In this essay, I am going to apply a number of the Principles of Correct Practice to a technical area that is of major concern to players. For beginners, it poses one of the most challenging difficulties, and an incomplete appreciation of it's difficulties dogs many an advanced player (sometimes without them being aware of it).
If you are like most players, you are desiring to become a better guitar player. Through my own learning experience and through teaching well over 1,000 students, I have learned a lot on this subject. Students often ask why they are not not at the level that they desire to be and what can be done about it. I have asked myself this same question many times in the past. A long time passed before I began to understand the answers.
The first step is to stop thinking of yourself as merely a guitarist. I'll take this one step further and recommend against thinking of yourself as a musician! You are, or are at least learning to become, an artist.
Listen to a song on a CD and jam along. This increases your ear for music, and helps to get down timing. The average song could be played through two or three times.
The sculptor visualizes what he/she wants to create. The act of carving away at the raw material is a form of "destructive creation". In the beginning there is only a block of marble, stone or wood. The sculptor must remove all the material that is not needed so that only the finished sculpture remains!
Segovia (the classical guitar master) wasn't well rounded - he didn't waste his time to master jazz or bluegrass for example. Yngwie Malmsteen didn't study intense jazz guitar. Most great jazz guitarists don't study classical guitar or heavy metal guitar.
Now, the challenge will be to be able to use the practice approaches that can actually change something like that. Users of "The Principles" know that this means Posing, and No Tempo practice, and the use of The Basic Practice Approach. Again, unfortunately, too often I meet readers of my book who are not really using these practice approaches. They bought the tool, but they don't use it! Those that do, see the results.
They are masters of their style, they are specialists, not a jack-of-all-trades type of player. Don't listen to people who say something like, You must learn blues before you can learn heavy metal or classical guitar.You do not have to be well rounded.
If you are like most players, you are desiring to become a better guitar player. Through my own learning experience and through teaching well over 1,000 students, I have learned a lot on this subject. Students often ask why they are not not at the level that they desire to be and what can be done about it. I have asked myself this same question many times in the past. A long time passed before I began to understand the answers.
The first step is to stop thinking of yourself as merely a guitarist. I'll take this one step further and recommend against thinking of yourself as a musician! You are, or are at least learning to become, an artist.
Listen to a song on a CD and jam along. This increases your ear for music, and helps to get down timing. The average song could be played through two or three times.
The sculptor visualizes what he/she wants to create. The act of carving away at the raw material is a form of "destructive creation". In the beginning there is only a block of marble, stone or wood. The sculptor must remove all the material that is not needed so that only the finished sculpture remains!
Segovia (the classical guitar master) wasn't well rounded - he didn't waste his time to master jazz or bluegrass for example. Yngwie Malmsteen didn't study intense jazz guitar. Most great jazz guitarists don't study classical guitar or heavy metal guitar.
Now, the challenge will be to be able to use the practice approaches that can actually change something like that. Users of "The Principles" know that this means Posing, and No Tempo practice, and the use of The Basic Practice Approach. Again, unfortunately, too often I meet readers of my book who are not really using these practice approaches. They bought the tool, but they don't use it! Those that do, see the results.
They are masters of their style, they are specialists, not a jack-of-all-trades type of player. Don't listen to people who say something like, You must learn blues before you can learn heavy metal or classical guitar.You do not have to be well rounded.
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