Hello, Robert and Clayton and everybody, this would be way too long, but let me lay it out, then I can switch to tweet-form in the future:) 

Started as a a no previous experience (i.e., no classical training or actually any training) fiddle player, in the end probably had 100 tunes that I felt comfortable with at a seisun, then realized I needed to get tenure. 

After some time, I made a personal commitment to come back to playing music. Nowadays, I get up at 6 am, make the coffee and the lunches, read the newspaper, and then grab the guitar. I play for about an hour on the weekdays and the head off to work, about 3 h on the weekends. 

Over the past decade or so, I have looked at the beautiful books by John Ganapes in the Blues You Can Use series, and the National Guitar Workshop Method Beginning, Intermediate and Mastering Blues Guitar series. I also made a thorough study of Arlen Roth's now defunct videos at Gibson.com. Then came DolphinStreet and Robert's great videos, and I have been hooked ever since. 

My general pattern is do some scales, rhythm and chords work and then drill into a song or two. Right now my scales work surrounds understanding what scales are being used in various fiddle tunes, like F# pentatonic as the major form in many Scottish fiddle tunes and understanding the consequences of various chord changes. Funny, but making the transition from playing A major pentatonic rocky blues feel to Scottish fiddle tune feel was something like "oh, the fingers are same, aren't they." This insight is from my FiddlePal teacher Doug Brown. Also, Doug got me onto the concept of using the pick as a violin bow and as a rhythmic tool (bad choice starting playing guitar without a pick), and so I have been breaking down everything I thought I knew and reconstructing it lick by lick. 

This new approach resonates with some of Robert's lessons, such as thinking of the 'simple' introductory three note phrase in the 6 Killer Blues Licks lesson versus the different pattern in Line it Up.

My chord practice is often on determining the simplest way to move the fingers and maintain a root as one goes between various new shapes. Hard tricks for an old dog. I would also like to work on better understanding the composition of chords and how and what works as you move between them in a progression. 

Somewhere in my practice I begin to focus in on a particular lick and figure out how to smoothly integrate it into a chord pattern (12 bar, 8 bar, or whatever) and work on smoothly integrating the lick into the flow of the chord progression. Then I make up a riff pattern and go with that for a while.  This is why I love receiving a simple new lick or challenge from MGA each week; I can get several days out of working with that, and trying to move things to new positions on the fretboard and new keys. 

Here are a few of the tunes that I am playing these days. 

Key to the Highway (in G now, so now I'm thinking about how to work some of the G Country licks into this), Washed My Hands in Muddy Water (also in G, heard from Spencer Davis many years ago, but Stonewall Jackson via the internet), Deep River Blues (E, Doc Watson), Kansas City (G, ala Muddy Waters), Rainin' Down in Texas (G and Gm, SRV), Red House (B, Jimi, also my first purchase of licks from Robert!), Sweet Little Angel (BB, Db), Rock Me Baby (BB, A), King Bee (E), Nobody Knows Atlanta (Barbecue Bob, D), You Shook Me Baby (Willie Dixon, E), Crawdad Blues (Taj Mahal, D), Keep Your Lamp Trimmed and Burning (Hot Tuna, Em), Tennessee Jed (Grateful Dead, C), No Particular Place to Go (Chuck Berry, A), Johnnie B Good (Chuck Berry, Bb), 44 Blues (Howlin' Wolf, F), It Was My Own Fault (Elmore James, C), Bring Me a Little Water Sylvie (D) and then a bunch of trad fiddle tunes like St Annes Reel (D), Flop Eared Mule (D), Bonaparte's Retreat (D), Red Haired Boy and Shaking Down the Acorns (A/G modal), Gilderoy (Am), Soldier's Joy (D), Arran Boat Song (Em), Fisher's Hornpipe (D), Liza Jane (A), Big John McNeil (A), On The Road to Boston (D), Jonah's First Change (D), King of the Fairies (Em), and there's probably some others. 

A friend of mine is also trying to teach me a few Swedish fiddle tunes, and I like these on the guitar so far: Spelmans Vals efter Hammarbergs-Hans (D), Äppelbo Gånglåt efter Ärtbergs Kalle, Sorgmarschen efter Jan Olofsson and Hans Alatalo (modal Dm then C?), hopefully she'll teach me a few more. 

So thats it, I hope to get better in the ear, better in the picking hand, overall more in tune on the bends (particularly 1 versus 1/2 to drive the I-IV chord change difference), and more capable of finding my way around the fretboard by moving and transposing licks. I'm patient and persistent.