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Beginner’s Guide to Guitars, Strings, & Picks

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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 more narrow neck to facilitate chords. Folk guitars are louder and have brighter tone than classical guitars. While either of these type of guitars may come equipped with an option for electronic amplification, we still consider them acoustic guitars.

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

Electric Guitars

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

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

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

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

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

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

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

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

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

If you are new to guitar and not sure what kind of guitar to start with, I recommend solid body electric guitars for all students of guitar primarily interested in styles other than classical. Solid body electric guitars have small, flat bodies, thin necks, and pliable strings, which altogether makes them easier to play than other types of guitars. After developing a certain level of technique proficiency you will then have a better experience of playing other types of guitars. Both Fender and Gibson offer entry level, low cost Squier and Epiphone versions of their higher end guitars, for very reasonable prices in the range of $150.

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 trade off is more fret buzz, more difficulty with bending, and more difficulty with sweep picking techniques. The manufacturer specified string height is typically a good balance.

Picks

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

 

Copyright © 2005 Palmetto Music Institute. All Rights Reserved.

Primer on Guitar Effects

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 Chad Crawford, PMI 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? Well, it is something that has somewhat of a subtle meaning that will be hard to understand well until you develop a little skill on the guitar and begin to develop your ear for sound. In the meantime, I will try to explain it this way. Tone refers to 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.

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

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

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

Utilities:

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

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

Tuner – Yet again, this “effect” is really more of a utility. It is an electronic device that provides a tuning reference for you to measure your guitar’s tuning against. It allows for very rapid and accurate tuning.

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

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

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

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

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

 

Copyright © 2005 Palmetto Music Institute. All Rights Reserved.

Secrets of Fast Guitar Playing

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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:

  1. Excellent technique – precise placement of the fingertips, including being able to change smoothly between varying techniques such as scales and vibrato
  2. Timing – sounding out a note or vibrato at the correct time in regards to the underlying rhythm
  3. Two-hand synchronization – precise coordination of the two hands such that the pick stroke coincides exactly in time with the fretting finger
  4. Tricks – legato (hammers/pulls-offs), tremolo picking, tapping
  5. 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:

  1. 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!
  2. Know your rhythms – Practice playing phrases in good time at varying paces: eighths, sixteenths, and triplets.
  3. 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 muscle tension from your playing, and coordinating your hands such that the pick stroke occurs at precisely the same instant as fret finger placement.
  4. 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.
  5. 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.

Common Guitar Progress Traps

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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 – one of my former teachers was fond of quoting 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 to progress.

 

Copyright © 2005 Palmetto Music Institute. All Rights Reserved.

Learning Songs in 5 Steps

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PMI Guitar Instructor Chad Crawford

 

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 I am going to break down the process of learning songs.

First, do not go straight to a free TAB site. Instead, try my 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 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 computer software such as Windows Media Player, Riffstation, or any recording software 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 such as Riffstation 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 moderate speeds, such as Pink Floyd’s Comfortably Numb.

Be tenacious. Happy Transcribing!

 

Copyright © 2005 Palmetto Music Institute. All Rights Reserved.

Guitar in 9 Not-So-Easy Steps

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Chad Crawford, PMI Guitar Instructor

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

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

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

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

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

Here are some keys to effective practice:

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

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

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

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

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

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

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

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

Mastering music is not easy, but it is possible even for the hobbyist with time constraints. Take note of this “secret” of mastery – it is path rather than a destination. Practice wisely and well, be patient, and never give up!

 

Copyright © 2005 Palmetto Music Institute. All Rights Reserved.

 

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

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By 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 I have enumerated in my previous “Top Ten” article that stands out above all others as the number one barrier to progress: not following the instructions.

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

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

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

If you have taken lessons with me for any length of time, you will know that I teach these things routinely, so you may wonder why I am taking up a Newsletter column with this routine lesson fare. There is a reason I am emphasizing these things for you: between knowing good technique and doing good technique, there is a subconscious barrier that we all struggle with: instinct. As your teacher, one of the most significant challenges I face in helping you develop your skills is your own instincts. Your basic instincts tend toward moving the fingers as a unit, favoring the index finger, using much more strength than is necessary, and handling the pick as if it is a plow. Your secondary instinct is to do just the opposite of this. For example, when attempting to play scales for the first time, you will note that your fingers want to stay together and mute the string you are trying to pick, so you will then pull your other fingers way back from the fretboard. Then you have to slam the next finger down like a dive bomber in order to stay in time on the next note. This causes subtle delays that cap your top speed at limits far below your potential.The first step in conquering this barrier is to be aware of these instinctive actions and over-reactions, so that you can be ready to spot them and counter with deliberate focused repetition of a balanced, optimum technique method that cooperates as far as possible with your natural physiology. Then, apply focused attention to repetitions of good technique. Repetition of good technique results in habits, such that good technique becomes increasingly automatic, enabling to you to move between chords and notes accurately with little conscious effort.Here is where the process breaks down: the focused repetition of good technique, and namely, the focus part. Your hands will constantly try to resort back to instinctive positions and motions, even though your conscious mind is well aware of these issues. You must pay close attention to these details of technique when you practice. This can be tedious at times, but the pay off is more than worth the effort!

Copyright © 2005 Palmetto Music Institute. All Rights Reserved.

 

Guitar Mastery: “Automaticness”

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By Chad Crawford, PMI Guitar Instructor

 

Automaticness does not come automatically. Allow me to explain.

Have you ever had the experience of freezing in front of an audience, whether it be one or two friends or an auditorium? Maybe it was a piece that you had practiced diligently for hours and thought you had it sorted out, but when the critical moment came your hands just wouldn’t deliver. If you have been playing guitar for any length of time you have certainly suffered such an embarrassing and frustrating moment. Why does this happen?

Your gut response might be something along the lines of “stage fright”. Is that really the final answer? Let’s consider this scenario … you are thrust on stage in front of ten thousand spectators and asked to simply walk to the other side of the stage. Could you do it? Of course! So what happened to stage fright? Well, if you are not accustomed to withstanding the observation of thousands of people then you may indeed experience a high level of discomfort and even some symptoms of mild illness, such as upset stomach and sweating. However, odds are high that you could get to the other side of the stage without anyone even suspecting that you were the least bit out of sorts.

So you see … when you know how to do a thing so well that you can do it automatically, you will be able to do it well even under duress. Automaticness.

This applies to making music in the same way it applies to walking, and the stages of development are similar. You start by crawling, then by holding onto the couch while you experiment with standing. Next you try a few steps, next thing you know your Mom is yelling at you for running through the house, followed by your Coach yelling at you for not running fast enough or long enough. By that stage the mere act of walking is long since a given.

So how do we develop automaticness in guitar technique? The same way we do with walking. We start with simple chords and pieces of scales and arpeggios and then we progressively work our way up to more complex tasks, with an occasional bloody knee so to speak. For the guitar player this means beginning with simple songs played very slowly and deliberately, and then chords, scales, and arpeggios, all with slow and deliberate repetition of efficient fingerings along with a metronome until they become automatic. That takes more than two weeks or two months. Speed will grow naturally out of good technique perfected at much slower speeds. There is a time and method to develop speed, but it is pointless to do so until achieving a basic level of automaticness in each of these basic skills.

I have observed over and over that when it comes to music many people simply want to go straight to running track without first having held on to the couch to experiment with standing. The results are just as predictable … perpetual bloody knees. I am not able to count the times that I have sighed in amazement as I have asked a student for the hundredth time to SLOW DOWN with a scale exercise and focus on note articulation, only to have them continue hacking away at speeds beyond their capability and thereby ensuring a reduced rate of progress.  If you are one of my students reading this then you are probably thinking I am talking about you. I may be, but not you specifically … I have hardly seen a guitar player that did not go through this stage, including myself.

It is somewhat analogous to the lifeguard who waits until the drowning swimmer has given up before rendering aid, since it is impossible to help while the panicked swimmer is still flailing about. There is not much I can do with a determined scale hacker until he reaches the point of almost giving up. Then comes that magic moment that I wait for with every student … the moment I finally see him focusing on accurate articulation and timing of each note within a scale. This is when I know I have a winner in the making.

So this is the point. If you want to play guitar well, master the basics to the point of automaticness. This is going to involve some focused repetition with a metronome, but it will pay handsome dividends over the long haul when you can change chords in the blink of an eye and rip through scales as easy as breathing. It is worth the short term hassle to gain the long term benefits.

Copyright © 2005 Palmetto Music Institute. All Rights Reserved.

Can I Help You? Depends On …

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By Chad Crawford, PMI Guitar Instructor

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. I can often tell early on, sometimes within a few minutes of talking with a prospective client, and certainly within a few lessons, if they are going to reach a satisfying level of musicianship or not. Of course there is an occasional surprise where someone makes it a lot farther than I initially expected, which is why I never give up on a student who is making effort to improve. Other times I have high expectations which the client does not fulfill. My initial impressions usually turn out correct. It is not because I have psychic powers, but simply because I have observed the same causes and effects so many times that they become predictable.

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 me at all. It is, rather, something that is unfortunately largely 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 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 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 Facebook page with music videos for practicing improvisation along with additional third-party articles covering everything from 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, with opportunity to learn the songs in advance through my private web forum. The forum itself hosts additional learning resources, such as artist highlights with links for getting acquainted with guitar masters (and stealing their licks!).

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 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 people 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 show 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 show 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.

Copyright © 2005 Palmetto Music Institute. All Rights Reserved.

 

Guitar Mastery Tips: The Power of Simplicity

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By Chad Crawford, PMI Guitar Instructor

Learning to play an instrument well is a long term endeavor. There is no short cut to overnight success, but there are longer and shorter paths. For intermediate level guitarists one of the most common areas of weakness is the tendency to want to throw everything, and at super-sonic speeds, at every solo. While there may be some level of personal gratification in noodling around with flying fingers, and this is indeed a useful tool in the process of developing an overall skill set, bear in mind that speed apart from other elements of musical fluency typically does not lead to smooth, flowing phrases but rather sounds like what it really is … scale practice.

When you get to that point in your playing when you have moderate speed but your phrasing feels unsatisfying, that is a good clue that you need to look more closely at the details of your phrasing. There is more to good phrasing than simply placing your finger on a note in a scale and getting it plucked at the right moment. Consider these elements of good phrasing …

1. Appropriate speed – many aspiring guitarists tend to play phrasing at speeds that are beyond their capabilities. Remember, you are going to play what you practice. Sloppy practice = sloppy playing. Sometimes it is needful to focus specifically on speed during practice, and at those times it is useful to attempt speeds beyond your current skills. At all other times, practice within a tempo that allows for accuracy and clarity. Practice slowly and with good note articulation, two-hand coordination, and mental focus. Speed up only as increased mastery permits you to play accurately and intelligently at higher speeds.

2. Note development – when you first learn scales the challenge is just to get through them, playing the right notes in the right order. Once you can do this predictably then the next logical step is to work on increasing your speed. However, this is where things can begin to fall apart. Before moving on to increasing speed, consider examine these elements:

Legato – not to be confused with the term as used in the limited sense of describing the physical technique guitarists use to create a legato feel – hammers and pull-offs. Here we are talking instead about the musical ideal of smooth flow between notes. Be sure to connect each scale note smoothly, holding each note until it is time to pluck the next note, then carefully timing the placement of the fret hand finger with the pick attack on the new note, such that there is no unintended dead time between the notes.

Dynamics – this refers to changes in volume in the most basic sense, but with guitar we alter volume from note to note with changes in the strength of the pick attack, and this in turn makes subtle changes to the overall quality of sound coming from the guitar/amp. Generally, for cleaner tones we need a more aggressive pick attack, and for distortion tones the distortion does a lot of the work so that we do not need to be as aggressive with the pick. Given those generalities, play to the song. We will not need to be as aggressive with Jazz as we would with Rock. Also, create a flow of dynamics within a phrase, such as picking easier at the beginning of the phrase with increasing aggressiveness toward the peak tension just before the resolution. Experiment with dynamics and see for yourself how it assists the sense of tension and release within a phrase.

Duration – when first learning scales practice them with a metronome until it becomes habitual to play in straight time – every note gets the same allotment of time. This habit then spills over into playing, so that your phrases are all rhythmically identical. Make it a point when practicing phrasing to vary the timing within phrases between half, quarter, eighth, sixteenth, and triplet timings, using bends and vibrato to embellish the longer notes.

3. Space – resist the temptation to fill every perception of space with extra notes. There will be points in the song where it makes sense to linger on a resolving note, such as at prominent chord changes. Good phrasing follows the pattern of speaking – a burst of words followed by the emphasis created with space. Then another burst, then another space. Experiment with imagining vocal phrases that would fit well over a track, then try to match the vocal phrase with your guitar. It does not have to be a perfect match. The idea is to develop a capacity to create a flow of vocal-like phrases that match the flow of tension and release in the song you are playing over.

4. Vibrato – holding a note at the end of a phrase will indeed make your phrase sound like it has died unless you apply a robust vibrato. Vibrato is a powerful tool for maximizing the impact of resolving notes at the end of your phrases. Work on developing and refining your vibrato. Then you will enjoy the sound and feel of your resolving notes and this will alleviate the pressure to rush off prematurely to the next phrase.

5. Motive variation – this is a very effective way to cultivate a habit of getting the most musical value from few notes. Select an appropriate resolving note, such as the root note of the key. Then make up a phrase of four or five notes from the appropriate scale revolving around this resolving note. This reference phrase is your motive (theme). Then experiment with variations on note choice, note sequence, timing, and embellishments. These types of experiments will enable you to see the many possibilities for squeezing the most musical value out of few notes, rather than always running in a panic all over the fret board and hoping a good phrase will come out.

Some of the most widely acclaimed guitar solos are also technically simple. Listen to B.B. King, Freddie King, Albert King, and similar Blues masters for abundant examples of phrasing that is technically simple, yet loaded with powerful emotional expression. While developing solo phrasing do not strive for maximum speed at first. Instead, strive for maximum impact of every note. Practice technically simple phrases with good timing relative to the song rhythm, deliberate note development, appropriate planned spaces, and a carefully controlled vibrato. Experiment with motive variation in order to cultivate a habit of achieving maximum impact from few notes. When you can do these things without being distracted by them then you will be ready to move on to more complex and faster phrasings. Until then … keep it simple!

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