky goes to next fret up (again) and on the G string. That's the octave of the flatted fifth..

EXAMPLE: Adim would be:

Fifth fret on E string (That's an A)
Sixth fret on A string (That's a Eb)
Seventh fret on D string (That's an A)
Eighth fret on G string (That's another Eb)

Anyone notice that this pattern is the opposite of the one I showed you for the augmented chords? Life is stranger than fiction, I suppose.

Quick! Play a series of 4 notes outlining an augmented chord!

What's an augmented chord? you ask. It's a major chord with a raised fifth. And if you're like me, you see one once a decade or so. But when you do see one, what do you play? Here's a way to play correct notes without having to stop and think about it:

Place your pinky finger on the root note, on the E string.

Your ring finger goes to the fret *behind* that note, and on the A string. This is the major third.

Place your middle finger on the next fret back and on the D string. That's the augmented fifth.

Finally, your index goes to next fret back (again) and on the G string. That's the octave.

EXAMPLE: A+ (or A Agumented) would be:

Fifth fret on E string (That's an A)
Fourth fret on A string (That's a C#)
Third fret on D string (That's an F#)
Second fret on G string (That's another A)

Remember this fingering pattern and you've always have something you can play against a stray augmented chord.

This week, we'll do one more Bounce drill and it bounces both ways! Like this:

1 - 2 - 8 - 1 - 3 - 8 - 1 - 4 - 8, etc.

Root - note - octave, up and down the scale.

By the time you get this one under your fingers, you should be able to get from the root to any note, from the octave to any note, and from any note to root or octave. This will mean that playing (ad libbing) will require less thought, allowing you to concentrate on the MUSIC!

This week, let's flip things around and do a "reverse" bounce. In this exercise, the repeating note is the octave of the root, and it's on the upbeat, leaving the main scale notes on the downbeats. (AND 1 AND 2 AND 3, etc.). As before, begin with the standard major scale, then minor, then any scale or mode you wish to use. Start slow and let your fingers learn the pattern before increasing speed.

By the way, you may notice this exercise has somewhat of a "classical" feel to it.

Last week, we continued to explore The Bounce exercises. This week, let's continue. For those studying modes, you can do The Bounce on any mode you choose. The most important factor when exploring is your fingering. Before attempting a new variation a tempo, play through the notes OUT of tempo, and check to make sure your fingering choices will work at speed. There's nothing worse than attempting to use a weird contortion when something easier will also work.

As always, start SLOW, then speed up after your muscles have learned the proper moves. Next week, more bouncing.

Last week I showed you the basics of an exercise I call The Bounce. If you practiced it as a major scale, you're on your way. This week, add the Natural Minor. (Am is A B C D E F G A.) Might as well practice the a variation on the Major Scale -- replace the natural 7th with a dominant (flatted) 7th. This is also called the Mixolydian Mode, by the way.

Here's an exercise I used to learn to move from the root of a scale to any other note.

Play the following pattern - S L O W L Y !

1 - 2 - 1 - 3 - 1 - 4 - 1 - 5 - 1 - 6 - 1 - 7 - 1 - 8 - 1 - 7 - 1 - 6 - 1 - 5 - 1 - 4 - 1 - 3 - 2 - 1

Once you have this one down, there are numerous variations. And, yes, we'll cover some of them in future tips.

Here's a way to take your self outside the box when exploring possibilities. Take a line - any line - and play it backwards. If this seems too easy, play an entire song backwards. This can often jog you out of the normal and familiar and send you into uncharted territory.

OK, we've been talking about song structure, and comparing Doo-Wop Groups and Hair Bands. The question is: why?

If you studied the chord progressions as I recommended, you should have seen that many of the same ones show up in Hair Band songs as are found in the 50s/60s hits. I - vi - IV - V i suniversal for "hit song" it seems, and the bridge goes to the IV as often as not. Often, however, the chords are much easier to discern in that earlier music.

By learning (and practicing) a bunch of songs your mom and dad listened to as children, your ear will learn to pick out the basic chord progressions more quickly and easily. Then, when you attempt to learn the latest hit song, you'll have a stronger foundation. And for you budding writers, it will teach a lot about structuring a song to best effect.

Last week I talked about song structure, and understanding the different parts (verse, chorus, bridge, etc.). I also promised to tell you a Secret Similarity between 50s/60s music and another style:

80s/90s Hard Rock

Think Bon Jovi, as just one example. Listen to the chord progressions and notice how similar many of them are to 60s doo-wop progressions.

Have fun comparing the two styles this week. Next week we'll look at "why".

When crafting a bass line, it really helps to know the structure of the song. Knowing the structure of the verse, chorus, bridge, etc., and how to get from on to the other is essential to creating your part. One of the best styles to explore in order to learn more about this, is "oldies". Yeah, those 50s, 60s and early 70s Pop songs. For a real treat, listen to some Beatles. As you listen, try to label each part of the song. In addition to the basics listed above, there may also be Pre-chorus, Intro, Outro, Solo and more. (You can make up your own names for some things... that's how we got "bridge", after all.)

This week spend some time listening to oldies and exploring song structure. Next week, I'll show a Secret Similarity between oldies and another style.

Sometimes, no matter what you do, a note will just plumb evade you. Here's a quick way to find that lost note: bracket it.

Is the note you just played above or below the note you want? Fine; keep it in your head. Now, go find another note on the *other* side. You've now created a bracket, and your note sits somewhere between your two brackets. There's a finite number of notes between them, so the job is no longer impossible.

Two weeks ago, I suggested learning a sequence of notes without tempo. Then, last week, I showed you how to learn the rhythm by patting your hand in time and saying the notes. This week, it's time to put the two parts together.

First, remind yourself of the notes, and then the rhythm. Next, at a very slow tempo, tap your foot in time and play the notes while calling out the rhythm, just as you did in the second half of the exercise.

While it took me three weeks to explain the exercise, you can accomplish this in just a few minutes of practice time. Stay focused and you can break down almost any bass line, no matter how intricate, in a single session.

Last week I suggested that you learn a sequence of notes (scale, riff, etc.) without any tempo or time. The next step is to figure out the rhythm of the notes. Now, if it's straight eighth notes or some such, you don't need to do this. Just start slowly and work your way up to normal speed. However, if there is syncopation involved (different lengths of notes), do this:

Pat your hand on your thigh in quarter notes (or eighths, if it's a really complex part) and *say* the rhythm: Duh-duh... duh... duh duh duh.... duh duh duh duh.

That kind of thing. By the way, within days of learning this technique, I was able to break down almost any music put in front of me. It really can do wonders.

I've often talked about slowing down a part in order to learn it correctly. This tip takes that idea to the extreme. When learning a written part, it often helps to learn the notes before learning the rhythm. Take a minute to look at the notes, and find them on your bass, one at a time, but not IN time. Once you've learned where your fingers need to be, you can begin to work on the rhythm.

Splitting the process into two halves allows you to concentrate on each task more quickly and easily, and with far fewer mistakes.

There's no money above the fifth fret - Duck Dunn

Today's tip is to listen to those who have gone before, like Mr. Dunn. Again and again, they tell us the Key to Success is do the JOB. Be the BASS PLAYER. The last thing you want a bandleader (spelled "potential empoyer") to hear when he asks someone about you is "great soloist."

Just something to think about when you're grumbling your way through the basics.

One of the coolest things about my job is getting to hang with so many cool people and great players. One of those is Grasshopper of Bass Central fame. Last week, we got to catch up with a good long call, disucssing all sorts of things. But one thing he said really stuck with me, because it made so much sense. We were dsicussing the Bass World's seeming infatuation with tricks and show-off stuff, sometimes to the detrmient of The Groove. And Grasshopper dropped this little bomb:

Tricks will get you chicks. Chops will get you checks.

Man! I wish I'd said that! Something to remember if you plan on making a career in music. So, this week's tip is to concentrate most of your energy on CHOPS, the things that will make you a better player.

This past weekend (along with more than a hundred others) I spent time at Victor Wooten's new Nature/Bass Camp. It's an incredible piece of land about an hour out of Nashville, TN. While there, I overheard Victor offer another player his thoughts on how we learn music, and I'd like to share part of it with you. Victor pointed out that learning a language as a child, we are first immersed in the language and we pick it up largely by hearing it spoken by others. He continued by noting that we hear music from a very early age; we grow up with it around us all the time.

Victor then went on to offer thoughts about how we could tap into this. However, it's HIS lesson, so I'll close by encrouaging you to get the rest from the uberbassist himself. This week's tip is to attend a Victor Wooten clinic as soon as possible, and ask him to expand on what I've written here.

Last week I asked you to learn a song that isn't in your normal style or genre. Broadening your horizon in this manner can offer some interesting insights:

1. Chord progressions can be very similar if not exactly the same.

2. The notes used to create a bass line are very similar if not exactly the same.

3. Rhythms may vary, but you'd be surprised at what you can bring to your own style to make it more interesting and unique.

What else did you discover?

This week, there's an assignment - pick one song that is totally out of your normal style. Learn the bass line.

That's it. We'll talk about the "why"s next week.

Last week we talked about putting a rest on the downbeat. This week let's talk about putting the "downbeat" on the and of 4. Called "pushing the beat" by some, this is a fundamental way to accent a riff or chord progression. You can count it this way: 1 - 2 - 3 - 4 AND ... 2 - 3 - 4 - AND...

The AND is actually the second eighth note of the fourth beat, and it ties to the first beat of the next measure, creating a dotted quarter note, or, a beat and a half.

This week, play your scales in quarter notes, but "pushing" the downbeat of each measure.

There is no law that says you MUST play on every downbeat. It really is OK to drop the beat to create a different sort of tension in the music. Check out some reggae to see what I mean. Then, pick a chord progrssion you know well, or perhaps a song; experiment and see what you can come up with. You might be surprised at how much moving a single note can change things.

This is a really big deal, OK? We made it alive through three whole years of weekly practice tips. I'm still eating cake and ice cream, but I'll be back next week with another tip. Here, have a Birthday hat....

The Pratice Tip of the Week is offically THREE YEARS OLD!

Cue the band! Release the doves! Bring on the clowns!

Thanks to all who shared the last three years with us, especially those who have offered their own tips for others to use. Don't forget that our input matters and we want to hear it. If you have a tip or suggestion, let us know. And here's to another great year!

Last week, I asked you to consider the following questions, giving thought to them every day.

Why do you play music?

Why do you play bass?

What is the main role of the bass in the style of music you play?

The reason for the exercise was to get you to focus on your reasons for playing music, and how that should inform your choices, both in what style to play, and how to fit within that context and feel good about it. My point is this -- if you want to be a soloist, perhaps a change of focus is required. On the other hand, if you'd really prefer to provide the foundation for the band, and the essence of the groove, perhaps a change of focus is required.

Only you can make the decision. But these are important questions to ponder. A few hours of objective contemplation may well save you years, even decades, of frustration.

This week, I'd like you to consider the following questions. Give thought to them every day.

Why do you play music?

Why do you play bass?

What is the main role of the bass in the style of music you play?

Why are basics so important? Let's flip that around and ask:

• Would a pitcher only learn to throw a knuckleball?
• Would a quarterback only throw the long bomb?
• Would a hockey player only use a slap shot?

Learning almost anything requires that you learn the basics first. Crawl. Walk Run. When you skip the basics, you limit yourself. It's great that you can slap triplets at blinding speed, but if you can't stay on tempo and stay within the scale, it's going to sound sloppy and amateurish. If you can't groove, it's just a bunch of notes.

Learn the basics. Practice them daily to stop on top. Then, work on those blinding triplets.

OK. So what are the basics? Here's a short list of some of the things every bassist should know:

Basic Scales - all keys, Major, Minor, Major pentatonic, Minor Pentatonic, Major scale with flatted 7th

Basic Chord Theory - what they are, what they mean, and how the flow

Basic Groovology - standard riffs and associate fills and turnarounds for your chosen style(s) of music

Reading Notation - so you can use the bulk of instructional material available

The Main Function of a Bass Line - understanding one's place in the music is crucial if you want to fit in your place

This is just a starter list. Do you have additions?

One of the biggest problems I see in students is their unwillingness to walk before they run. Before they even understand the basics of playing bass, they half-learn a bunch of show-off licks. Then, they blaze away at lightning speed. No groove. No pocket. Sloppy execution. Just... yuck!

First, students need to remember that the basics are the foundation. And, as with building a house, if the foundation isn't strong, the house will fall. Learn to execute properly. Learn the scales. Learn the BASICS.

Second, remember that, while all the solo monsters are great at slap and tap, most bands prefer a bassist who can actually play a bass line properly. Tapping your way through a shuffle is a pretty sure-fire way to get canned at the audition. As Victor Wooten points out in his clinics, there's only one gig that allows him to do all that stuff... and he's already got it and is NOT giving it up.

You know, just a week ago, I attended the winter NAMM show, along with a couple billion others, it seems. And everywhere you turned, there was a bassist or twelve slapping and tapping furiously away at a million notes per second. Guess what the most common response from listerners was?

Making fun of the bass player.

Why? Because in many instances, the player in question couldn't hold a groove with both hands and a C-clamp, couldn't play eighth notes evenly, couldn't tell you what notes they just played. All they could do was repeat a circus trick. Good boy (or girl), here's a biscuit. Now go learn to play BASS!!

Not all slapping and tapping is like that. The difference is this: knowing the basics first, and being able to apply them, even in a solo bass context.

More next week...

So. What's with all this whole note stuff when you could be practicing your blindingly fast slapped triplets? For bassists who want to play with others (like, in a band) the ability to play long notes well is far more important than speed jockey, Lookatme riffs. And chances are they won't follow the scale sequence, which is why we broke that sequence up last week.

Learn to play long notes that are well attacked, hold the correct duration, and end with authority. Your band will thank you.

OK. last week you spent 5 mnutes a day playing whole notes. This week, let's take it a step further. Instead of scales, play the following sequence:

I - V - VI - IV - I - bVII - IV - I - III - IV - V - VI - IV - I

A perfect whole note for each chord: perfect attack, confident character throughout, flawless transition to the next note, and a perfect end to the last note. Next week, we'll talk about why this is important, and why we used the sequence above.

Let me ask you: when was the last time you played some nice, fat whole notes? With perfect tone from one end to the other? And a touch of vibrato to make it sing?

That's what I thought. So, this week, for at least 5 minutes a day, practice whole notes. See how much expression you can get into a single note.

Whether you've been reading this list of tips since the beginning or are entirely new, now is a great time to go back through the previous tips. If you're new, there's a ton of info to help you get more out of your practice time. If you're a "regular", it's a good time to read back through all the tips to make sure you've incorporated the ideas into your personal practice regimen.So...grab your mouse and start clicking. And keep a pencil and paper handy so you can take some notes.