Monthly Archives: October 2016

Tips for Guitar Practice And Become A Better Guitarist Fast

Believe that you can’t achieve your guitar playing goals due to a lack of available practice time or limited knowledge for how to move your playing forward? I’ve got some good news for you. You can very quickly achieve your guitar playing goals – you just need to understand exactly how to make your practice time extremely effective.

After helping thousands of guitar students over the years get results in their playing, I found that guitarists often use their practice time very ineffectively. By wasting so much practice time, you drastically prolong the time it takes to reach your musical goals. Once you are able to get results from every single second of guitar practice, your progress will skyrocket.

Here are the four guitar practicing habits you need to correct in order to make faster progress:

1. Practicing Some Items Too Much And Others Too Little

This mistake is commonly made because of the following:

1. Improperly managed Guitar Practicing Time. A lot of guitar players figure that all they must do is practice everything for an equal amount of time. This is incorrect. Truth is: not all musical skills need to be practiced with the same frequency as others. Some musical skills (such as writing songs) should be worked on less often, but in more time per practice session. On the other hand, technical guitar licks may require a higher frequency of practice with moderate time used each session. When you randomly divide up the time spent on each task into equal segments in your schedule, you end up scheduling a lot more time than what is needed for some items and not enough for others. As a result, you make extremely slow progress in all areas.

2. Instant Gratification Practice. it’s common for guitar players to waste tons of time practicing things they are already highly proficient in. As a result, they never actually advance in the areas they are weak in, bringing their overall guitar playing down as a whole.

How you divide up your guitar practice time also depends on some other variables. These include: how much time you have to practice, how good you are at each item, your personal guitar playing goals, and how certain items are best practiced and mastered. When any of this is altered, you need to change your practicing routine. If you don’t, you’ll end up with unbalanced skills and ineffective practice.

2. Working On Elements Of Guitar Playing In The Incorrect Order

The particular order of items you practice is instrumental for how much/little improvement each practice session offers you. This applies on both a small level and a zoomed-out, macro level. Macro level meaning: the various types of musical skills (such guitar playing technique, theory, ear training, etc.). The smaller level means the specific exercises within each area. To make your practice more effective, you need to identify the best order for both the types of musical skills and the specific exercises within each category.

3. You Don’t Warm Up Effectively

Everyone understands the importance of warming up before practicing. However, very few people truly do this and far less do this properly. A lot of guitarists believe that “warming up” means literally warming up their fingers by running through a special set of movements or chromatic exercises. This actually wastes your time, and here’s why:

1. You spend too much of your practice time practicing things that have NOTHING to do with the materials you wanted to practice that day.

2. Even worse, you’re often disconnected from these exercises mentally because you see them as “just warm-up”. As a result, you mentally prepare yourself to do the same as you practice the items you really want to improve. Your brain is just as important as you fingers while practicing guitar.

Stop wasting countless amounts of time trying to find good warm-up exercises. The exercises that are best used to warm up with are the ones you intend to practice – only played at a slower tempo. Also, your brain should be warming up as well as your fingers. Stay focused and pay close attention while warming up in order to prepare yourself for your practice session.

4. Practicing At Speeds That Your Brain Can’t Handle

“Practicing guitar” is much more than simply “repeating the same movements over and over again”. You need to focus both your mind and your ears on particular elements of your guitar playing and refine them. For instance, rather than randomly playing a scale pattern over and over, you can observe your picking hand to ensure that you aren’t using excessive motion. You could also practice while making sure that the notes do not ring together as you transfer from one string to the next.

Your brain analyzes every note you play and has to make specific adjustments to move your hands where they need to go. If you frequently practice faster than your mind can “analyze”, you are merely reinforcing whatever habits (whether good ones or bad ones) you already have.

Now that you have a better understanding of the main reasons why so many guitar players fail to get great results from their practicing sessions, find out exactly what you should do to make your guitar practice more effective.

The Beethoven’s Classical Music Analysis

If contrast were his intent, then Beethoven is at his most successful-the three movements of the “Moonlight” sonata could hardly differ more. But while they hold little in common character-wise, they maintain a poetic coherence though the drama their contrast creates. A dialogue emerges between them that examines something deeper than just the forms of a sonata or the tonal varieties of C# minor. What is expressed evokes the sense of something human, a sense of suffering, or toil, perhaps, against some nebulous darkness.

The slow first movement establishes this intense feeling of pathos. The grim persistence of the bass, three notes repeated again and again, gives an impression of emptiness and of stasis. It seems inescapable, heavy, almost mournful. It weighs down, and in its constancy it calls attention to the silence in the melody. Arising from it though, a single, tentative voice asserts its presence, as if asking a question-the silence that follows though only reinforces the sense of emptiness. The voice seems to speak of loneliness and confinement, of bleakness and sorrow, but at times a soft, hopeful glimmer surfaces, as if longing for something more, or better, or different. As the movement closes, however, that hope seems to surrender, overwhelmed and replaced with a sense of finality.

The second movement, by contrast, is far more contented. It feels more open and free, almost flighty, and possesses a kind of sing-song quality. Also, unlike the first, the second movement retains a sense of mobility-with something that could be described as an ambling gait-and seems to have a clear idea of purpose or direction (though not necessarily a destination). Yet next to the first movement, its levity seems somehow false or out of place. A clear response to the confusion of the second phrase, the theme from the first phrase re-turns in the third, back on the tonic, determined and unrelenting. Yet now it manages to climb even higher than in the first phrase, as if through familiarity, the motion has become less difficult. Twice it reaches an invisible ceiling and resets, but on its third ascent, it fails to reach its peak-instead of the expected “plunks” the melody falters, tumbling unexpectedly downward, by skip and step, back to where it began its climb. This acts as a kind of set back-perhaps a loss of confidence or onset of doubt or weakness after seven failed attempts to break through some invisible barrier.

Queen Board Game Could Inspire Other Bands For Create A Similar Products

The most famous board game in the world has been in the news recently, though for two completely different reasons. The first occasion regarded the announcement that the company had decided to change some of the game pieces.

In the new edition the set will be sold without the boot, wheelbarrow, and thimble, three of the traditional game pieces. In their place will be a penguin, a rubber ducky, and a Tyrannosaurus Rex.

A few days later, the game made news in the music world. The band who once was deemed as more popular than The Beatles, Queen, has created a similar board game base on their career.

The design traces the different stages of Queen’s history, starting from their formation in the late sixties through the death of front man Freddie Mercury in 1996. The game pieces also reflect the band’s career, starting with a hammer that represents the single “Hammer To Fall” from the album called The Works. Other pieces include Brian May’s unique guitar, the robot from the cover of the News of the World album, a vacuum cleaner that recalls the classic video for “I Want To Break Free” and a bicycle that signifies the smash hit “Bicycle Race” from the Jazz album.

Following the lead set by the group that gave us “Bohemian Rhapsody” along with numerous enduring hits, other bands might decide to create a similar board game reflecting their careers. These items would very likely become prized possessions for millions of nostalgic fans.

Pete Townshend and Roger Daltrey, the surviving members of The Who, could oversee a board game based on their history. The squares could include a “Detour” to mark the original name of the group, as well as take participants through highlights such as the rock opera Tommy, the epic Quadrophenia, the classic Who’s Next album, and finally their induction into the Rock Hall of Fame.

Like the Queen set, the Who game might have pieces associated with their notable hits. A squeeze box could represent that Top Ten single from Who By Numbers, and a miniature bus might replicate their sixties anthem “Magic Bus.” Other pieces ought to include a pinball machine for “Pinball Wizard” from Tommy, a “Bell Boy” for the fan favorite from Quadrophenia, and a spider for bassist John Entwistle’s song about the arachnid named Boris.

Most bands with a storied history as long as that of the Who could create a game similar to the one Queen will make available in May. It would not only be an interesting project, but very likely lead to a revived appreciation for their music.

Finding Your Own Voice As A Musician

It can be argued that the most frustrating experience that an up and coming musician can have is being able to define their signature sound/voice. After all, you are just one piece, a cog, in the machine that is the world of music through the ages. No matter how much knowledge you acquire or how much time to invest in fine-tuning your craft, you sometimes you feel as though it’s all for nothing at all. A parallel, in terms of artistic frustration, would be that of writer’s block.

If there is one thing a musician must do in their journey to find his/her voice is that they need to separate the idea of stardom from doing it for the love of music. Musicians are always striving to achieve some level of success while being artistic, and this is dicey territory. One might say that being artistic and expressing one’s self through their music is ‘enough’, but that doesn’t pay the bills. Even if a musician is able to readily share their art with the world, they find that the reception of said art isn’t what they thought it might be. Validation as a musician can be all-encompassing. Just look at the various guitar-based video games that use crowd noise (positive and negative) to push the working musician to new levels of stardom. You need to understand the road to the top is a tough one.

Technology is all around us, and with that technology comes the inherent need to invest our time & energy into the techno-wizardry that promises to make you stand out from the crowd. There was a time when the technology available to musicians was the introduction of electricity to musical instruments, and these advances led to some of the most celebrated music of all time. Think further into the realm of classical music and opera. Nothing but the pure expression of sound coupled with masterfully composed works were needed. Sure, creativity & ingenuity are also important ways to gain inspiration, but it may be time to take a lesson from this simplicity with your own music at times.

Finally, one thing a musician can do to find his/her voice is to stop listening to everything for a bit here and there. This is hard to do as musicians use their ear as their most vital tools when expanding their sonic appreciation. This habit, however, can have consequences because musicians get into their own heads. They begin to doubt their own abilities, and worst yet, they begin to compare their abilities to others & wonder why they aren’t as good. At times of great artistic frustration, you need to depend on yourself the most, and being mired in self-doubt will do you no good.

Remember that finding your voice as a musician is, at its most elemental, finding a way to express who you are as a person. Drown out the noise, and trust in yourself.