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The
Principles of Practice
Based on "The Principles of Correct
Practice for Guitar"
by Jamie Andreas
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| IN
THIS ISSUE |
November
5, 2000 Volume 18
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Q & A - You Can Have It All!
Hi Jamie.
I did listen to the Dowland Allemande, I think that to practice
a score like that is to try to grow vertically, I imagine that it
is difficult to play cleanly. A question. what do you prefer, to
have a repertoire of 50 scores played 70% of the quality of a John
Williams, or to limit your repertoire to 10 scores with a quality
of 95% of his quality?.
Greetings
Marcelo.
Hi Marcello,
Yes, the Dowland Allemande was challenging in parts and I had to
do some good practice on it. First, let me clarify your question
before I answer it. You are asking me whether I prefer to play a
few things really well, or lots of things not so well. Well, Marcello,
what do you think I am going to say??!!
How about this. Why don't we go for the whole enchilada. How about
I play lots of things really well!!
You see Marcello, I think your question is coming from a certain
way of looking at things that needs some comment. It isn't a matter
of asking yourself whether you should devote your practice time
to learning more things to play, or learning to play better. The
two choices should not be in opposition to one another. It is not
like doing one prevents you from doing the other.
You should be raising the quality of your playing WHILE you are
learning more things to play. Every time I sit down to practice,
my strong intention is to practice and play, right then, better
than I ever have before.
The first step of the Basic Practice Approach (contained in my book)
says "Review and increase your understanding of what you are
about to do, and how you are going to do it." This is extremely
important. It means that we are NEVER on "automatic" when
we sit to practice. It means we are always "reaching out"
to take in our hands ALL that we have done before, and we are going
to USE IT, as a basis for further movement forward.
Practice is a VIGOROUS mental affair, characterized by great awareness.
I must say, I feel like I get better all the time, every day. I
am always seeing new things, and I try to convey to you the process
by which I do that, and the attitudes that propel that process,
so that you can do it to. When THIS is what practicing is for you,
it cannot become a matter of deciding whether to "coast",
and play a lot of things at lower "quality", or to practice
in a way that raises the quality of your playing.
Let me finish by saying that you must keep in mind that I am talking
about Practicing, which means "what we do to improve our playing".
I am not talking about Playing. Our playing, at any given time,
is what it is. Playing is primarily an emotional affair, that takes
place without the mental processes that are a part of Practicing.
We should always spend a good amount of time just "playing",
and not feel like we have to reach some state of "perfection"
before we indulge in playing. We should never condemn ourselves
for what we see can be improved while playing; all of that simply
becomes material to be worked upon the next time we practice. When
we do work on it correctly, our playing shows the improvement.
So our process of growth with the guitar becomes one of constant
Playing, Practicing and Improving, leading to Better Playing.
Comments on "The Path Level One: Chords & Rhythm"
Q: How is the rhythm section (no pun intended) different than
many rhythm section stuff, say, in Fretboard logic?
A: I'm not familiar with the material in Fretboard Logic. I've heard
the name mentioned before, possibly on this forum. The six chapters
in the Rhythm section of "Beginner's Path" breaks down
the elements of rhythm into the atoms, protons, neutrons, electrons,
and quarks Jamie speaks of in another writing. It tackles rhythm
from a completely different angle found in most music publications
(the few I have encountered, but this is also corroborated by other
forum members) and really gives you the whole story about this aspect
of music. "The Path" deals with rhythm in such a way,
it made the light bulb come on for me (as well as many others).
My words simply does not do this publication the justice it deserves.
Read
the entire thread
Teacher Directory
I often get letters from people asking me where they can find a
teacher who is familiar with "The Principles of Correct Practice".
I have started a Teacher Directory to try and answer this need.
We begin with Jeff Findley, who recently contacted me, telling me
he teaches about 50 people a week, and says:
"I've been looking at your site and I just wanted
to compliment you on your insight and presentation. You have a great
way of communicating the concepts we all try so hard to get across
to people. Keep it up!" Jeff Findley Phoenix, AZ
So after getting this letter from Jeff, I figured it was a good time
to start a Directory. I am hoping to add a lot of names as time goes
by. If you are a teacher, and would like to be listed, please visit
and give me your information. Teacher Directory
Someone wrote to me recently, and thought I was a terrible person
for putting up my exchange with the teacher Bill, under my Taking
Lessons section (he is the one that thinks tablature makes people
dumb). This person thinks I show myself to be a shallow, argumentative
person. Well, argumentative, perhaps. But this person misses a point
that many who took a different view have alluded to. There are many
teachers out there who have a "hidden" attitude that they
have something special you don't have. These teachers will be VERY
nice to you, as long as you remember your place. As Bill expressed,
he believes he has the ability to tell how far someone can go in developing
musical ability, and he believes I merely delude people with false
promises.
Needless to say, I can't stand these kind of people, and I never hide
my contempt. So, I am expecting to compile a directory of people who
believe that when they teach someone, they are not reaching down from
on high to pat a cute little guitar playing wannabe on the head, but
rather, are taking a journey with a kindred spirit, who may, in fact,
have talents the teacher does not have, and may, who knows, surpass
the teacher in some or many areas of musicianship.
The Heavy Arm
Jamie, A quick question about the heavy arm...
I understand the concept of floating arm as a sense of hovering
in place so to speak. I don't quite understand your description
of heavy arm; the use of gravity to apply pressure to the string,
or hang as you say in the book. After all, gravity will cause my
arm to drop toward the ground, not toward the fingerboard. So is
this where the feeling of using the finger(s) to "hook"
onto the fingerboard comes in? So gravity doesn't actually help
to apply pressure, in fact it forces me to hook on.
Do I have this right? I'm having trouble visualizing this. Somehow
I feel like a spring loaded arm makes more sense to me. Using the
shoulder as the spring, and pivoting the arm at the shoulder (not
in a perceptible way) to apply pressure on the string against the
fingerboard. I don't know. Just trying to get a mental picture of
the process.
Oh, I do have another question.
Placement of the thumb on the neck...am I right that the thumb should
not be planted, but follow along in preparation to apply opposing
pressure? Oh wow, I'm getting a little too technical aren't I. Just
don't want to screw up from the get-go.
Rob
Hi Rob,
First, there is no such thing as getting too technical. Observation,
thought, analysis, experimentation are what it's all about. People
sometimes get confused by their own thinking, but that is only because
they are not thinking "correctly", but that is a whole
'nother subject!
The best way to think about the Heavy Arm, and the role of the fingers
and hand, is to think of the fingers as "force directors".
They "direct" the weight of the arm to the strings. Yes,
as I do mention in the book, you can't allow the arm weight to pull
the string down toward the floor, (in effect "bending"
the string.) The pressure of the fingers, with the thumb behind
opposing, "pins" the string to the fingerboard and fret.
It is important to understand that the thumb position while playing
constantly changes in response to the position of the fingers. there
is always a "best" place for your thumb in any situation,
and you must find it. It will feel BALANCED in relation to the force
of the fingers. Often, even without actually changing the position
of the thumb, you can improve a passage by experimenting with changing
the direction in which the thumb is applying it's force, sometimes
even a slight change makes a difference.
Finding a Teacher for Improv
Hello Jamie,
I'm interested in learning to improv. and such, I really like The
Dead and Phish, what kind of teacher should I seek out? Jazz, Classical,
etc. and what are some things I should look for and questions I
should ask when in the process of looking for this teacher. Any
advice you have on finding a good teacher would be greatly appreciated. Thanks,
Jason
P.S. I live in Houston, Tx., so if you know anyone down here you
would
recommend, I'll go check them out. Thanks again.
Hi Jason,
Here's the deal. Learning to improvise is the process of getting
the right tools and then learning how to use them.
The teacher's main job is to provide you with the tools, then teach/show
you to use them. You must put in the time (hours of practice over
months/years) to learn to do this. In that sense, it is just like
learning to speak a language.
The tricky part is finding a teacher who can give you the tools
in an orderly manner, and make sure you really grasp them. The tools
are all the scales needed, beginning with pentatonics, the easiest
to learn). Also, an understanding of theory, so the tools make sense
to you.
Look for a jazz or rock teacher, not classical, unless they really
have a background in an improvised style. Interview them, ask them
"how do you go about teaching the necessary scales and theory.
Do I need to learn note reading for your approach." Pester
them to give as much detail as possible. Ask about their other students.
How far have they taken people. Who are their favorite guitarists.
The other necessary thing Jason, with or without a teacher, is learn
as many solos as you can. It's a language, so you have to mimic
other people who speak it as part of your learning process. Scales
are the vocabulary, and theory is the rules of grammar. Good Luck, Jason Jamie
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material copyright © 2003 by Jamie Andreas, GuitarPrinciples.com |
