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9 Not-So-Easy Steps to Guitar Mastery

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By Chad Crawford, Guitar Instructor, Palmetto Music Institute

1. Identify your goals – It is important at the outset of your musical endeavors, or if you are an intermediate player who has hit “the wall” then right now is the time for you, to determine exactly what it is you wish to accomplish. If you look around at the community of guitar players you will observe that most of the iconic players are known for one particular narrow range of musical style. By focusing on one narrow specialty they were able to focus on developing the technique and knowledge pertinent to that specialty to a very high level. It is not necessary and not wise to attempt to master all styles of music, especially so for a hobbyist who is necessarily under time constraints. Determine what kind of music you most want to play and identify the technique and knowledge you need for that style. Then don’t squander precious time on things that do not apply to your goal. You can branch out later, but trying to tackle the whole field of musical endeavor from the outset is a sure plan for catastrophic frustration.

2. Listen to the music you enjoy – For some rare, unusually gifted musicians most of their musical inspiration seems to come from some secret well-spring within themselves. If you are one of these you would have known it before you were able to read, so if you are reading this then odds are you should not waste time trying to bypass the route most of us have to take to musical creativity: learning from those who have gone before. Identify those guitarists who you most enjoy listening to and wish to sound similar to, and spend plenty of time just listening to their songs. This will inspire you to practice, awaken your own creativity, and sharpen your discernment of pitch and time relationships.

3. Work with a good teacher – people who do not know much about making music commonly believe that music is simply an outgrowth of the personality, and so polluting the muse with organization and technical ideas is a sort of poison. That sort of thinking is why these people are not musicians, or not very good ones. For maximum results in the shortest possible time work with an expert coach who knows how to help you refine your goals, steer you toward the appropriate tools, and eliminate common useless side roads and pitfalls.

4. Master the basics – we all covet advanced playing skills and the accompanying freedom of expression. However, we don’t climb mountains by jumping from the valley straight to the peak. Rather we climb up one step at a time until we reach the peak. Trying to start out with guitar by tackling advanced songs from master guitarists is a sure path to overwhelming frustration and poor overall skills. Start with the basics, and practice them to the point that they come automatically. Then start working on the advanced stuff.

5. Practice well – We have all heard that the key to musical mastery is, “Practice, practice, practice.” While that apt cliche is indeed as true with music as it is with any realm of human endeavor, it fails to answer some very important questions: what to practice and how to practice. If you wish to become a great or even just a good musician, you should approach practice as a labor of love, with emphasis on labor. Practice should be an organized effort to achieve clearly defined goals, rather than another session of doodling with the same bits and pieces of songs from yesterday’s practice session. Random doodling is playing, not productive practice.

Here are some keys to effective practice:

–Assemble a practice schedule that addresses knowledge and technique relevant to your goa

–Follow the instructions – “playing by feel” is the shortest path to going in circles of self-sabotage with your practice routine. It may carry you for a while, but eventually it will lead to a dead end. Whatever manner of instructional materials you are using, practice according to the instructions. When you have mastered the piece of knowledge or technique at hand you will then be able to incorporate it into that body of things which you can effectively apply by feel.

–Cultivate good habits – habit is powerful either on your behalf or to your detriment. Habit will respond to whatever you put into it, either great things or mediocre ones. Utilize good technique, proven methods, and pay attention to details during practice. Make it a habit to push your mind and hands for an increment of improvement during every practice session, rather than habitually accepting yesterday’s routine as today’s standard.

–Memorization – memory, both physical and mental, responds best to focus, repetition, relation to the already known, and consistency. This is why it is very important to have an organized practice routine and to practice as often as possible. Shorter daily practices will yield better results than weekend marathon sessions.

6. Creativity – self-expression is impossible when one is utterly distracted by managing the basic facets of musicianship. Beyond that, creativity in music is rarely a matter of coming up with something that no one has ever thought of. That is not possible at this time in history. Creativity is more a matter of taking what is already known and putting a new spin on it, or assembling it in some novel way. Every human being is creative. What most folks consider a lack of creativity is really more a lack of technical skills distracting the attention away from what the internal creative muse is trying to deliver. If you want to experience the fullest of what your internal muse has to offer then get past stumbling over the basics as soon as possible.

7. Managing Frustration – mastering music is a complex long term endeavor, and some frustration with the process is inevitable. Don’t let it become a bigger thing in your mind that it is in reality. Feeling frustrated can not stop your progress in any way, unless you choose let it stop you from practicing. Avoid comparisons to other players. That has no bearing at all on your progress and so it is an utterly useless waste of time. Don’t allow perfectionism to creep into your thinking. Even pros make mistakes, and the music is still quite good despite the occasional mistake. Be sure you are following the instructions. Much undue frustration arises from trying to play by feel rather following the instructions. Allow yourself due credit for what you have accomplished, and measure your progress by objective standards rather than how you feel about your progress. Such feelings are typically unrealistically harsh and often adopt the feeling of frustration itself as a measure of progress, or lack thereof. Feeling frustrated has no bearing whatsoever on the objective reality of your progress, so don’t let your mind sabotage you with such tricks.

8. Managing Stage Fright – psychologists identify a phenomenon that occurs when we are trying to perform any kind of challenging task under direct observation. They call it “performance anxiety”. We musicians usually refer to it as “stage fright”. It is one of the most challenging aspects of music, but like all things musical it will respond to strategic efforts to bring it under control. Stage fright is a lower-level instinctive response to stress such that our bodies gear up to respond with vigorous action. Since we need to be relaxed and focused to perform music well, it is detrimental and even crippling to our musical abilities. However, as powerful as this instinct is we can learn to suppress it with practice. And that brings us to step 9 …

9. Play with others – music is ultimately a means of communication, and as such it is rather pointless to do it at all if we are not going to share it with others, kind of like learning a second language with no intent other than continually practicing it alone in front of a mirror. Playing with others is not only fulfilling but also helps identify weaknesses in our knowledge and technique for further study, allows us an opportunity to learn from others, and gives us experience in managing stage fright. It is also important in a general sense to include a social aspect to our experience of learning music, both in regards to celebrating our successes and sharing the burdens of the process. As soon as you can play basic chord rhythms you should seek opportunities to play with other musicians. If you have no musically inclined friends, look online into the local fellowship communities such as Meetup where you can find amateur jam sessions that allow for folks with moderate skills to participate in a group setting.

Mastering music is not easy, but it is possible even for the hobbyist with time constraints. Practice wisely and well, be patient, and never give up!

Copyright © 2005 Palmetto Music Institute. All Rights Reserved.

Nature vs. Nurture: The Secret to Overcoming Fatal Guitar Technique Flaws.

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By Guitar Teacher Chad Crawford

After a couple of decades of teaching guitar and interacting with other teachers and many clients, I can make a number of predictions on what any aspiring guitarist will struggle with and how the various responses to these stumbling blocks will either help or hinder progress. The guitar is a challenging instrument, and there are any number of areas where one might encounter a temporary roadblock. Of these typical areas, there is one I have enumerated in my previous “Top Ten” article that stands out above all others as the number one barrier to progress: not following the instructions.

Allow me to clarify this concept since the phrase alone may seem too broad and actually contrary to your experience. I doubt you have ever openly refused to learn a particular chord, for example, or a basic scale pattern. This is not the sort of thing I mean when I suggest that a significant percentage of guitar students often stumble in implementing course recommendations. It is not a matter of people intentionally side-stepping the instructions. Rather it is that certain aspects of optimum physical technique run contrary to our instincts. Most students tackling a challenge in physical technique tend to unconsciously default back to instincts rather than consistently apply good technique recommendations. For the record, I am guilty of this as much as anyone, although I have improved significantly over the years in applying what the guitarist community has found to be the most effective technique development methods.

Now let me narrow this down to the specifics items that I see over and over. If any of these seem to apply to you, keep in mind that I am not writing about any specific person or experience, but rather my collective experience as a guitar student and teacher. I assure you that although some of these may apply to you, they are universal themes in the guitar community, so don’t feel like I’m singling you out to give you a hard time!

  1. Tickle the strings rather than tackle them.
  2. For playing open or bar chord rhythms, use a wide, fast, and light-contact pick stroke.
  3. For playing individual notes or two-string intervals (fifth chords, double stops) keep the pick hand palm turned into the guitar so that the pick moves parallel to the plane of the strings with a mere flick of the wrist.
  4. Apply no more pressure to the strings/frets than necessary to sound out a clear note.
  5. Avoid grasping the guitar neck with the palm and thumb as if it were a baseball bat.
  6. Use your elbow to change the working range of your pick – not your wrist or your shoulder.
  7. When changing to an upcoming chord, avoid chopping off the last beat of the previous chord by releasing pressure too early.
  8. Unless you are practicing certain exercises specifically intended to develop speed, do not practice at a tempo faster than you can play with good note articulation and two-hand synchronization.
  9. When learning a new rhythm pattern, go slow and consciously count the beats and divisions of the beats, rather than trying to play the rhythm by “feel”. Once you have conscious mastery of the pattern only then should you work on keeping time by feel.

If you have taken lessons with me for any length of time, you will know that I teach these things routinely, so you may wonder why I am taking up a Newsletter column with this routine lesson fare. There is a reason I am emphasizing these things for you: between knowing good technique and doing good technique, there is a subconscious barrier that we all struggle with: instinct. As your teacher, one of the most significant challenges I face in helping you develop your skills is your own instincts. Your basic instincts tend toward moving the fingers as a unit, favoring the index finger, using much more strength than is necessary, and handling the pick as if it is a plow. Your secondary instinct is to do just the opposite of this. For example, when attempting to play scales for the first time, you will note that your fingers want to stay together and mute the string you are trying to pick, so you will then pull your other fingers way back from the fretboard. Then you have to slam the next finger down like a dive bomber in order to stay in time on the next note. This causes subtle delays that cap your top speed at limits far below your potential.

The first step in conquering this barrier is to be aware of these instinctive actions and over-reactions, so that you can be ready to spot them and counter with deliberate focused repetition of a balanced, optimum technique method that cooperates as far as possible with your natural physiology. Then, apply focused attention to repetitions of good technique. Repetition of good technique results in habits, such that good technique becomes increasingly automatic, enabling to you to move between chords and notes accurately with little conscious effort. Here is where the process breaks down: the focused repetition of good technique, and namely, the focus part. Your hands will constantly try to resort back to instinctive positions and motions, even though your conscious mind is well aware of these issues. You must pay close attention to these details of technique when you practice. This can be tedious at times, but the pay off is more than worth the effort!

 

Copyright © 2005 Palmetto Music Institute. All Rights Reserved.

Managing Musical Frustration

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By Chad Crawford, PMI Guitar Instructor

The most significant barrier to eventual success with the guitar is not talent, time constraints, or the quality of a given program of instruction. It is rather this: giving up! There are many reasons why folks give up on a particular course of study, but we see that over time there is a short list that covers most aspiring guitarists who drop out. Of all the motivation killers that assail aspiring guitarists, frustration is the most deadly. Many is the unfortunate guitar gathering dust in the corner due to the catastrophic frustration of a promising student. Let’s take a look at how folks reach such a high level of frustration that they give up, and see if we can find solutions to ease the pain down to manageable levels.

It is very important for every aspiring guitarist to recognize that we all grapple with frustration as we strive to improve our skills. This is a normal part of the process.

Defining the Problem

Let us start by considering what frustration is. It is a feeling of discomfort that arises when we feel what we want is being thwarted. With guitar in particular, we can get very frustrated over three things.

  1.  We are trying to improve on a certain skill or set of skills, and we do not feel we are making any progress despite persistent commitment of time and effort.
  2.  We feel that others are making faster progress and begin to question our “talent” for guitar.
  3. We compare ourselves to those who are more advanced than us and doubt that we could ever play at that level. Let’s discuss these individually and apply a dose of reality to counter the feeling of frustration.

 

Examining the Details

“I am not making any progress.” As a teacher, I can tell you that this is only true for people who are not studying and practicing. Anyone who is making an effort to improve is improving to some degree. I have students with a wide range of commitment levels, and even the ones who practice very little or none outside of my studio still make some progress over time. For those who genuinely follow my practice recommendations, they improve significantly faster than those who do not. As with anything, you will get out of it what you put into it.

Progress comes in increments, and we often do not see the progress because we wrongly measure our progress by how we feel about our playing. If last week it felt like we were not playing like we wanted to play, and this week it feels the same way, then we conclude we must not be making any progress. However, our feelings during the process of mastering skills are not a good measuring line by which to judge our progress. There are several more realistic ways to measure progress: metronome drills, comparison to what we were able to do six months ago, and frank feedback from a teacher or other ongoing observer. If you are measuring your progress by how frustrated or not frustrated you feel about your playing, you are setting yourself up in a Catch 22 spiral into quitting. So … stop doing that.

It is important to make note here about the phenomenon of “plateaus”. For most of us, including myself, a chart of progress would not show a straight upward sloping line. Rather it would show a squiggly line of ups and downs with a general trend upwards. On that line there will be flat spots … plateaus where it seems we have come to an end of our ability to advance any further. Sometimes these spots can be tenacious, lasting for months. These plateaus can definitely be a motivation killer, especially for intermediate level players who know that they know what to practice and how to practice it. Then we back off our practice routine, which causes our skills to fall off, reinforcing the notion that we have reached the end of our “talent”. Our thinking becomes a proverbial self-fulfilling prophecy, and next thing we know the guitar is in the corner serving as an expensive hangar for clothes that did not make it all the way to the closet. The important thing here is to be aware that these plateaus are coming so that when it hits you know it is just a passing stage. If you persist through this, the progress will show on the other side of the plateau.

“It seems to me that my abilities or progress rates are significantly below that of others.” There are a number of reasons why one may feel this way. It may be true, in which case you may need to make some informed changes to your approach, or increase the amount of time you are investing in practice. It may be that it is untrue in that you are making comparisons that are inaccurate or incomplete. For example, let’s say two students start at the same time, and after some period of time student 1 is more proficient in applying scales to creating soulful solos. Student 2 may look at this and think he is not doing well. However, it may simply be that Student 2 is more interested in playing chord rhythms with even flow and good timing, and so has spent more time on that skill, and is in fact better at it than student 1.

Assuming you are engaged in an effective practice routine, what someone else is doing is completely irrelevant to your goals. I don’t mind telling you that I am not the most naturally talented guitarist in my circle of musician friends, and I have observed many others over many years who make faster progress than I do. I have also observed many of those more “talented” guitarists quit, whereas I did not quit despite periods of frustration. Their seemingly superior natural abilities (which actually probably had more to do with greater practice time) lost way to my persistence. Now I can play rings around many of those folks. Not that I am interested in competing with anyone. The point is, their abilities did not intimidate me into catastrophic frustration, but merely served to demonstrate to me what could be done with the guitar if I was willing to do the work.

“I am not able to play like (insert name of your guitar hero here).” I will share a personal story here that illustrates the point I wish to make. Back in my “bedroom warrior” days, I had a couple of friends who I used to jam with routinely. Back then I knew only a half dozen open chords and some popular power chord riffs. It so happened that one of my friends and I were hanging out on one occasion and he started giving me a hard time about his superior guitar skills. He was just cutting up, but in my youthful pride I did not like it. It was mid summer, and I rashly challenged him to a guitar duel around Christmas. In desperation, I went to a local guitar shop and picked out a book on music theory (just by blind luck, it happened to be a really good one). After digging a bit, I figured out that the Minor Pentatonic scale was the one I needed to play rock solos. So I bared down on that scale for six months. Come Christmas time, my friend was quite surprised when I unleashed a barrage of Minor Pentatonic riffage on him in front of our “judge” (another mutual friend). I won the contest. The moral of the story is, I could have achieved that level of skill years earlier if I had just made the effort. That was an important lesson for me. It changed my whole perspective on guitar, as I had believed I had little “natural talent” and would never play as well as my friends. I realized I had been in possession of the potential all along. I just needed to do the work to make the potential a reality. Now I am able to play advanced instrumental pieces from the guitar heroes of my youth. The frustration that accompanies wrestling with new skills never goes away completely, but it does not have to be an insurmountable barrier to success. Continuing on despite feelings of frustration is simply a part of the work that we must all do to succeed.

Conclusion

Are you struggling with catastrophic frustration? The kind that makes you feel despondent when you think about picking up your guitar? I have also felt that way at times, as do all aspiring musicians. There are solutions that will get you back on a path of progress toward your goals. Find a good teacher with a solid program and students who can actually play. Set up a good practice routine, follow instructions, believe in yourself, and be patient. If you do these things, your success as a guitar player is inevitable. Don’t give up!

 

Copyright © 2005 Palmetto Music Institute. All Rights Reserved.

Practicing Guitar vs. Playing Guitar

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By Chad Crawford,  Guitar Instructor, Greenville Guitar Lessons

Practicing guitar and playing guitar are not the same thing, and it is important to understand the difference if you want to maximize your progress. While playing guitar is the end game of practicing, and we need to spend plenty of time playing, practicing is the means to the end of playing. It is essential to practice well and not allow playing to take over during what should be practice time. Although this may seem obvious on the surface, it is very easy to fall over into playing while trying to practice. Here we will look at the differences and consider how to avoid this pitfall.

So let us consider the differences between the two and how to avoid mixing them up. Playing guitar is the broad application of all our knowledge and technique skills into making music. Practicing guitar is deliberate focus on a narrow range of knowledge and technique skills with the specific goal of cultivating improvement in those specific areas. While playing, we focus on all that we can do. While practicing we focus on what we can not yet do, or do as well as we would prefer.

Here are some steps you can take to ensure that you are practicing instead of getting stuck in a rut by playing through your practice time:

  • 1. Consider where you are, where you need to be, and how to get there – if you have no master plan for reaching your musical goals then you can be sure that your practice time will consist of merely playing what you already know rather than making specific improvements in those things that will allow you access to the next musical level. To devise a master plan you should look to the music you wish to play and find out what kinds of chords, rhythms, and scales/arpeggios arise in that music. You need to master those things to play that kind of music.
  • 2. Define goals for every practice session – if you practice with no particular goal in mind then you will get exactly where you planned to get – nowhere. In every practice session you should have a plan to work on improving specific aspects of knowledge and technique according to your overall master plan. Committing your plan to paper will aid you greatly in keeping it in view as you practice.
  • 3. Focus on specific aspects of knowledge and technique during practice – when you are for instance practicing the scales you need for your preferred musical style, focus specifically on timing, note articulation, resolving notes, technique (relaxed fingers!), two hand synchronization, and eventually speed. You may have to break these goals down across several practice sessions per week so that you can devote adequate time and attention to each. Playing licks that you already know, or mindlessly wandering up and down through scales, is not practice. That is playing and it will not help you improve nearly as much as practicing.
  • 4. Push yourself to do better than yesterday – profitable practice does not come from merely repeating what you did yesterday. It comes from making it a point to do better than you did yesterday. Doing better than you did yesterday does not come from merely accepting the vague proposition that you will try do better today then you did yesterday. It comes from focused attention to the minute details of your playing, such as striving for better note articulation of scales, faster chord changes, or deliberately playing with less overall muscular tension than yesterday.
  • 5. Maintain your attention on the details – it is very easy to allow your mind to wander off when you are doing repetitive aspects of your practice routine. Focus yields much greater results, and focus is an ongoing choice because the mind tends strongly toward wandering off from one thing to another. Choose to keep your mind focused on the details of what you are working on.
  • 6. Include some playing time in your musical endeavors – it is pointless to pursue music if it is going to mean nothing but practice. Allow yourself some time within each practice session, or a few times a week if that works better for you, to just play without being overly concerned about the perfection of the details. Perfect the details during practice, and then relax and let your hands do their thing when you play. During playing time, do whatever is the best you can do and don’t allow mistakes to rob your enjoyment of it. Just play and enjoy what comes out well. As you progress through diligent practice, you will find that your playing includes increasingly fewer mistakes and more enjoyment. It is a process. Give it time.

    • Copyright © 2005 Palmetto Music Institute. All Rights Reserved.

    Unlocking Your Creative Muse

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    By Chad Crawford, Blues & Classic Rock Guitar Instructor, Palmetto Music Institute

    Among the challenges we face as developing guitar players, cultivating a sense of artistic creativity may seem among the most formidable. Many assume that creativity is a mysterious insight arising from the recesses of the fortunately gifted minds of a select few. In fact creativity is not a mystery. As with all things musical it responds to focused effort to cultivate it.

    So how do you get from having “no creativity” to the point of being able to write songs and play improvisational solos?

    First let us address the occasional Mozart who shows up with tremendous innate musical abilities. There is indeed a phenomenon of natural talent, but for most musicians, other artists, engineers, inventors, writers, etc., natural talent is not in fact the key to creativity. So the Mozart’s are irrelevant in terms of understanding how a person of typical native ability can develop creative prowess. Forget about natural talent, and most importantly don’t fall for the common misconception that creativity is something that you either have or do not have as a result of inheritance.

    Now let us consider what creativity actually is. Is it really assembling something out of nothing in a mysterious seizure of inspiration from quarters unknown? No! Even Mozart had to sit with paper and pen and work his inspirations into orderly, flowing pitch and time relationships. Consider this quote from prolific inventor Thomas Edison, whose record on creativity speaks for itself: “Genius is 1% inspiration and 99% perspiration“.

    Creativity is neither an unknowable mystery, an accident, nor a fleeting peek into the ethereal mists. It is rather a predictable result of a process involving mastery of the fundamental elements of an endeavor, and then applying those fundamentals in such a way as to generate beauty of function and form. Notice that I did not say anything about creating something from nothing, or even something totally new. Creativity does not mean creating something from nothing. It means assembling the known into that which effectively solves problems or manifests beauty. It is well within the reach of anyone willing to apply themselves to the process.

    Now let us consider how this applies to music, and specifically to guitar. Music is fundamentally two objective phenomenon: pitch relationships and time relationships. Musicians assemble these relationships in such a way as to create the more subjective phenomenon of an emotionally satisfying flow of tension and release. This does not require the creation of anything new, but rather a well developed awareness of how pitch and time relationships work together to create a satisfying flow of tension and release.

    So let’s break it down now even more specifically to the things we need to have mastery over in order to make music that satisfies us and our intended audience.

    1. Know your notes on the fretboard – everything we do as musicians involves assembling notes in melody (one after another) or harmony (in unison, such as a chord or double stop) with reference to a tonal center (key). If you do not know the notes then you are limited to playing by patterns or by ear. While playing by patterns and by ear are useful tools, if you wish to cultivate maximum creativity then you need to allow yourself as many options as possible. If you can visualize the letter names of the notes you are playing then it is much easier to choose resolving notes for phrases, or make useful alterations to chords to achieve just the right shade of mood.

    2. Know the names of the notes in the Major Keys – the Major Scale is the starting point for all we do. Everything else is an alteration of some sort to a Major Scale. If you know the names of the notes in the key you are playing, and can also see them as you play them on the fretboard, these together will give you a great deal of power to achieve a desired musical effect without having to always guess your way through things with experimentation.

    3. Understand Intervals – intervals are the building blocks of the pitch aspect of music. A thorough understanding of intervals will allow you to know what effect a note is going to have before you play it. If you know your intervals then you will be able to create musical effects at will, alter scales and chords to create precise shades of emotion, and transfer musical ideas from one key to another with ease.

    4. Understand the effects of the basic divisions of the beat – along with pitch relationships, relative timing between pitch events is one of the fundamental components of music. A good set of timing relationships by itself is very powerful (think of a powerful drum intro that sets the mood for a song). If you understand the basic divisions of the beat and how to modify them to tastes then you can create strong shades of mood at will.

    5. Understand scale harmonization – knowing how to translate a particular scale into chord sequences will enable you to assemble pleasing chord progressions in a matter of moments. Knowing the chords in the key and the notes in the chords will also give you a lot of useful options for resolving solo phrases.

    6. Listen to a lot of music – musical inspiration is often a residual effect of exposure to other music. Saturate your creative muse with immersion into a wide variety of music, and pay attention to the individual details such as the vocals, drums, and bass. In doing so you will cultivate a deeper intuitive understanding of music, much as a child learns to speak by regular exposure to speech.

    7. Start from the known – creativity is often a matter of slight alterations to common ideas. Learn the signature licks, chord types and sequences, and rhythmic ideas of the masters of your preferred style. Then experiment with alterations until you uncover ideas that express what you wish.

    8. Constantly refine your technique – if you have ever wondered how an accomplished guitarist can play something very simple and yet have it sound very beautiful and powerful, the trick is in the technique. What many experience as a “lack of creativity” is in fact a lack of technique refinement that will make an otherwise great idea sound lifeless or even just plain bad. Technique development is not just a matter of mere repetition. It is essential to pay attention to the quality of sound (a.k.a. “tone”) during technique development practice. Don’t rush through technique exercises with the goal of merely getting them over with as quickly as possible. Listen carefully to the small details. Strive to improve the quality of sound resulting from each pick stroke.

    If you are breathing then you have creative potential. If you cultivate the appropriate knowledge, technique, and persistence then you can be sure that your creative muse will show itself. Get to work!

    Copyright © 2005 Palmetto Music Institute. All Rights Reserved.

    Killer Expectations

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    By PMI Guitar Instructor Chad Crawford

    Learning to play an instrument well is a challenging endeavor, but it is within your grasp. As with any significant endeavor, there are numerous side roads that can waste your time or bring you to a dead end. Some of these are technical issues pertaining to musical knowledge and physical technique. These are usually readily apparent … such things as not knowing chords and scales or not being able to get your fingers to execute the required movements. These types of issues are straightforward to address with information and exercises. It is the more subtle human nature responses to the process of learning that are the most dangerous to your aspirations as a musician. Here I will address one of the most common enemies of musical aspirations … the “killer expectations” trap.

    I call them killer expectations because they tend to kill motivation by bringing undue frustration and other emotional ills into the process of learning guitar. It is important to have goals and to strive for progress. However, for an aspiring musician with no prior musical experience it is very easy to fall prey to an inaccurate sense of how fast one should make progress or fulfill short term goals. The potential problem with establishing expectations is that the guitarist who spends most learning and practicing time working alone, or only with a teacher, has no real sense of how long it takes to master various elements of musicianship. I have observed a common tendency in guitar students to set expectations that are unrealistically high, and then evaluate their current performance as “lagging behind” compared to these expectations. So let’s see if we can establish some informed guidelines that will help in establishing realistic expectations.

    First, let us consider the popular notion of “positive thinking”. I have experienced the same kinds of ruts and roadblocks that all developing guitarists grapple with. The critical difference between myself and many of my peers who also dabbled with guitar over the years is that I made up my mind I was going to do this, and then I went and did the work and never stopped doing the work. There is a variant of positive thinking ideology floating around that deems thinking positively as the end rather than the means. Choosing a positive attitude is a vital part of the process of achievement, but it is only a part and by itself has no power at all to deliver results. You have to do the work! When you begin to do the work you are going to experience the same temporary barriers as have I and anyone who has ever set out to accomplish something significant. That is where positive thinking will pull you out of the ditch. You must choose to have faith in the fact that you are going to succeed! This is not blind faith … it is an informed faith based on the fact that every musician who has ever trod this path has experienced the same challenges. Those who persisted succeeded, and thus they have already proved countless times that your success is inevitable if you persist in doing the work. That is a realistic expectation!

    Goals are imperative in any endeavor, and music is no exception. If you are a hobbyist guitarist, consider that your goals should not be the same as one who is aspiring to a career as a professional musician, and in particular it is probably not realistic for a beginning hobbyist to set a short term goal of playing guitar as fluently as Joe Satriani or Brad Paisley, for examples. This does not mean that you might not aspire to learning a few of their songs in due time, but it is not prudent to set goals at the outset that require five hours of practice seven days a week for ten years. Rather, your initial goals should be along the lines of mastering the basics of rhythm and lead guitar pertaining to the style you wish to play. This is well within the reach of a hobbyist, given sufficient time and good guidance from an effective teacher.

    Now let’s consider the big question that seems to bring the most unease to students of guitar: “How long is this supposed to take?” Maybe a more specifically relevant question is, “Is my progress rate normal?” Do you see the potential problem with that second question? The problem is that without a great deal of experience observing the progress rates of beginning musicians, you may have, lingering below your conscious thought level, an incorrect notion of what a “normal” progress rate is. If that notion is impossibly unrealistic, and you continually measure your progress against that impossible standard, then you will always measure up as “behind” regardless of how well you are actually doing. Consequently, you will always feel some sense of pressure and angst in your endeavors to improve, and you will not be able to find any satisfaction in the small victories that are in fact marking your steady progress. This will steal your enjoyment of learning guitar, and it often ends in a guitar gathering dust in a corner. Don’t let this happen to your guitar!

    Here are some solutions to killer expectations…

    1 – Consider whether or not you have any expectations of your progress rate. If you find that you do, then consider the basis for your expectations. If your basis is that you are an experienced guitar teacher and thus have observed over and over how long it takes the average guitar student to meet specific goals, then you may be confident that your judgments regarding your own progress rate are on target. If you have any other basis than experience or the counsel of someone who is thusly experienced, then your expectations may be unrealistic and not helping you in any way. If so, then you will serve yourself well in discarding them.

    2 – Recognize that comparing your progress to others or to any arbitrary standard does not help you in any way. Progress rates vary widely due to a variety of factors such as previous musical experience, ability to commit time to practice, frequency and duration of lessons, complexity of the style you are seeking skills in, and so forth. Even if you had a friend with the exact same circumstances as you who seemed to be making faster progress, it would do you no good whatsoever to reflect on this. The only measure that will help is this: assuming you are following the directions in a good program of instruction and that you are practicing regularly, do you know more and have better technique than a month ago, six months ago, a year ago, etc.? If so, then you are on the right track.

    3 – Be fair to yourself in measuring your progress. If you have been working on a new exercise for a week or two and you play 9 out of 10 notes correctly, your grade at that point in time for that exercise is 90, rather than the big fat ZERO that most give themselves when they make a mistake. Learning guitar is a process of accumulating 90’s over time. Never stop shooting for 100, but don’t give yourself an F when you have earned an A. Take note, all students of music have inherent strengths and weaknesses in various aspects of musicianship. Do not allow yourself to evaluate your overall progress as musician solely on the one or two areas where you struggle the most.

    4 – Give yourself time. There is no way around this, so when you see an ad on the Internet offering overnight skills you can know that you are gazing down a dead end road. Learning music is like gardening in that you plant seeds of knowledge and technique, water them with practice, and then cultivate them to maturity through repetition. Some methods are faster than others, but it is going to take some time no matter which path you take.

    5 – Finally, slow down! One thing I see that comes up over and over is that students attempt to play exercises at speeds that are beyond their current skills. This does not help your progress and in fact is a detriment to it. Practicing slop ends in playing slop! Most of the time you should practice things at speeds that allow you to execute them with accuracy and good timing, and then gradually speed up over time. Constantly attempting to play things at speeds that are beyond your current skill level will always leave you feeling frustrated. It is a trap. Avoid it. There is a time to work on speed, and that time is AFTER you have developed the ability to execute things well.

    For my clients …

    If you are not making progress I will let you know. It is not because I want to beat anyone up over their progress. It is because I have an ethical obligation to inform you if you are squandering your time and money with guitar lessons. When this has come up over the years it is always due to one or more of these three things: persistently missing lessons, not following the instructions, or not practicing regularly. If these do not apply to you, and I have not otherwise advised you that I have concerns with your progress rate, then you may assume that your progress rate is as it should be.

    If you have, or find in the future that you have, concerns with your progress rate then bring it to my attention. We will then determine together whether it is a problem with unrealistic expectations, or rather a real problem in your knowledge base, technique, or practice routine. In the latter cases, I will offer appropriate guidance toward a solution. Your ongoing feedback is a critical part of the process, so don’t feel like I am going to be offended if you express concerns over your progress rate.

    Follow the steps outlined above to rid yourself of the undue frustration that follows killer expectations, so that you can enjoy the process of learning guitar!

     

    Copyright © 2005 Palmetto Music Institute. All Rights Reserved.

    How to Overcome Stage Fright

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    After working diligently to hone your chops you attempt to play in front of a friend, family member, or maybe your guitar teacher. You find that all of a sudden you can’t remember what to play, or your fingers just won’t do what you are telling them to do. You may find that your hands shake. Some people even experience nausea. Psychologists call this phenomenon “performance anxiety”. We musicians call it “stage fright”. It is very uncomfortable and frustrating, and you may be inclined toward giving up music if you can’t find a way to get around stage fright so that you can enjoy sharing your music with others. After all, in the end music is a means of communication, so it defeats the whole purpose if you can not share it with others.

    Fortunately, stage fright is something we musicians along with other public performers such as athletes and public speakers have learned to manage. It may never go away entirely, but we can learn to control it so that it does not cripple our efforts. Since this article is directed at hobbyist students of guitar, I am going to limit discussion to those elements pertinent to hobbyists.

    Stage fright is a “phobia”, or “irrational fear”. It is extreme dread of humiliation that will accompany failing in front of others. Let us not pretend that concern with performing poorly in front of others will not be embarrassing. However, when we allow emotion to run rampant and magnify the concern to extremes, we then cross the line into being irrational and become physically and mentally crippled by overpowering reactions to the emotion of fear. Here is how it works: we get ready to play something under observation. We become aware of the possibility of making a mistake. At this point we are still rational. Then the emotions flood in: humiliation and dread. Under the influence of these emotions, we become even more sensitive to the possibility of making a mistake. This affirms the emotions of humiliation and dread and the emotions become stronger and cross over into irrationality. Another part of the mind picks up the powerful emotions of impending doom and perceives this as a danger warning. This triggers a “fight or flight” response. We lose partial control of our thoughts to the processing of instinctive fear responses. The body tenses up and the mind attempts to focus on the source of danger and the easiest escape. Now we are distracted mentally and also physically tense all over. At this point we may be resigned to the fact that our performance is not going to be at peak because we have become partially crippled by our body’s automatic reactions to fear. It is a snowball effect, from initial perception of risk to manifestation of confusion and physical tension. It all happens in a split second, before we even have a chance to strike a note on the guitar.

    The important thing to note here is that the stage fright response begins with thoughts, drags the emotions along, and then the emotions trigger the instinctive responses that interfere with performance. We want to break into this process at every point possible and try to reverse it, control it, or squash it by every means available. Let’s start with thoughts …

    Strategies for dealing with the thought element of Stage Fright …

    (1) What happens if someone sees you make a mistake or perform at less than your best? Well, you won’t get full credit for that great stuff you pull off while jamming alone in your bedroom. That’s kind of annoying and unfair, isn’t it? You may experience the discomfort of embarrassment. Is that really such a big deal as to allow it to trigger the same response as if an angry bear were chasing you? Of course not. It is not that big of a deal, especially when you are performing for your guitar teacher where it is fully expected that you are going to make many mistakes on a routine basis.

    As an experienced musician with a trained perception of pitch, I can tell you that even acclaimed professional guitarists make mistakes in their live performances. You and I are going to make mistakes also. Just accept it, and more importantly just learn to play past the mistakes. Just get back on track as quickly as you can and keep playing. Don’t ever quit trying to improve and eliminate as many mistakes as possible, but accept the fact that mistakes are going to happen and they do not mean your entire performance is a failure. The fact is, if you keep playing through most people will not even notice your mistakes! So don’t give them way more attention than they deserve. Make it a habit to mentally mark mistakes for additional work later and immediately focus your mind back on the next note!

    (2) If you are worried about what others think of your skills, stop it. Most people are not thinking about you. They are thinking about themselves. That’s the way people are. Some people are just determined to criticize, and so they will, no matter how well you play. Do your thing and forget about what anyone thinks of it. Yngwie Malmsteen is one of the top guitarists alive right now, if not THE best. Most people have never heard of him. Among those who have many of them are not moved by his music even though they may acknowledge his mastery of the instrument. I know of many outstanding guitarists who have amazing skills that I admire, but their music itself does nothing for me. No matter how good you are, you are only going to connect with a small fraction of the people who ever hear you play. So it makes no sense to give too much thought to how any one person is going to react to your playing. It is a total waste of your mental powers to think on such things. If these thoughts arise, cast them aside.

    (3) Master the material you intend to play for others. If you know the song and have repeated it enough that it is automatic for you, your mind and hands will deliver even if you are under stress. Think about it. You had to learn to walk and talk. Now you can do both even under the most extreme distraction. They are automatic for you. Make your guitar skills the same through diligent practice.

    Strategies for dealing with the emotional element of Stage Fright …

    (1) Understand that stage fright is normal. It happens to all of us. It is not some unusual thing you are  wrestling with, and it has nothing to do with your “talent” for music or lack thereof. It is a typical response to stress and it is possible for you to learn to control it, no matter how powerful it may seem to grip you at first.

    (2) Play in front of others. Now if you just started lessons two weeks ago it’s not time for you to play in front of others. Be reasonable about this. Learn some songs. Practice them until you can get through them most of the time without any major train wrecks. Then play them for others. Start a band with others near your skill level. Join local amateur musician clubs. Play for your family. You will undoubtedly experience stage fright in these situations. However, every time you expose yourself to it you will gain a measure of strength against it, just as your finger tips build calluses against the guitar strings. Eventually stage fright will fade to something far less powerful and thus you will find it easier to manage.

    (3) Master the material you intend to play for others. If you know the song and have repeated it enough that it is automatic for you, your mind and hands will deliver even if you are under stress. Think about it. You had to learn to walk and talk. Now you can do both even under the most extreme emotional inflammation. They are automatic for you. Make your guitar skills the same through diligent practice.

    Strategies for dealing with the instinctive element of Stage Fright …

    (1) When you feel your hands freezing up and your mind is drawing a blank as to what to play, remember that you are ultimately in control of your mind and your body. Instinct is powerful but you can learn to override it. Force your mind to calm and focus on controlling your hands and your thoughts. Relax your muscles. Concentrate on the chords or scales you need to play and push everything else aside. This is going to be tough at first, but keep at it and you will get better with practice.

    (2) Master the material you intend to play for others. If you know the song and have repeated it enough that it is automatic for you, your mind and hands will deliver even if you are under stress. Think about it. You had to learn to walk and talk. Now you can do both even under the most extreme distraction. They are automatic for you. Make your guitar skills the same through diligent practice.

    Stage fright is an inevitable aspect of the journey toward musical mastery. Don’t run away from it .. run into it and conquer it. Give yourself time. You may have noticed that in all three areas of attack, the last strategy is the same paragraph in mastery of your material. That was not an editing oversight. As with all things musical, results follow one simple rule of thumb: practice, practice, practice!

    Demystifying Guitar Amplifiers

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    Guitar amplifiers come in many brands, shapes, sizes, power levels, and with varying features. If you are new to guitar or even somewhat experienced, you may be overwhelmed by all the options. Here I will seek to organize your choices into categories that you can understand, so you can zero in on just the right amplifier for your needs.

     

    We will start with a bit of general knowledge of guitar amplification. The wonderful sound that comes out of your amplifier begins with a tiny electromagnetic impulse in your guitar’s pick up coil(s). This tiny, constantly varying impulse imposes an electronic signal at the guitar’s output port which travels along the cord into your amplifier. The amplifier receives this signal and sends it through several stages of amplification to produce a signal powerful enough to drive your speaker(s).

    The amplifier will typically consist of two overall stages of amplification: pre-amp, and power amp. The pre-amp stage is the one that receives the input from your guitar and processes it into a larger signal with tone alterations for presentation to the power amp stage. The pre-amp is where the amplifier allows you to alter specific tonal features such as bass, mid range, and treble, as well as apply built-in effects such as distortion (a.k.a. gain) and reverb.

    The job of the power amp stage is to pick up the output signal from the pre-amp and magnify it up to a power level sufficient to drive your speakers via an output transformer. The purpose of the output transformer is to match the electromagnetic characteristics (impedance) of your amplifier’s power stage to the electromagnetic characteristics of your speaker(s), so that the amplifier will couple the maximum amount of available power to the speakers.

    On some more elaborate amplifiers you may be able to pick off the signal at various stages of amplification for additional processing and/or routing. Many amplifiers have an effects loop which will allow you to insert patch cords that will route the signal to an external effects processor and then back into your amp. Some amps also have a patch port between the pre-amp stage and the power amp stage that allows you to completely separate the two stages. This would allow you for instance to use the pre-amp stage from one amp to provide a signal to the power stage of another amp.

    Combo vs. Head/Cabinet

    Guitar amps come in two basic physical configurations: combo and head/cabinet. A combo (short for combination) amp has the electronic circuitry and the speaker(s) all in one convenient box. Alternatively, you may wish to keep your amplifier itself separate from the speakers so that you have tonal options by matching up different amplifiers and speakers. In this case you would want the amplifier in a box by itself. We call these amp-only boxes amplifier heads, or head for short. So we attach the head via a speaker cable to a separate box that has only a speaker or multiple speakers. This is why many amp heads have several speaker output ports, so that you can use the head to drive speaker cabinets of varying impedance.

    The most popular head/cabinet arrangement you should understand is the half-stack. The half stack is a head sitting on top of a large speaker cabinet with typically four speakers, usually 12 inch diameter speakers. The name half stack is a derivative of the stack, an amp with one head sitting atop two speaker cabinets with four speakers each. Hence the name stack – it is literally a stack of big boxes. A stack is a big, heavy, and loud amplifier arrangement that is only needed for the largest of venues, either a large arena or outdoors. A half stack, while still bulky and loud, is more manageable and thus is suitable for a wider variety of venues.

    The combo amp may contain one speaker of sizes from 4 inch up to 12 inch. Some combos contain two twelve inch speakers, and some contain four ten inch speakers. More speakers means more power, and also more bass response. My rule of thumb … for good tone I recommend if the combo amp has only one speaker to stick with amps that have a 12 inch speaker, with the exception for the combos with four 10 inch speakers such as the Fender Super Reverb.

    Take note of this: you do not need a half stack to achieve high volume levels. A good quality combo with two 12 inch speakers will produce volumes comparable to a half stack of similar power. For large live venues the sound that the audience hears is coming through the much louder P.A. system anyway, via a microphone on the guitar amp speaker. I have played outdoor venues with a combo with only one 12 inch speaker miced to the PA, and it sounds plenty loud. The reason I need a half stack for some situations is mostly so I can hear my guitar on stage over the drums, plus I prefer the more robust bass response of a 4×12 cabinet. In one instance I attended a jam session with my 80 watt combo with one twelve inch speaker along with another guitarist with a 50 watt Marshall half stack. Although he had more bass response with his 4×12 speaker cabinet I had no problem matching the Marshall’s volume with my little 1×12 combo, with volume to spare.

    Tube vs. Solid State

    Guitar amplifiers come in two primary electronic platforms: tube and solid state. You need not be an electronics guru to understand the critical difference: sound quality. Solid state amps use modern electronic transistors to amplify your guitar signal, while tube amps use the older vacuum tubes for signal magnification. Solid state amps are typically very rugged and reliable, and they are usually less expensive than a tube amp with comparable power and features. Tube amps are relatively fragile, expensive, and require more maintenance. So why do the majority of accomplished guitarists prefer tube amps? It is because of the additional characteristics that tubes add to the signal, which produces a certain quality of sound (tone) that guitarists prefer. Tubes add harmonics and compression in a way that solid state amps thus far have not been able to match, so guitarists stick with the traditional and outdated technology because the sound results produced by tubes is more attractive than the price and reliability advantages of the solid state amps.

    It is important to note here that you need not purchase an expensive tube amp for practicing in your bedroom at low volumes. The advantages of a tube sound do not really show themselves at very low volumes, so there is no sense in spending the money and dealing with the maintenance hassles on a tube amp unless you are going to play with a group and in an environment that allows you to turn up. Solid state amps can produce very good clean tones and decent distortion tones, so they are fine for learning guitar,  routine practice, and playing small low-volume venues with cleaner guitar tones (although I prefer a tube amp for any kind of live performance).

    Fender vs. Marshall Tone

    There are two basic guitar amplifier architectures on the market, both based on amps designed around specific power stage tubes. One is the Fender sound which is a clean tone based on the 6L6 tube. The Fender amps are coveted for pristine clean tones at higher volumes (a.k.a headroom – the amount of volume an amp can produce before distorting). The Fender sound is great for Blues, Jazz, and Country styles. The Marshall amps are based on the EL34 tube which produces a desirable distortion or break-up at moderate volume levels. This makes them desirable for any kind of guitar music that features distortion, such as rock or metal. Since most guitarists use additional effects pedals to add various effects, there is some overlap between these tones. Most tube amps on the market today are some kind of imitation or derivative of the Fender or Marshall amps. Another popular tone is the EL84 tube tone associated with the classic VOX amps and often used on lower power tube amps. The EL84 tone has a sharp bright treble response and less bass response than the physically larger 6L6 and EL34 tubes.

    If you want to know whether your amp is a Fender or Marshall type of amp, just check the power tubes. However, every amp consists of many components and built-in tone coloring characteristics, so you will not be able to know for sure what an amp sounds like without actually playing through it. There are many good quality amps on the market today besides Fender and Marshall. Let your ears be the judge. I prefer the tone of a Marshall, although I have heard great sounding tones coming from many other amps.

    Amp Simulators

    Modern computer technology has brought us guitarists the ability to include computers in our arsenal of music making tools. Popular simulators such as Guitar Port, Amplitube, and Guitar Rig allow us to plug our guitar into our computers via an interface box and play through the computer. This is a great tool for practicing, as the simulation software will allow us to mimic a wide variety of tones from different iconic amplifiers and effects, all with just a few clicks of a mouse. For practicing guitar and learning about various amps and effects, this is the best thing that has happened to guitarist in decades. These simulators, in conjunction with other computer programs, also allow for pro-quality recording of your playing right in your bedroom, at volumes that will not disturb your neighbors or even the people in the next room.  Assuming you already have a computer, these simulators are not nearly as expensive as a real guitar amp of good quality, so I highly recommend a simulator program for those new to electric guitar. After spending some time with a simulator you will have a better idea of the tone variation among the popular amps, so you will have a better sense of what you are looking for when you go to invest in a real amp.

    Miscellaneous Considerations …

    Guitar amps often have multiple channels to allow you varying tonal options from the same amp, from pristine clean to raucous distortion. In addition, each of these channels will usually have separate volume controls and maybe even separate input (gain) and output volume controls. Finally there will be one master volume control that controls the final output volume of the amp regardless of which channel you select. It is important to understand that there is a significant difference in volume from your guitar when you are playing rhythm versus solo. The multiple channels allow you to change for instance from a clean or slightly distorted tone for chords, to the richer harmonic content and increased sustain of distortion for playing individual notes of a solo. You will lose a significant amount of volume from the guitar when you change from playing chords to playing individual notes, such that if you set your amp up during sound check to match the band volume when you are playing chords, when you go to play solo at the same volume you will be drowned by the band. So you must set the volume on your solo channel significantly higher than that of your rhythm channel.

     

    It is important to note that the amp tone will change drastically as you increase the volume. For instance, at low volumes the bass response will be weak so that you have to turn the amp up to get a balanced sound across the frequency spectrum. The electronic components will affect the tone to different degrees at different power levels. Power tubes deliver a certain coveted distortion that only appears when the tube is pushed to higher power levels. Speakers have a certain inherent stiffness so that they will only yield their best tones when pushed into lively motion to a certain degree (speaker excursion). Altogether, what this means is that the best electric guitar tones often come at the price of higher volumes. It is a never ending quest for guitarists to coax a good tone from our electric guitar amps at lower volumes, especially with distorted tones. It can be done, but it will take some time and effort learning how to tweak your amp.

    Any given guitar amp is going to produce a wide variety of tonal qualities based on the options available on the amp, the guitar and effects plugged into the amp, and importantly the playing characteristics of the player playing through the amp. Pros often have their amps modified away from the manufacturer designs. So just because a certain guitarist you enjoy uses a certain kind of amp, that does not necessarily mean you will be able to reproduce their tone easily by purchasing the same amp. Before you rush out and buy the same amp as your guitar hero, be sure you play through a number of amps first. It may be that you will find your preferred tone coming from a box that you wouldn’t have expected.

    Beginner’s Guide to Guitars, Strings, & Picks

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    If you are new to guitar or even somewhat experienced, you may be overwhelmed by all the options regarding types of guitars, strings, and picks. After you read this brief article you will be an expert on guitar hardware!

    There are two basic categories of guitar: acoustic and electric. We will discuss the nature and purposes of each below.

    Acoustic Guitars

    Acoustic guitars have a large hollow wooden box for a body, with a round hole or some other kind of opening to naturally amplify the sound of the strings. There are two main types of acoustic guitars: classical and folk. The classical guitar, as the name implies, is meant for playing classical style music. You can identify these guitars easily by the presence of three nylon strings which look like clear plastic. The folk guitar uses steel strings, with the larger strings also having a bronze wrap. Folk guitars are typically larger than classical guitars and have a more narrow neck to facilitate chords. Folk guitars are louder and have brighter tone than classical guitars. While either of these type of guitars may come equipped with an option for electronic amplification, we still consider them acoustic guitars.

    The dobro or resonator is a specialty acoustic guitar which uses internal metallic plates to amplify the sound of the strings. While it looks much like a standard acoustic guitar, the playing techniques and sound are different enough that many consider the dobro a different instrument from a traditional guitar.

    Electric Guitars

    Electric guitars come in two main varieties: solid body and hollow body. The hollow body has open chambers in the body with holes, similar to an acoustic guitar, for naturally amplifying the sound of the strings. Despite the opened chambers, they are not nearly as loud as a true acoustic guitar and thus require amplification to be of any practical use. They have a warm (less treble) sound quality which is great for blues, jazz, and other clean (non-distorted) tones. Due to the resonant chambers they tend to present feedback (prominent squealing sound) at moderate amplifier volumes.

    The solid body guitars have, as the name implies, a completely solid body section with no open resonant chambers. Some solid bodies have internal resonant chambers with a view toward enhancing sound quality, but these chambers will not be opened to the air so they provide no sound amplification and no feedback problems.

    Before we go farther with discussing solid body guitar types, let’s take a moment to consider several very important factors in guitar construction: pickups, neck profile, and frets.

    Pickups are coils of wire wrapped around magnets. The magnets generate a magnetic field and the coils pick up variations in the strength of the field through electro-magnetic induction. When we strike a metal guitar string placed within the field of pick up, the string vibration disturbs the field. The coils pick up on the changes in the magnetic field and generate a tiny electronic signal, which we send out to an amplifier through a cable.

    There are two main types of guitar pick ups: single coil and humbucker. Single coils have one coil of very thin wire wrapped around a series of magnets, usually one magnet per guitar string. Arranged so that each magnet is directly under a string. Single coils produce a sound that emphasizes treble and bass frequencies. They tend to pick up electronic noise such as radio frequency signals generated by appliances and lights.

    Humbuckers are made of two magnet/coil sets merged into one big coil. They tend to produce a stronger signal which is helpful with distorted guitar tones. They also have a built-in tendency to reject extraneous electronic signals so they do not make as much noise as single coils. They generally have a more balanced frequency response than single coils so that they do not emphasize treble and bass frequencies like single coils.

    Neck Profile refers to the depth of the neck and the radius (curvature) of the fretboard. A low number radius like 9 means the neck is relatively curved which is helpful for making bar chords since it fits the shape of the hand well. Necks with a more flat fretboard will have a higher radius number such as 14. These necks will also tend to have less depth from the fretboard face to the back of the neck. These flatter necks are more helpful for playing scales and arpeggios. A Compound Radius necks have a radius that changes from curved near the nut to flat near the body, so that you can make chords easily near the nut while also having the advantage of flatter neck above the 12th fret for facilitating fast scale runs and extreme bends.

    Frets come in different sizes and materials. The standard fretwire alloy supplied with most guitars is reasonably durable and provides a well-balanced tonal quality. Stainless steel frets last longer than typical frets but cost more and tend to emphasize treble frequencies. Medium jumbo sized frets are suitable for most hobbyists. For progressive rock, metal, or other high-speed styles, the larger jumbo frets will serve better for high speed scales, sweep arpeggios, and extreme bending.

    Most solid body electric guitars bear a similarity to one of two iconic electric guitars: The Fender Stratocaster and the Gibson Les Paul. The standard Stratocaster features three single coil pick ups, a 25.5 inch scale length (measurement from nut to bridge), and a spring-action floating bridge with a bar for activating the spring action. The floating bridge allows you to apply a pitch variation to the strings through pushing and pulling the bar. The longer scale length means the strings are tighter and the frets are a bit farther apart, so Stratocasters are a little more challenging to play. The body wood is typically alder which enhances the single coil tendency toward emphasizing treble and bass, giving the Stratocaster a bright, glassy chime in the treble range combined with rich, deep bass response. The neck pick up provides a more balanced overall tone which is good for playing cleaner tones, while the bridge pick up provides a more treble enhanced tone which is useful for distortion sounds. The middle pick is reverse wound from the neck and bridge, providing a tone that is in between the neck and bridge in terms of treble enhancement. The reverse winding of the middle coil provides noise cancellation similar to a humbucker whenever the middle coil is activated at the same time as one of the other coils.

    Many modern rock guitars are spin-offs of the Stratocaster, often called “super-strats”. The super strats will have more pointy bodies and head stocks, with flatter neck profiles and humbucker pick ups to facilitate high distortion, high speed rock solos.

    Gibson Guitars designed the Les Paul around a dual-humbucker pick up configuration, with a shorter 24.75 inch scale length. The humbuckers deliver a strong signal for maximum distortion, while still yielding a great balanced tone for cleaner sounds. The mahogany body tends to de-emphasize treble, leading to a tone that many guitarists describe as “darker”. The shorter scale length means the frets are closer together and the strings are not drawn as tight, so these guitars can be a bit easier to play than the Stratocasters, especially for smaller hands. Like the Strotcaster, the pick up closer to the neck will provide a balanced tone which is great for clean sounds, and the neck pick up will provide more treble clarity which is helpful with distortion tones. The Les Paul also features a fixed bridge for more stable tuning and better sustain than Stratocaster type guitars.

    If you are new to guitar and not sure what kind of guitar to start with, I recommend solid body electric guitars for all students of guitar primarily interested in styles other than classical. Solid body electric guitars have small, flat bodies, thin necks, and pliable strings, which altogether makes them easier to play than other types of guitars. After developing a certain level of technique proficiency you will then have a better experience of playing other types of guitars. Both Fender and Gibson offer entry level, low cost Squier and Epiphone versions of their higher end guitars, for very reasonable prices in the range of $100.

    Strings

    Strings come in different sizes and materials. Bronze strings are for acoustic folk type guitars, and nickel-plated steel is for electric guitars. Thin strings are more pliable and easier to bend, so they are helpful for beginners and those who wish to play at very high speeds. Thicker strings provide a more balanced overall tone with better sustain. String sets with a .010 gauge high E string are a good balance between tone and playability. I use Martin .010 Gauge strings for my acoustic guitars, and D’Addario XL .010 gauge strings for my general purpose electric guitars.

    The term “action” refers to the height of the strings above the frets. Lower action means less pressure and less time to fret a note, so it may seem to make the guitar easier to play. The trade off is more fret buzz, more difficulty with bending, and more difficulty with sweep picking techniques. The manufacturer specified string height is typically a good balance.

    Picks

    Picks also come in many materials, shapes, and thickness. A floppy pick leads to weak pick attack and reduced speed and control. For bronze string acoustic guitars, I use a medium gauge pick of .8 mm for a good balance of control and playablity. For electric guitar I use thicker and more stable heavy gauge 1.5 mm large triangular picks by Clayton. A larger pick will provide more surface area and thus better grip and less unwanted shifting. Different materials provide varying grip, tone, and response. I prefer large, thick acetyl picks for a good balance between durability, grip, and tone. Picks are cheap, so you can afford to experiment to find the one that suits your best.

    Guitar Effects Explained

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    So you have an electric guitar and maybe a small starter amp and you are starting to become aware of all these little extra boxes that some guitar players use. What is all this stuff? What does it do, and do you need it? Well, this could be a huge subject but I am going to cover only the basics. Once you understand the basics you can do a little more research on your own to decide what, if any, effects you may want to incorporate in your preferred tone. First, a little background information …

    Definitions

    Tone – At the root of all discussion of guitars, amp, and effects, is one core concept: Tone. You will see this term in all manner of advertisements for guitars, amps, and equipment, and you will hear it discussed and even argued among musicians. What does it mean? Well, it is something that has somewhat of a subtle meaning that will be hard to understand well until you develop a little skill on the guitar and begin to develop your ear for sound. In the meantime, I will try to explain it this way. Tone refers to overall sound quality of your instrument. I do not mean quality in the sense of good or not so good, but rather quality in the sense of characteristics. For example you might say that wood has certain qualities and metal has certain qualities. Likewise, sound has different qualities and these qualities vary among different guitars, amps, and effects, and various combinations of the above. As you develop as a musician you will naturally gravitate toward a certain preferred quality of sound from your instrument. Musicians refer to this quality of sound as tone.

    Pedal – a floor standing effect device usually actuated by a foot switch, leaving the rest of you free to work your guitar magic. Guitarists often install pedals in a Pedal Board, which is simply a suitcase specifically designed for mounting guitar pedals and associated wiring.

    Rack Mount – the effect circuitry does not care if it is mounted in the floor, wall, ceiling, amp, or wherever you want. So some effects come in a convenient box that is designed to mount into a specific type of instrument electronics travel cabinet (rack). This allows manipulation of the parameters of the effect without having to kneel to the floor.

    Sensitivity – the ability of the guitar to sound out clear notes with minimal finger pressure and string striking power. This will depend largely on the guitar and amp, but some effects also affect sensitivity. Generally, more is better.

    Sustain – the ability of the guitar to continue sounding out a note after it has been plucked. As with sensitivity, this will also depend largely on the guitar and amp. Some effects will affect sustain and in fact some effects are specifically to enhance sustain. As with sensitivity, more is generally better.

    Some devices referred to as “effects” are not really so much effects but rather more like utilities. This will make more sense as we discuss specific devices. So let’s dive into specific effects now. Keep in mind we are speaking in general terms. There are literally thousands of effect devices on the market with various combinations and qualities of various kinds of utilities and tone alterations. We will highlight the basic concepts here.

    General Purpose Effects:

    Noise Suppressor or Noise Gate – This is one of the “effects” that is really more of a utility than tone alteration, although about any device in your signal chain will alter tone to some extent. However, the purpose of a Noise Gate is not to alter tone, but rather to remove noise, as the name implies. If you have had some opportunity to play around with your guitar and amp you may have noticed a hum from your amp when you are not playing the guitar. The purpose of the Noise Gate is to remove that hum or at least reduce it to a very low level. If you are new to guitar that hum may not bother you so much, but as your ear for music develops and you begin to gravitate toward a certain tone, that hum will drive you nuts! Then you will want a Noise Gate.

    Volume – Again, more of a utility than an effect, although you can use a volume pedal prior to the pre-amp to create a keyboard-like tone from your guitar. The main purpose, however, is to control the guitar volume without having to use your hands to manipulate knobs.

    Tuner – Yet again, this “effect” is really more of a utility. It is an electronic device that provides a tuning reference for you to measure your guitar’s tuning against. It allows for very rapid and accurate tuning. I recommend this to even a brand new beginner guitarist (if you can afford it on top of the guitar and amp).

    Echo – May also be called Reverb. This is a very common effect and many modern amps will have this effect built in. The echo or reverb effect is similar to the natural phenomenon of echo. It works like this: you play a note on your guitar. The echo processor will expand that as if you played it in a large room or cavern. This effect adds fullness to your tone, making it sound more natural and thick. Of course you can dial it in to an extreme that does not sound natural at all.

    Delay – similar to echo, but delay is a more specific, narrow reproduction of the note you just plucked. Unlike natural echo, you control the volume level and timing of repeats, as well as the decay (attenuation level or loss of volume level) of the repeat notes. As with echo, this effect adds fullness to your tone, making it sound more natural and thick. And again you can dial it in to an extreme that does not sound natural at all.

    Expression – this effect is often referred to as Wah, Wah Wah, or Crybaby. It is typically a pedal that you oscillate with your foot to move an internal tone control through a range from very pronounced high/mids to very diminished high/mids. It will also alter your overall tone. You may also see it in the form of a device that automatically cycles throughout a preset tone range without oscillating foot pedal input.

    Distortion – Distortion is the characteristic electronic fuzz sound associated with electric guitars. There are different levels of distortion and different types of distortion that yield different overall guitar tones. Most modern amps will inherently have a distortion effect by design, often referred to as Drive, OverDrive, or Gain. Additionally, you can usually achieve a certain natural distortion by over powering your amp speaker(s) at high volume levels. A distortion pedal can enhance tone, sensitivity, and sustain at lower volume levels. Choosing a distortion pedal can get complicated because this is very much a matter of personal preference. Also, the different types and degrees of distortion have trade names, such as crunch, overdrive, and fuzz. Beyond this, the brand names of distortion pedals, like the popular Tube Screamer, may not indicate distortion at all. You will often see distortion pedals referred to as Stomp Box.

    Compressor – the purpose of a compressor is to raise low volume signals and depress high volume signals. The intent is leveling out the harshness of extreme variation in volume levels. Because it raises the power level of lower volume or weaker signals, it will also enhance sustain.

    Modulation – this effect comes in a variety of forms and goes by different trade names even though it is all the same underlying effect. You may see it identified as Flange, Chorus, Phaser, Rotary Horn, Tremolo, or Uni-Vibe. The basic idea is to impose a swinging frequency range over your guitar signal, creating a wobbling sound. As with other effects, you control the rate and degree of the wobbling. The various names indicate different types or tonal qualities of the effect.

    Many vendors have floor controllers or rack-mount controllers that incorporate some or all of these effects and more all in one box, such as the POD by Line6.

    Now that you know the terminology, you may be wishing you had some sounds to associate with these names. You may find some sound file examples on various vendor sites such as Musician’sFriend or Music123. The best way to get familiar with these effects is to print this article and get to a local guitar shop with a pedal demonstration board and try these out yourself. Alternatively, if you’re willing to invest around a hundred dollars for an entry level converter box (interface) such as the Guitar Port by Line 6, then guitar simulator programs such as Amplitube (free limited version) or PodFarm (included with required interface) allow you to experiment with a variety of guitar effects with a simple click of the mouse. Hardware or software, experiment and enjoy!