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Guitar Amplifiers and Tone

by Chad Crawford, PMI Guitar Instructor

The wonderful sound that comes out of an 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 the speaker(s).

An amplifier typically consists 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.

Tube vs. Solid State

It is important understand the difference in response between vacuum tube and solid state amplifiers. Tubes bring two very important characteristics to guitar amplification. First, they inherently add content known as harmonics, also often referred to by guitarists as overtones. In audio amplification outside the realms of guitar, these added audio components constitute an undesirable form of distortion. In guitar amplification they provide a pleasant sounding addition to the otherwise pure guitar tone. Secondly, tubes tends to react more strongly than transistors to changes in input, such that tube amps tend to provide a more sensitive response to the input from the guitar player. This tends to magnify the effect of changes in dynamics provided by variations in pick attack, such that the tube amp feels to many guitarists more like dancing with a willing partner, as opposed to the solid state amp’s more simple and indifferent magnification of the volume. For the less experienced guitarist these differences in response between the two types of amplification may be meaningless, but as experience accumulates these things will become more noticeable.

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 after the pre-amp stage 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.

Tone Implications of 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, as well as weight management for heavier amps and speaker cabinets. 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 (not the same cable as a guitar 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 load (impedance).

The most popular head/cabinet arrangement 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 that if the combo amp has only one speaker, then stick with amps that have a 12 inch speaker.

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.

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 Pod Farm, Amplitube, and Guitar Rig allow us to plug our guitar into our computers via an interface box and then 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 amp 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.

Must Know – Guitars, Strings, Picks

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By Chad Crawford, PMI Guitar Instructor

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 narrower neck to facilitate chords. Folk guitars are louder and have brighter tone than classical guitars. While either of these types 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 flatter 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 neck will 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 12^th fret for facilitating fast scale runs and extreme bends.

Frets come in different sizes and materials. The standard fret wire 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 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 pickups, 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 pickup provides a more balanced overall tone which is good for playing cleaner tones, while the bridge pickup 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 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 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 Stratocaster, the pickup 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 $200.

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 .011 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 tradeoff 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 playability. 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 you best.

Effective Effects

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Primer on Guitar Effects

by Chad Crawford, PMI Blues Guitar Instructor

So you have an electric guitar now 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 that you may wish 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? It 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 discernment for sound quality. For the moment let’s try to understand it this way. Tone refers to the 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 for manipulation of the parameters of the effect without having to kneel to the floor. Rack effects are also more typically able to be controlled via “midi”, which allows for advance programming of various combinations of effects such that one can have preset effects combinations for each song, readily accessible either by foot control or else remotely by the sound engineer at the control board. Rack effects tend to be more sophisticated than their floor pedal counterparts.

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.

Utilities:

Some devices referred to as “effects” are not really so much effects but rather are 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.

Noise Suppressor or Noise Gate – 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 and mostly playing at bedroom volumes then the hum may not bother you so much. As your ear for music develops and you begin to gravitate toward higher volumes for live group performance, the hum will grow louder and more annoying! Then you will want a Noise Gate.

Volume – 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 (a.k.a swell). The main purpose, however, is to control the guitar volume without having to use your hands to manipulate knobs.

Tuner – 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.

General Purpose Effects:

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 include 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 (mild distortion), overdrive (substantial distortion), and fuzz (extreme distortion). 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 a Stomp Box.

Compressor – the purpose of a compressor is to raise low volume signals and suppress high volume signals. The intent is to level 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 varying frequency signal 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 products by Line6.

Now that you know the terminology, you may be wishing you had some sounds to associate with these names. You can easily find demonstrations on various vendor sites such as MusiciansFriend or Sweetwater, or video hosting sites such as YouTube. Alternatively, if you’re willing to invest around a hundred twenty dollars for an entry level converter box (interface) such as the Focusrite Scarlett solo, along with another hundred for an entry level guitar simulator program such as Amplitube or Bias FX, then you can experiment with a variety of guitar effects with a simple click of the mouse.

Hardware or software, experiment and enjoy!

The Great Eight: Know These!

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By Chad Crawford, PMI Guitar Instructor

If we were to attempt to consider everything there is to know as a musician this article would turn into a book. However, it is not needful to know everything there is to know about music in order to make some great music with the guitar. Many highly regarded guitar songs are relatively simple and fall well within the boundaries of routine hobbyist musician fare. If you have a good command of the basics identified below then you will have most of what you need to play fluently in the popular music styles.

1. Notes of the fretboard – it may seem like a daunting task to memorize all of the notes along the entire guitar fretboard. However, as with anything the trick is to break the task into manageable pieces. It is particularly important to know the notes on the sixth and fifth strings since these notes will be the root notes of your common chords and the reference notes for your scale box patterns. Divide the fretboard into parts according to various schemes and memorize the notes of the parts. Keep doing this week after week. Eventually you will know the notes on the fretboard without having to think about them.

2. Common Chords – the possibilities for chords seems endless, but you do not need to know every possible chord in order to play most popular music styles. Give priority to this list: Major, Minor, Suspended Second, Suspended Fourth, Dominant Seventh, Major Seventh, Minor Seventh, Fifth. Know the fingering for these chords in the open position and also the E and A form bar chords, and you will be able to cover most chords that come up in popular music.

3. Common Scales – Major, Minor, Major Pentatonic, Minor Pentatonic. It is important to know each of these scales in the various positions along the fretboard rather than just the first box pattern. Also, know how to find the beginning note of each pattern on the sixth string without having to always refer to the sixth string root note of pattern one. Then you will not be stuck with always having to start your solo in Pattern One.

4. Scale Pattern Root (octave) Notes – learn the locations of all of the root notes within all of the scale patterns along the fretboard. These will serve as a useful reference for finding resolving notes for your solos, and will also help with quickly identifying the locations of other nearby resolving note choices once you get past simply resolving to the root.

5. Major and Minor Keys – pick a key per week to memorize. Keep doing this until you know each of the notes in every key. Know the Relative Minor key associated with each Major Key. The Circle of Fifths is a great aid to learning these relationships.

6. Scale Harmonizations/Standard Harmony Rules – know the chord sequences for the Major and Minor Keys. For Major keys the Triad chords are Major-Minor-Minor-Major-Major-Minor-Diminished. For Minor keys the sequence is Minor-Diminished-Major-Minor-Minor-Major-Major. You may see these written out as Roman Numerals in this fashion: Major key I-ii-iii-IV-V-vi-vii°, Minor Key i-ii°-III-iv-v-VI-VII. Example, chords in the key of C Major: C Dm Em F G Am B°. Chords in the key of C Minor: Cm D° E Fm Gm A B. If you understand these sequences then you will find that it becomes much easier to decipher the chords of songs you wish to learn, and to assemble your own chord progressions for songs you are writing.

7. Interval formulas for Major and Minor Keys – The Major Scales consists of the following intervals: 1-2-3-4-5-6-7-8, with eight being a repeat of the root note in the next octave. For the Minor Scale the intervals are as follows: 1-2-b3-4-5-b6-b7-8. If you understand these two interval formulas, then it is very easy to see how to covert a major key to a minor key by simply lowering the third, sixth, and seventh intervals by a half step, for instance. Combine this kind of knowledge with knowing where these intervals fall on the fretboard in relation to one another and you will be able to pick out chords, solo phrases, and appropriate resolving notes with ease.

8. Timing Basics – know how to count out 4/4, 3/4, and 6/8 and 12/8 time signatures. Know how to play scales in quarter notes, eighth notes, sixteenth notes, eighth note triplets, and sixteenth note triplets. Practice playing scales with a metronome to ensure your timing is accurate.

How To: Fast Guitar Playing

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By Chad Crawford, PMI Guitar Instructor

Playing fast solos seems to be a consistent goal for many aspiring guitarists. I discourage over-emphasis on speed to the neglect of other aspects of musicianship, but speed does have its place. A well-executed lick in sixteenth note triplets can add a great deal of intensity to a piece, and it is just plain fun!

So how do accomplished guitarists develop the ability to control the playing of notes at speeds faster than it seems possible for human fingers to move? There are a number of components of speed, and a number of ways to develop speed. I will break them both down for you here.

Components of speed:

Excellent technique – precise placement of the fingertips, including being able to change smoothly between varying techniques such as scales and vibrato
Timing – sounding out a note or vibrato at the correct time in regards to the underlying rhythm
Two-hand synchronization – precise coordination of the two hands such that the pick stroke coincides exactly in time with the fretting finger
Tricks – legato (hammers/pulls-offs), tremolo picking, tapping, sweeps
The mental side – knowing what you intend to play (as opposed to wandering through scales), how it is going to sound before you play it, the location of your notes within a scale, the location of your next resolving note and all notes in between, etc.

Methods for developing speed:

Know your scales – If you are struggling to simply remember the basic scales and/or resolving notes for the style you wish to play then you will suffer constant hesitation. This will throw off your two hand synch and drag you out of time. What you will experience is a feeling that your hands are not doing what you wish them to do. What is actually happening is that your hands are doing exactly what you are telling them to do, which is to play the confused slop that your brain is manufacturing. Get on top of your mental game!
Know your rhythms – Practice playing phrases in good time at varying paces: eighths, sixteenths, and triplets.
Slow metronome drills – the metronome is a powerful tool for developing great timing and two-hand synchronization. Practice your varying rhythms in conjunction with a metronome beat, at very SLOW speeds (40-60 beats per minute). Concentrate closely on removing all unnecessary movement and muscle tension from your playing, and coordinating your hands such that the pick stroke occurs at precisely the same instant as fret finger placement.
Fast metronome drills – once you have developed a particular scale or technique to a point that you can perform it well consistently at these very slow speeds, begin slowly increasing the tempo of the metronome as you play along.
Go back to number one and repeat. And repeat. And repeat. Etc.

Take careful note of item 3 of the methods for developing speed. Just because you are aware that tension is detrimental to speed does not mean that your body is going to automatically relax and allow you to play well at higher speeds. You will have to spend time practicing at very slow speeds and specifically paying attention to excess tension in your fingers, wrists, forearms, upper arms, shoulders, back, and neck. You will be surprised when you do this as to how much you are tensing up all over when playing. Relax all of this tension and practice while consciously relaxed, until this becomes a habit such that you do it automatically.

Avoid These Guitar Playing Pitfalls At All Cost

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By Chad Crawford, PMI Guitar Instructor

Learning to play an instrument well is a challenging endeavor, but it is within reach of anyone who is willing to do the work. While there is no short cut to overnight success, there are longer and shorter paths. Take note of the common pitfalls below in order to steer toward the shorter paths.

1. The “roadrunner” trap – if there is any one thing I could wave a magic wand and change, it would be to magically require folks to slow down during practice. I mean this in two regards. One is to physically slow down hand motions during practice, to a point of playing the material with precise technique and timing. The other regard is from attempting for instance complex solo phrasing that is beyond one’s current ability to manage the mental aspects of complex phrasing. Many aspiring guitarists tend to attempt exercises at speeds that are beyond their capabilities. Remember, you are going to play what you practice. Sloppy practice = sloppy playing. Practice slowly with good note articulation, two-hand coordination, and mental focus. Speed up as increased mastery permits playing accurately and intelligently at higher speeds. Sometimes it is needful to focus specifically on speed, and at those times it is useful to attempt speeds beyond current skills. At all other times, practice within a tempo that allows you to play well!

2. The “review” trap – one of the most prominent challenges of mastering a musical instrument or even a specific song is simply remembering all of the information. However, remember you must if you wish to make progress. I spend a lot of teaching time reviewing previously taught concepts because I cannot move forward until the previous material is sufficiently mastered, since the new material builds on the old. Review is an essential part of learning, but it can become excessive and even predominant if a student is constantly forgetting previously covered material. The easiest way to avoid this trap is to do review on your own. If it is on your practice schedule or in your lesson materials, make sure you know it by routinely reviewing it during your practice time.

3. The “half-done” trap – consider this old musician’s maxim: “Amateurs practice enough to get it right. Pros practice enough to never get it wrong.” When it is time to play you will need all mental focus on playing. If you are struggling with simply remembering the next chord, the timing of the next chord change, the next phrase in the solo, or getting your hands to make the required movements, then you will be distracted from the constant application of finesse that you need to make great music. So learn the chords and scales for whatever type of music you wish to play, memorize the songs you wish to play, and practice the required physical techniques until they work. Granted, this is easier said than done, but you can speed up the process by focused repetition. If you are a hobbyist musician then you may not have time to practice until you “never get it wrong”, so you will have to strike a balance. Then focus on a clearly defined set of goals and do all you can to master the things required to meet those goals.

4. The “overplaying” trap – for intermediate level guitarists one of the most common areas of weakness is the tendency to want to throw everything they know, and at supersonic speeds, at every solo. Some of the most widely acclaimed guitar solos are also quite simple. For example, many guitarists regard David Gilmour’s second solo on Pink Floyd’s “Comfortably Numb” as one of the greatest rock guitar solos ever recorded. This solo consists of slow to medium tempo Minor Pentatonic scales with a lot of repetition, yet it does indeed sound fantastic. It is a great example of playing to fit the context. When developing solo phrasing do not strive for maximum speed. Instead, strive for maximum impact of every note. Practice simple eighth note phrases with good timing relative to the song rhythm, good resolving choices, well-executed bends, a sensible structure, and a carefully controlled vibrato. When you can do these things fluently then you will be ready to move on to more complex phrasings. Until then … less is more!

If you suspect you are struggling in any of these areas then take some time during your next practice session to adjust your routine so that you avoid these common barriers.

Transcribing Procedures

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By Chad Crawford, PMI Guitar Instructor

As guitar players we usually have two general goals: (1) self-expression and (2) learning our favorite songs. While there is some overlap between the skill sets for these two goals, learning others’ songs is often the easier of the two, and it can help us keep our motivation strong while we are working on the loftier goal of self-expression. In this article we will break down the process of learning songs.

First, do not go straight to a free TAB site. Instead, try the procedure below FIRST. We will come back to transcriptions in a moment.

Step 1. Listen to the song! This statement may seem frivolous since you have probably already listened to your favorite songs many times. However, listening to learn is different than listening for enjoyment. When you are listening to learn, you must focus your attention fully on the song and all the parts of the song. For instance, listen for the chord changes and for how long each chord lasts. Listen for differences in chord arrangement between verse, chorus, and bridge. Listen to the vocal structure. Vocal structure is often more obvious and easier to remember than chord changes, and so the vocal cues will help you remember when the chord changes are coming. Listen carefully for prominent guitar fills, and of course pay attention to where the solo (if any) falls within the song structure, i.e. verse, chorus, verse, chorus, solo.

This is not the kind of listening you typically do where the music is in the background while your mind is wandering elsewhere. You must focus your full attention on the song and keep it there throughout the song, making mental note of important events such as chord changes and fills. I recommend to use headphones and close your eyes while listening to the song at least a few times, but the more times the better.

Step 2. Try to figure out the key of the song. You can do this by continually picking the sixth string as you move your fretting finger up the fretboard until you hear that your note matches the fundamental reference pitch of the song, which is usually the first chord of the song. Listen not only to the guitar(s) but also the bass in helping you determine the key.

Step 3. Determine whether the mood of the song is major or minor. This does not have to involve any kind of complicated music theory analysis. Just listen for the overall feel of the song. Does it sound bright, happy, and upbeat? Then it is probably major. Does it sound more melancholy, serious, and dark? Then it is probably minor. Much country music is in a major key, while much rock music is in a minor key. While there are other possibilities than strictly major or minor (such as the Dominant progressions of Blues which fall between major and minor), a large percentage of popular music falls into one of these two moods. Listening for the mood of the song will help you narrow down the possibilities for chords and scales.

Step 4. Sort out the chord changes. For most popular music, once you know whether the song is major or minor then there are only a handful of likely basic chords. Once you figure out the basic chord possibilities, then it is not very much more work to determine what alterations if any the artist has made to the basic chords. It is helpful to consider that most popular songs will contain the 1st, 4th, and 5th interval chords from the key, and the 6th is also a popular chord. Keep these chord progressions in mind since you will probably find that your favorite song is going to contain something along the lines of these common progressions: I-IV-V-I, I-IV-I-V, I-V-vi-IV. If it is a rock song with heavy distortion the chords will often be 5th chords (power chords), whereas if it is a cleaner guitar tone then the chords will often be more along the lines of the typical major or minor open or bar chords that you know.

Listen carefully to the song. It is going to start on some chord which will match the key and mood of the song. Then it will do one of two things, go up or go down in pitch to the next chord. So experiment until you figure out that chord. For instance, if the opening chord is a G major, the next chord will likely go up in pitch, and is likely to be a similar type of chord. In other words, if the opening chord is a G Major, the next chord is not going to be a Bb7b5 or some other monstrous mysterious chord. Rather it is probably going to be a simple C or D Major. So plug in the chords you know and see what fits. Repeat until you have figured out the chords.

Step 5. If there is a solo in the song, listen to it repeatedly as before. Now consider the mood of the song: major or minor? If it is major, the solos will likely contain some variation of the Major Pentatonic scale. If minor, then the Minor Pentatonic is a likely option. From there, listen again and see if you do not hear bits of the scale you think is probably the right one. Pick out the parts of the solo that you can quickly figure out.

Now it gets a little tricky, because solos are often fast moving, usually do not follow strict scale patterns, and often include licks from scales other than the basic pentatonic scales. So this is where you need to bring in the “heavy guns”.

(a) Use a transcription software such as Transcribe to slow down the solo so that you can hear clearly how the notes are moving from one to the next, then pick them apart one by one until you have a particular lick worked out. Then move to the next lick and repeat and until you have the solo figured out. Many of these software programs will allow you to “loop” a small segment of a song. In other words, you can select beginning and end points within the song and the software will play that little segment over and over in a loop for you while you listen and figure out the notes.

(b) Get help from your teacher

(c) After trying all this, THEN go get a real professionally scored TAB if possible (some popular songs do not have pro TABs available). This should be the LAST step you take after having tried the ones above. At first, you will not get far with deciphering the songs, but the more you do it, the better you get. So try to do it yourself first, then when you reach the end of your transcribing skills, go get a TAB. I recommend to avoid free TAB web sites since the TAB is user generated (any beginner can submit a self-written TAB) and I have found that these TABS are often completely wrong. You can find good professionally scored TABS at Musicnotes.com and FreehandMusic.com. Even with pro TAB, you will need to listen to the song carefully to make sure what you are playing matches the song. Some aspects of guitar technique are nearly impossible to convey on paper, and even the pros make an occasional mistake.

Bear in mind, this will be challenging at first. Don’t give up! These procedures work well with common popular songs, but they will be much more challenging for certain genres such as fusion, jazz, or progressive rock. For transcribing in these more complex styles, you will need a more expansive mastery of music theory and a well developed ear. Start with simple songs that have clear chord changes and relatively simple solos at slow moderate speeds, such as Blues standards or iconic classics like Pink Floyd’s Comfortably Numb.

Be tenacious. Happy Transcribing!

Your Instincts Stink

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By Chad Crawford, PMI Guitar Instructor

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 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. 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 specific 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. 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 for a hard time!

Tickle the strings rather than tackle them.
For playing chord rhythms, use a wide, fast, and light-contact pick stroke.
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.
Apply no more pressure to the strings/frets than necessary to sound out a clear note.
Avoid grasping the guitar neck with the palm and thumb as if it were a baseball bat.
Use your elbow to change the working range of your pick – not your wrist or your shoulder.
When changing to an upcoming chord, avoid chopping off the last beat of the previous chord by releasing pressure too early.
Unless you are practicing specifically to develop speed, do not practice at a tempo faster than you can play with good note articulation and two-hand synchronization.
When learning a new rhythm pattern, strum slowly 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 then 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 good reason I am emphasizing these things: 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, such as using much more strength than is necessary, or handling the pick as if it is a plow. When attempting to play scale notes for the first time you will likely 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 these barriers 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 specifically the focus aspect. 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!

Get This Right or Suffer

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By Chad Crawford, PMI Guitar Instructor

Can I Help You? – Part II

In part I of this two-part series we considered some generalities of how an aspiring musician’s overall attitudes about work and people affect musical accomplishment. In this part we will consider how attitude more specifically affects the technical details of cultivating music skills.

Review from Part I … (hint – I am reviewing this section because it is very important!)

The Singular Importance of Attitude

Probably the single most important thing I have learned in my decades of musical endeavor is that music is not just about technical matters pertaining to managing the fingers or voice effectively. Rather, it is mostly a matter of cultivating the mind, and that means among other things that a person’s overall attitude about life, work, and people is going to have a great deal of impact on his or her accomplishment as a musician. As with any “rule” there will certainly be notable exceptions, but they will be notable because they are exceptions. Mastery of things technical is certainly very important, but the foundation of it all is mental attitude. Can I help you? Well … it depends very much on your attitude. That terminology is often used in a way to imply contempt, as in “He has an attitude!” That’s not the way I am using it here. I don’t say it with any kind of judgmental intent. It is just an objective fact. Let’s clarify by considering some examples of how attitude effects musical results.

Now, on to Part II proper …

Give Me the Giggles! – I haveobserved many instances ofmusic students or prospects who approach learning music purely as entertainment, similar to sports. Professional athletes must of course work hard for many years to achieve a world class level of performance. However, much of the fun of sports for hobbyists is simply running around excitedly on a field or court. A coach can train one in the rudiments of a sport within minutes and the kids can begin to enjoy the fundamental physical activity of the sport immediately, even if they are actually comically terrible at it in the beginning.

This is not so with music. While making music can and should ultimately be a very satisfying experience, reaching this level of musicianship is a process more along the lines of learning math, science, or language. No one expects to start a science class and be a functioning research scientist before completing the first class. For whatever reason, many people who have an interest in music lessons, and this is the worst with guitar in particular, seem to have some idea that it is something along the lines of an alternative to sports or watching TV, something that is purely a form of entertainment. I suppose this has something to do with so much of the advertising for guitar training that appeals to the quick fix – click here, or come take my lessons, and you will be playing your favorite songs immediately!

Let me be clear here that I am not suggesting it isn’t possible to learn to play some great music without submitting to twelve years of education. That would be one extreme. I am addressing the other extreme, where the prospect or client feels that the whole process should be an experience similar to sports – giggles out of the gate, with the real work required only for the elite. Well, it isn’t. For a typical hobbyist level musician with a good work ethic and a good teacher, pursuing fluency in popular music styles, it is going to be a multi-year process to get to a point of functioning predictably and comfortably in a group playing setting such as a band or open jam session. Up until that point, it is going to be like school. Go to class. Do homework. Repeat. When you get through first grade, then you go to second grade. There is no way to jump from day one to diploma, or third grade to eighth grade. It is a process consisting of many small steps, and if anyone is telling you otherwise, be sure to keep an eye on your wallet until you get clear of them!

If you are looking for giggles out of the gate, I can’t help you. If, on the other hand, you are willing to approach learning music as an educational endeavor with great rewards on the far end of some work, then I can help you a great deal!

I Can’t! – Yes you can, if you are willing to persist in an informed approach to working at it. There is no “I can’t”. There is only, “I haven’t yet”. Students of guitar all experience the same struggles with finger control, comprehension, and confusing those two issues. For instance, chord changing exercises can be quite frustrating in the beginning, and many feel that they will never be able to accurately and rapidly place fingers in the correct location fast enough to keep up with the rhythm. This is simply an illusion, arising from unrealistic expectations. Fluent chord changing requires a well-developed muscle memory for each chord, and that means lots of repetition over time. It is a process, and the desired results are inevitable.

Similarly, when I introduce students to the concept of resolving solo phrases to target scale notes, it is universal for students to struggle with tracking the chord changes while also trying to remember finger placements. With the introduction of each new level of complexity as we move through alternate resolving notes and various positions along the fretboard, it is a recurring struggle to get one’s mind and hands around the ability to accurately place the right note at the right time. This does not mean anything is wrong or that you have no talent. It is just something that you have to work at until you have cultivated the totality of it into your thinking, and then it will work.

Let me share with you an example of a common experience I observe in teaching. I was once teaching a teenage a girl who was struggling with her chord changes. She came in for her lesson one week and went through the exercises. She kept fumbling the chords, but I knew she had been working with them long enough to get them right. So we kept going over them with me leading her through a series of steps to get her reservations out of the way and let her muscle memory take over. Toward the end of the class she started playing through the exercises smoothly, to her great amazement and delight. However, what I remember most is the look of surprised understanding on her face when I pointed out to her that she was already able to perform those exercises well when she walked in the door that day. The only thing that was preventing her from peak performance was that her mind was closed to the possibility that she could do them well, and so she had been unconsciously choosing to perform habitually sub-par chord changes in fulfillment of her expectations.

See how important attitude is? You can literally prevent yourself from doing something that you are in fact presently capable of doing, by convincing yourself that are not able to do it! This is what performance coaches mean when they speak of believing in yourself. It does not mean some kind of voodoo such that you can wishful think yourself into doing something that you can’t actually do. Rather, it means you choose to be confident in your potential to do a thing, and you cling to that belief tenaciously through the struggles of the building process until the work finally delivers the desired results. It is not magic. You still have to do the work. But you can do the work and still suffer less than desired results due to a self-defeating, “I Can’t!” attitude.

Besides talking yourself out of doing something that you can actually do, an “I can’t!” attitude will also give you an easy escape when faced with some work. It is an unfortunate fact that all of us human beings are inherently lazy, and we will jump on any excuse to avoid work. If you can convince yourself that you can’t, well then there is no point doing all that work, is there? I can’t, so I won’t try, and then I won’t be able, and that will prove that I couldn’t, and then I can watch TV and eat marshmallows instead. See how this works?

Are you inclined toward believing that lying internal voice that whispers, “I can’t!”? Well, if you do give in to that suggestion, then you will choose to make it so, and then I can’t help you. If you will instead choose to believe, “I can!” regardless of the struggles of the moment, then I can help you a great deal!

When Does it End! – I get all manner of people with all kinds of ideas about music coming to me for lessons. I conduct pre-enrollment consultations with all prospects for a number of reasons, one of which is to identify what they may be thinking in regards to how long it takes to learn music. The answer will vary a great deal depending on goals, but some folks have really unrealistic ideas such as a few weeks or a few months. I never let these folks enroll thinking it is going to be a few weeks or months. Some of them do not enroll, either because they think I don’t know what I am talking about, or else they are just not willing to commit a realistic amount of time to it.

Then I have prospects who enroll and get started. Some of them come in with a great attitude driven by a passion for music, and they stay enrolled for multiple years and become potent musicians. Others stay for a few weeks or months until they realize I wasn’t exaggerating about the commitment required, then they give up and quit. Unfortunately those folks are a lost cause before they even start, not because of their inherent potential but rather because of their attitude.

Then there is the mid-range group. They get off to a good start and make rapid progress, but then get bogged down somewhere between six months and a year. They may continue with lessons, but they get stuck at a certain level, often with learning improvisational soloing. This is where the weight of a self-defeating attitude begins to take its toll. They fall into a habitual routine of practicing the same mistakes over and over rather than truly applying intense focus to solving problems, and then they get stuck. It feels to them as if they have reached a limit they can’t pass, then they either resign themselves to current limits, or else give in to frustration and quit.

This is where attitude becomes the critical factor in success. When you reach that point where you feel you are stuck, you can do one of three things. Quit, keep doing what got you stuck, or do something different that delivers better results. I can tell you from much experience that the thing you need to do different is to focus more closely on the details of the specific problem you are having, rather than simply practicing the same mistake over and over and hoping it will resolve itself. I can also tell you from experience that many folks won’t do the extra work most of the time. They will instead either go on repeating the mistake or else give up.

When does it end? When you choose to focus intently on correcting the details, conquering the problem instead of letting it conquer you. If you choose to give up, or try to side-step the work necessary to succeed, then I can’t help you. If you love music enough to commit up front to working at it until you can do it well, then I can help you a great deal!

The Grass is Greener Over There! – Question: “When do I get to stop practicing all the time and just enjoy playing?” Answer: “The instant that you stop thinking in terms that ‘real music’ is limited to stuff that you can’t already do.” Music has been around since the dawn of time. You are not ever going to run out of “stuff that you can’t already do”. If you learned every song that has been played in the history of Western civilization, then you would have just got started with the possibilities. There is always going to be some new hill to climb. You will never get past needing to practice, if for no other reason than to maintain your technique. However, this does not mean that you are not in fact a capable musician. The first time a student plays through my first exercise, they are in fact making real music. Consider that if you know your open position major and minor chords, power chords, and command basic rhythm skills, then you can play literally thousands of popular songs. Maybe tens of thousands. But for some folks, they tend to set the bar of “real music” or “good music” so arbitrarily high that they can’t ever just relax and enjoy what they can already do, even if it is songs that are literally million-sellers.

Here’s the hidden source of this attitude problem: vanity. A lot of aspiring musicians, especially guitarists, are more interested in acclaim than self-expression. I have had prospects at pre-enrollment interviews outright tell me that what they most want from lessons is to impress others with their guitar playing. I don’t enroll these folks if they can’t also express some other more substantial goal, because I know that if this is their sole motivation then they are wasting their time.

There is certainly nothing wrong with wanting to move others with music. But there is wanting to reach people through music, and then there is wanting applause for musical accomplishment – two different things. The former is the core of what the phenomenon of music is, the latter is empty egomania. Folks in the former camp will be quite happy to see folks enjoying their simple 12 Bar progressions and Blues phrasing as much as they will enjoy ripping out some Dream Theatre symphonic rock. Those in the latter camp will always experience music as something along the lines of eating burned oatmeal, because they will always be consumed with the feeling that others are not impressed with their technical prowess.

Let’s not go to either extreme. As with all good art, you must achieve pleasing quality, proportion, and symmetry for beautiful results. Of course you need to be in time and on pitch if you wish to make music that is “good” by any reasonably objective criteria, and that means there is some work to be done. The farther you want to go, the more work you have to do. At the same time, if you can’t enjoy the plateaus on the way to the peak, you will probably not be able to keep up enough steam to make it to whatever the peak is for you.

Consider an artist like B.B. King. He did not play technically complicated music, but what he is really great at is expressing himself with his library of simple Blues licks. If you watch him play you can see it on his face quite plainly. People do not go to see B.B. King perform because they want to hear someone rip scales at supersonic speeds. They enjoy B.B. King because they connect with the feeling he is able to convey through his simple music. That is what music is all about, and he is a master at it. Artists like Yngwie Malmsteen need much more technically complex music to fully express themselves, and that is also perfectly valid. What is not valid is to suggest that one is “better” than the other. Those kinds of arguments are a waste of time.

Many widely acclaimed musicians moved millions of people with relatively simple music. Johnny Cash. Kurt Cobain. Bob Dylan. Eric Clapton. Tom Petty. I could go on and on listing names. The point is, as a student of guitar you are not doing yourself any favors by refusing to allow yourself enjoyment of the music that is currently accessible to you. Of course keep striving for that next level, but at the same time give yourself a break and allow yourself to enjoy what you can already do!

Let me clarify that I am not meaning to express contempt for those who are suffering inability to enjoy their music due to vanity. We all suffer from it a bit, myself included. It is a major barrier for many aspiring musicians, and one of my goals as a teacher is to talk people off it because it hinders their realization of musical goals. Indeed, there is a certain level of musicianship we need to achieve before we can do anything more than annoy others with our guitars. Once you reach the level that you can change chords quickly and hold a rhythm through twelve or sixteen bars, get busy making music and enjoying it while you continue climbing toward the next plateau!

Do you find that when you play music you are more involved with what others are thinking of your performance than you are the music itself? If so, and if I can’t persuade you off that approach, then I’m sorry to say that you will never enjoy music enough to persevere, and so I can’t help you. If you will instead recognize that music does not have to be “impressive” to be good, then I can help you a great deal with both simple and sophisticated music!

Show me the Low Road! – We speak of“taking the high road”as a colloquialism for doing the right thing or doing the better thing. The idea is based on the understanding that taking the high road will be harder, but there will be a reward for it at the end of the road, so it will be worth the trouble. This is certainly true in music training. Choosing the low road might be easier in the present moment, but in the long run it is going to lead to frustration, and drag the process out longer than it has to be.

So what does it mean to choose the high road in music training? I will give you an example that illustrates the concept. Every student of guitar reaches a point of wanting to play scales much faster. There is a process for this with predictable, guaranteed results. The process starts with slowing the scales down to very, very slow speeds and working with painstaking attention to detail on perfecting technique. It is very tedious and requires a great deal of sustained mental focus on multiple aspects of technique. Very few actually submit to this part of the process and see it through, but rather try to push through it as quickly as possible. This renders the exercise useless or far less effective than it could be.

I have seen this over and over. A student tells me they want to play faster. I lay out the exercise. I follow up later only to find that they haven’t done it. What would you think if you put a hundred dollar bill on the table and told someone they could have it if they would just pick it up, and they told you they really wanted it bad, but would not reach out and pick it up? This is what students of guitar do with developing speed. They tell me they want to play faster. I tell them in great detail exactly what to do. Then they don’t do it.

Does this mean they don’t really want to play faster? No. What it means is that during the exercises, they repeatedly allow themselves to fall apart over maintaining sustained mental focus. They take the low road.

This sort of thing comes up in numerous ways, anytime there is a decision to be made over doing the harder thing or the easier thing. Another good example … experimenting with new phrasing paths rather than just rehearsing paths you already know. Are you guilty of this? Playing phrases in straight time rather than making a pointed effort to mix up the timing across a phrase. Guilty? I bet you are. I am, although more so in times past than recently.

There are a hundred ways in any practice session that you can take the low road. I won’t take time to present an exhaustive list here, but generally you probably know if you are doing this. It is very simple to see if you pay attention to it. Are you avoiding the harder thing and doing the easier one instead? If so then you are taking the low road. Though it might make your practice seem less burdensome, it is slowing down your overall progress rate by multiples.

I can help you learn to play guitar even if you insist on taking the low road, but what I can’t do for you is help you achieve the maximum results you are capable of in the shortest possible time. If you want that, then you will have to take the high road, and in that case I can help you a great deal!

Conclusion – I could go on and on with this matter of how attitude translates into results, but as you can see it is already quite a bit longer than my usual articles. Hopefully I have got the point across enough to help you identify ways in which you might be harboring some kind of attitude that is hindering your progress.

Please bear in mind it is not my intent with this article to beat anyone up. It is difficult to speak on the subject of attitude without stepping on some toes, but it is such a critical component of success with music that I feel an ethical obligation to address it, even it makes some folks mad or costs me some clients. If you are one of my active or former clients and feel like I wrote this thinking of you, I assure you I didn’t write any of this article, or part 1, with any one person in mind, except the one illustration with the teenage girl struggling with chord changes. This is all about generalities from my overall experience as a developing musician, and observations as a performer and teacher. If you do feel that any or all of this applies to you personally, well … then it probably does. Don’t give in to “an attitude” about it. Instead, take the high road and use it to identity and eliminate any such hindrances, so you can get on with that which works!

Avoid This Most Costly of Mistakes

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by PMI Guitar Instructor Chad Crawford

Can I Help You?

Having played and taught guitar for many years now I have accumulated a great deal of insight into what works and what doesn’t, both in regards to teaching methods and the approaches students take to learning music. When I started out with teaching I had a number of concerns as to how effective I would be at communicating, what materials I would use, how to organize and present them, if my gruff personality was suitable for teaching, and so forth. I was mostly concerned with things about me. What I have found with experience is that the number one obstacle I face as a teacher is not about me at all. It is, rather, something that is unfortunately beyond my control. It is something in my prospects and clients, which I should have known from general life experience would be the case, as it always is with everything in human affairs: attitude.

The Singular Importance of Attitude

Probably the single most important thing I have learned in my decades of musical endeavor is that music is not just about technical matters pertaining to managing the fingers or voice effectively. Rather, it is mostly a matter of cultivating the mind, and that means among other things that a person’s overall attitude about life, work, and people is going to have a great deal of impact on his or her accomplishment as a musician. As with any “rule” there will certainly be notable exceptions, but they will be notable because they are exceptions. Mastery of things technical is certainly very important, but the foundation of it all is mental attitude. Can I help you? Well … it depends very much on your attitude. That terminology is often used in a way to imply contempt, as in “He has an attitude!” That’s not the way I am using it here. I don’t say it here with any kind of judgmental intent. It is just an objective fact. To illustrate, let’s look a bit at some examples of how attitude effects musical results.

Why Me? – In my initial consultations with prospects I always inquire as to their expectations regarding time frames, because I know there are many people who for whatever reason think that they should be able to play guitar like a professional after a few months of lessons. That was something that caught me off guard when I started teaching. I started playing very young and have been around musicians all my life, and it being thought to be quick and easy was never a part of the picture for me or any other musician I knew.

Early on in teaching I observed that a lot of people had very little patience for the process. Some would even blame my teaching if they could not play like a pro in a matter of weeks, and then quit. Others would blame themselves for “lack of talent” and quit. In both cases they were suffering from the “Why Me” syndrome, an idea that the challenges they were facing were unique to them, and either insurmountable, or else some else’s fault – such as their teacher. They were completely off base in both cases, because their expectations had no basis in reality. I couldn’t help them because they were evaluating their playing skills according to unrealistic criteria.

Learning guitar is challenging, and it takes time. The loftier the goal, the harder it is, and the longer it takes. That’s the way it is, despite common claims from some web marketers. There are shorter and longer paths, and a great teacher can cut years off the timeline, but it is still going to take substantial time, effort, and commitment. Beginners should be thinking in terms of years rather than weeks. There will be times of mind-numbing repetition accompanied by apparent stagnation, followed by a shift in fluency, or occasionally a major breakthrough when a number of hard-won gains come together at once. That’s normal. You can’t take the struggles personally, as if it is something unique to you. If you do give in to taking it personally, the bad news is that I can’t help you.

The good news is that if you’re willing to discipline yourself toward working your way through an ongoing process, and choose to stay focused on your goals rather than the barriers of the moment, then I can help you a great deal!

Why Not Me? – Despite my never ending studies of books, lesson videos, and previous private lessons with a number of teachers, I am ultimately responsible for my progress and competence as a musician. Some of my sources were fantastic, but I still had to do the work. Some of my sources were not so fantastic, but it was still my responsibility to improve my skills, even if that meant eventually moving on to another resource or teacher.

As do all good music teachers, I teach music principles and not just song transcriptions. I can’t show students every note to play for the rest of their lives. I teach them how to develop finger control and how to figure music out for themselves. I provide a number of resources outside of my private lessons, such as articles like this one, backing tracks, and a private bulletin board with additional third-party articles covering everything from theory to playing tips to gear. I provide group classes to allow my clients an opportunity for applying what they learn in private lessons to making real music in real time.

What I observe is that very few actually take full advantage of these things. Some do the minimum they can to fulfill the practice schedule I provide (or even less). Some do a little more than that. A few go after every learning outlet I point them to, and it is evident in the results. Those who utilize all the tools I provide, plus doing their own research and study in addition to my lessons, which I fully encourage, those are the students who achieve the fastest and most significant results.

I’m willing to help clients who fit any of the above descriptions, because people have jobs, school, and family obligations competing with their time for music. I well understand all that because I share in the same struggles. If you are truly doing all you can do, then that’s all you can do and I do not intend to beat you over the head about it. If that’s you then I encourage you to stick with it and be patient.

I know that many students of music, not only mine but in general, could do more and they simply choose not to. Some former students have blamed their frustration with slow progress or stagnation on me or my lessons. Sometimes they have let me know this in one way or another, either through direct challenges to my lesson materials or methods, or else in more subtle ways. I do what I can to steer them out of this kind of self-defeating thinking, but I can’t force anyone to learn guitar. I am responsible for providing an effective course of instruction, encouragement, and accountability, but I cannot be responsible for results. Responsibility for results lies with the student.

I can’t help those who blame others or circumstances for their results rather than buckling down and doing the work. Whether you take lessons with me or attend Berklee for eight years, your progress and competence as a musician is ultimately up to you. If you allow yourself to side-step that responsibility, I can’t help you.

If you will commit to learning guitar up front and then persevere through the process, following the instructions and taking every avenue and opportunity presented to you toward improvement, and taking full responsibility for your results, then I can help you a great deal!

It’s My Hands! – No it isn’t, unless you have health problems that constrain them. Your hands are incredibly capable, stunningly engineered grappling machines. Beyond your instinctive programming for certain basic movements, your fingers do exactly what you tell them to do. Technique then is the result of a process of training your mind. You may object that you know what you are trying to do but you can’t get your hands to do it. I assure you that though it may feel that way, it is not the case. When you play guitar your hands are doing exactly what the messages from your brain are telling them to do. They are not capable of doing anything else. If your messages are flawed your results will be flawed. You have to repair and refine the messages, and the way you do it is through programming correct messages into your brain’s muscle memory. This means repetition of the right movements. In contrast to a computer, programming the brain takes a lot of repetitions. A lot.

However, it also means this: the subtleties of good technique are in timing and dynamics. This comes more from general musical sensibilities rather than muscle memory. Musical sensibility is a product of a well-developed ear for pitch and time combined with an overall sensitivity to flows of tension and release. Musical fluency comes from knowing what will sound good before involving your fingers. This comes from studying the music that others have made, and from experience with applying a high level of sustained mental focus to practice and playing situations. That’s why it is important to analyze great music rather than just practicing rhythm and phrasing. Physical control is essential, but the target is what you have programmed into your musical sensibilities from analyzing the masters. If you have no clear target then you will not shoot straight. So you must understand that the battleground for progress as a musician is in your mind, not your hands! If you are committed to thinking your musical limitations are in your fingers, I’m sorry to say I can’t help you.

If you will embrace music as a whole body-mind phenomenon rather than just finger gymnastics, then I can help you a great deal!

It’s My Genes! – I started my musical journey playing bluegrass rhythm guitar with a family ensemble. I enjoyed bluegrass music and still do, but the first time I heard Eddie Van Halen’s monster guitar solo ‘Eruption’, I was bound for new pastures. I also quickly realized I had no idea how to extract any sounds like that from the guitar. At the time there was no Internet, so I didn’t have convenient access to virtually unlimited resources to explain how he was doing this stuff. I didn’t even know what “tapping” was. I quickly concluded that he was some kind of musical freak show and that his sort of playing was not accessible to me.

How I wish I would have had someone to explain things to me then! First of all it would have been helpful to know that Eddie Van Halen came from a family of musicians where he was vigorously encouraged, and even compelled against his will, to learn music from an early age. He was forced into piano lessons very young, then experimented with drums a bit before picking up guitar. It would also have been helpful to me to know that his signature tapping technique was stolen. Yes. Stolen! Like all guitarists, he did not just make up a new style of guitar playing that no one had ever heard of. He picked up the tapping technique from observing many guitarists who went before him, then developed it and put his own twist on it. It would also have been helpful to me to know that he developed his chops in a small-scale cover band before anybody knew he was a big deal, and also that he learned much from transcribing Eric Clapton songs by ear. The fact that he could do that in his teens had a lot to do with the early piano and drum experience.

If I had known all that then I would have also known that it had little to do with “natural talent”, but rather had a lot to do with POW – “plain ol’ work”. Then I would not have been inclined to give up so readily when I ran into difficulties learning my favorite songs, letting myself off the hook with the excuse, “I just don’t have that level of talent”. If I had just known that Eddie Van Halen also had to work at it for a long time, just that one little bit of information would have totally changed my approach to learning guitar and I would have become a much better musician much earlier in life.

Do you think that musical skill is reserved for the gifted few? If you do, and if I can’t talk you off of that motivation-killer, then you will not persist through the challenging times when your hands and memory seem to be defying your best efforts, and so, as much as I want to … I can’t help you.

If you will accept the fact that music skills are the result of persistent effort, and you will commit up front to doing the work until you get the results you seek, then I can help you a great deal!

Show me the Magic! – I see a lot of Internet advertising for guitar training featuring the appeal to the quick fix. There are two basic types: (1) “Click for the secret of instant guitar Ninja!”, and (2) “Play great guitar with just a few notes!” The first type is snake oil rubbish. The second type is technically true. There is a catch. You can indeed mine a lot of good phrases out of just a handful of notes, and will do well to learn how, especially for hobbyists with limited time for scale practice. If you do not also command finesse in pick attack, dynamics, bending, vibrato, tone, and rhythmic sensibility then the few-note phrases will sound like a hack slaughtering half of a scale.

The reason people publish these kinds of advertisements is because they work. It is standard marketing practice because it is more effective than laying out the cold facts about work and perseverance, hooking the attention of well-intended but uninformed, frustrated guitarists. Nor do I wish to come across as trashing all Internet marketers. Sometimes a perfectly legitimate service provider will utilize these kind of marketing gimmicks, not intending to defraud but rather hoping to grab the attention with the neon light of the quick fix offer. Then they divert toward a more substantial product. Between the snake oil and the legitimate providers forced to compete with snake oil for attention, I have prospects coming to me with expectations, sown by these prolific ads, that I will show them the “tricks” for rapid fluency.

I meet with all prospective clients for an initial consultation. One thing I am looking to communicate is that I do not deal in the music marketing crack cocaine of the quick fix offer. If they do decide to enroll they know that they are in for a long term process. I continue in the lessons to reinforce the idea that learning music is a long term endeavor. Despite all this pointed effort to clearly set myself apart from snake oil vendors, I still occasionally run up against the call for the quick fix even among my enrolled clients.

A passionate teacher with an organized program of effective learning materials and methods, combined with routine adherence to an effective practice schedule, is the shortest path to musical fluency. There is no magic. There are no tricks. There is no one isolated piece of knowledge or technique insight that is going to suddenly make a radical change to one’s musical ability. It is a process of cultivating mastery of bits and pieces over time. I don’t want clients who are looking for snake oil. It is not because I am mean, it is just that I already know it is going to be a bad experience for both of us. I can’t help those who are looking for magic.

If you’re willing to discipline yourself to working through a proven process which will deliver real results much faster than going it on your own, then I can help you a great deal!

My Way or the Highway! – Having been around the music scene for many years now, I have observed much in terms of how human relations affects the process of learning and performing music. I have seen guitar players play way too loud, way too long, or just plain badly because they have not done their homework. I have seen drummers play so loud that it caused literal pain in other band members. I have seen bass players go off on a disruptive, meandering excursion into jazz fusion when all that was called for was a simple walking pentatonic. I have seen people who thought they were above rehearsal. I’ve seen folks rationalize mediocrity by citing the legitimate dangers of “perfectionism”, but by which they actually meant “me having to do anything that resembles work”. I have seen people who would make a commitment to be somewhere at a certain time, having no intention of fulfilling that commitment, and didn’t care about the impact this had on other band members. I have seen bands revel in silly pride over playing way too loud for the venue. I have seen sound techs who would not trouble themselves to really learn sound management, and so make an otherwise solid band sound like hacks due to a poor mix.

I have seen music teachers who had no real interest in teaching, nor interest in their clients beyond a check, nor anything close to an organized teaching system. I have seen music students who were chronically inattentive, and some who felt no obligation to treat their teacher as a person rather than just an information source. I have seen some who were combative about tuition, and some who didn’t have enough class to notify that they were going to miss a lesson. (As a matter of policy I do not allow these things to go unchecked in my school. If they persist then I decline further lessons.)

All of these troublesome things are symptoms of one underlying problem that is often the root of social tension: failure to practice respect for others.

It is important to recognize that both music training and performing are team endeavors. If you are playing with a band then the team is everyone in the band plus the management. You may not have thought about the team as it applies to other common aspects of musical endeavors. If you are playing with a band in a commercial music venue then the team is not just your band but also the sound tech and staff of the venue. If you are playing solo acoustic/vocal in a coffee shop then the team is you and the coffee shop’s staff. If you are working with a teacher then the team is you and the teacher, or the group and the teacher if you are learning in a group setting. As with all successful team endeavors it requires that everyone submit to a bit of restraint for the team’s success. This is called a win-win deal. It is very important to your success with and enjoyment of music that you strive to cultivate win-win deals with others who are likewise inclined.

There is a simple rule of thumb that will help anyone to cultivate win-win deals: don’t be a jerk, and don’t stick yourself in the mud trying to coax a win-win deal from a jerk.

Here are some of the ways I avoid being a jerk and instead demonstrate respect for my prospects:

I don’t try to entice folks into my programs when I know they want to play in styles that I am not fluent in, and interested in sufficiently, to stay passionate about their ongoing training. I do not proffer marketing claims that I cannot back up with substance, nor otherwise mislead as to what folks can expect from me. I do not allow clients to enroll in my programs without making an effort to communicate to them clearly up front what they are getting into in terms of the commitment required, and how long it will take to reach their goals.

Here are some of the ways I avoid being a jerk and instead demonstrate respect for my clients:

I do not wing it. I utilize an organized course based on personal experience, music teacher training, and countless hours of ongoing study as to what is relevant and effective. I set meaningful goals for the students and carefully track progress. I don’t waste time with gimmicks, filler, or otherwise try to drag the training out needlessly toward retaining revenue for which I am not providing real value. I do not stick clients into a creepy closet with me where they can barely move, nor drag little kids off to a concealed room where their parents can’t see what is going on. I don’t show up to lessons looking like a “rocker” stereotype who just crawled out of the dumpster behind the studio after a week of binge drinking. I avoid phone interaction as much as possible during lessons, and on the rare occasions when it is unavoidable I make it very brief. I don’t take up instruction time indulging my own playing beyond what is necessary for illustration purposes. I don’t allow clients to steer the lessons in directions that I know lead to a dead end, but rather try to balance their immediate interests with my larger view of what they need to reach their goals. I continually research and accordingly update my materials and methods, never letting up on improving my effectiveness.

I could continue, but for brevity’s sake I will stop there and hope I have illustrated that I take my obligations to my customers seriously. I want to enjoy the lessons and I need to make a living, but I put my clients’ results and enjoyment equal to my own interests. I also insist on respect from my clients in return, not only for fairness’ sake but because students get better results from a teacher they respect.

What does all this have to do with the practical realities of making music? It has everything to do with it. If you want to do something with music besides practice in your bedroom all the time then it is good policy to treat others with respect, and accept nothing less in return. If you are working with a teacher or plan to work with a teacher, consider first that the teacher demonstrates respect for clients in ways such as I have mentioned above. Demonstrating respect for your teacher will go a long way in your getting the best effort from your teacher, and consequently the best results for yourself.

I think it was Zig Ziglar who said, “Your attitude, not your aptitude, will determine your altitude!” I’ve seen it often, and I’ve heard it from other teachers and coaches. In most cases a student with average or even below average talent, working with an average teacher, but with a good overall attitude, will in the long run surpass a more inherently capable student who is working with an outstanding teacher, but harboring some variation of self-defeating attitude. Can I help you? Maybe … depends on your attitude. Attitude is the foundation of success, and it is a choice.

In part two of this series next month we will take a closer look at how attitude affects the more technical aspects of developing musical skills.

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