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Post by Infinite Ego on Jul 14, 2012 17:23:25 GMT -5
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Post by chrissh on Jul 14, 2012 19:01:09 GMT -5
Yep, all media is saturated with reconstituted advice clothed as authority. If only critical thinking were core curriculum in all public education ... because there is now soooooo much excellent information shared freely that can easily empower a beginner guitar player, if they only know how to recognize the constructive from the noise.
Some of the grief of beginning could be lessened if people knew about fundamental things like efficient movement, posture, breathing, firm relaxation. Nonlinear thought too, conceptualizing outside. I think you made some lessons that talked about these things. There are shortcuts, so to speak, compared to the reckless and defeating manner some guitar players learn. Some discomfort and challenge are unavoidable and ultimately good, actual pain is always a problem.
I studied lots of this topical stuff for a couple of classes and the '10,000 hour' rule is a bit more complicated than soundbites have picked up on.
BUT the gist that there is no substitute for lots of attentive hands-on experience is most definitely correct.
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Post by dasein on Jul 14, 2012 19:23:54 GMT -5
Like Chris said, there are no shortcuts, but there are definitely long-cuts. If beginners took lessons from a good teacher for only 6 months, it would save them a lot of grief.
IMO, one of the big "secrets" is ear training. It's ignored by most students and a lot of teachers (how many serious ear training threads have you seen on TGP vs. threads on how to play faster?) but it's such a crucial part of becoming a better musician.
As someone who's worked to develop and improve their perfect pitch, I've come to believe that one of the reasons people with perfect pitch are often such good musicians is because they're virtually forced to practice ear training. Every piece of music they hear, every car horn and microwave beep, becomes an ear training exercise.
But plenty of musicians with perfect pitch are not all that great, and plenty of great musicians don't have it at all.
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Post by chrissh on Jul 14, 2012 20:10:38 GMT -5
IMO, one of the big "secrets" is ear training. Great point! Many of us initially approach guitar as something of a folk instrument, and accessibility is one of its powers. That implies many of us have pretty good ears from the start and take it for granted, so developing great hearing can be neglected. |
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Post by jahloon on Jul 15, 2012 9:32:53 GMT -5
I'll agree with that, I was lucky to have a great teacher for one year, really moved me on. After the year with him he said he could not teach me any more skills, it was time for me to teach others - that way I would have to learn more - he was right... Plus I'm thankful the 10,000 hours were logged in the bank a long time ago  |
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Post by davidmgt on Jul 15, 2012 9:54:15 GMT -5
The question is - when will a guitar secrets pill be created? or perhaps a cream or lotion to rub on one's hands and genitals.
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Post by dasein on Jul 15, 2012 11:08:46 GMT -5
The big guitar "secrets" that I can think of... - Train your ears. - Acquire rhythmic fluency... not just the ability to play complicated rhythms, but even just the ability to 'groove' (ie. working on your pocket). Playing drums or some sort of percussion instrument helps with this, and even playing bass helps since (if you play it right) it shifts your focus to being more rhythmic, more in tune with the drums. Fareed Haque talked about his: fareed.com/lessons/a-natural-approach-to-chops-speed-and-virtuosity/- Play with lots of other people, especially people better than you. Play out a lot, get used to playing in front of people and dealing with the inevitable unexpected problems that arise. - Learn music off of recordings instead of from tab whenever possible (goes back to ear training) - Spend a lot of time playing things (scales, arpeggios, melodies, etc) on one string Doesn't even get to things like a mastery of basic materials, technical work, or repertoire. The closest thing to a "secret" might be the one-string playing, but even that takes an enormous amount of work and effort to realize. Really, they're only secrets in the sense that most guitarists ignore them. |
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Post by Infinite Ego on Jul 15, 2012 14:24:25 GMT -5
Groove over speed makes sense to me
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Post by aliensporebomb on Jul 15, 2012 21:49:42 GMT -5
One thing I do off and on is try to play melodies from things I've never tried to play and get them right without referencing a chart, just the guitar and my ears "happy birthday", "the national anthem", the little horn lick at the beginning of horse races, all kinds of stuff. It's part ear training, part technique and part absurdity just to try to recall a melody you've heard and play it.
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Post by Infinite Ego on Jul 15, 2012 21:51:06 GMT -5
^ yeah, I do that too.
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Post by aliensporebomb on Jul 15, 2012 22:42:42 GMT -5
Another good one is if you get the first "part of the melody" I eventually try to do the whole thing. "Oh say can you see, by the dawns early light, etc" after that you just keep going until it's done.
"Take me out to the ballgame, buy me some peanuts and crackerjack, etc".
It's nuts but why not? It's a way of forcing me to use my mind in a way that is part ear training, part mental exercise, part fingers moving in unaccustomed ways.
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mirth
New Member
Posts: 931
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Post by mirth on Jul 16, 2012 9:06:33 GMT -5
I like the idea of groove improving technique, and I totally agree. Playing something clean, and groovey at a slower tempo will always sound faster than stuff that's actually faster, but not in the pocket....oddly enough though I've never felt Fareed grooves all that well, or sits in the pocket, kind of floats, but maybe I haven't heard enough?
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mirth
New Member
Posts: 931
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Post by mirth on Jul 16, 2012 9:10:01 GMT -5
Also, in terms of "secrets" and kind of goes with the melody thing above...is I think probably the most important thing with playing an instrument is actually playing the instrument, and not having the instrument play you.
What I mean is, actually playing what you want, hearing where it should go, etc...as opposed to following your fingers, or the restrictions of your instrument. As a musician, you should be able to go to any instrument and play the same thing, regardless of the instrument's natural inclinations. Or as Chris Crocco said to me, "when you want to play an A, play an A". That's what it all boils down to, you know.
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Post by Infinite Ego on Jul 16, 2012 9:17:56 GMT -5
makes sense. I used to make students listen to Benson because he illustrates the connection between thought and expression with the voice and guitar as the medium for expression rather than the end itself. Think it, speak it, play it, play it well.
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Post by brucestevens on Jul 16, 2012 13:04:07 GMT -5
One for me that is beyond simple is to listen to other instruments besides guitar. At one time I spent quite a bit of time learning "Now's the Time" by Charlie Parker and have been living with "Lonely Woman" for a while now. Puts your fingers in interesting places.
Bruce
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