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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 |
October
14, 2001 Volume 63
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Why Can't I Get Anywhere With Trying To Learn The Guitar?
A recent letter:
Dear Jamie:
I am 47 years old and about 8 months ago I decided that I wanted
to learn to play the guitar. I am on my fourth teacher now and cannot
play any better now than when I first began playing. I have had
your book for about 4 months, and I have read it twice and, I have
attempted to apply your principles to my practice but I just have
not so far been able to make much forward progress in improvement.
To your knowledge, is there someone who just cannot play the guitar,
have you known or have tried to teach such a person?
I practice on the average faithfully about an hour a day, everyday.
I practice what my teacher has given me for that week in order to
get it right, and then I will work on some piece from a book that
I have bought and I have a lot of books, but so far no ability.
I feel that after 8 months I should be able to play something, I
should not be stumbling around as if my head were in a sack.
Maybe none of this makes any sense to you because you would need
to watch me to draw some conclusions - but if you think I am wasting
my time with the guitar because a light should have come on by now,
I would like to hear that too. I enjoy guitar music and listen to
many CDs that are only guitar music - I really want to play but
I have not been able to get my ability to introduce itself to my
desire.
No need to print this letter on your web site, just a return response
would do just fine.
Thanks Jamie
P.B.
Okay P.B., I hear you talking. And, as you can see, I do want to
print your letter in my newsletter. Your story is one I have heard
probably a thousand times, and I have met people in your condition
consistently throughout my teaching career. I have a number of responses
to letters that say what yours says. First, I get sad. Then, I get
mad. As time goes on, it sticks in my head, obsessing me. Before
I know it, I can't sleep at night (okay, maybe I'm exaggerating
a little!.) Anyway, it gets to the point where I feel I have to
try to do something about it. No one who is making a sincere daily
effort to learn the guitar should be experiencing the lack of results
you are experiencing. It is an absolute shame, plain and simple.
It is also unnecessary, because the fact is, yes, any normally functioning
person CAN learn to play, that's it, period, end of story. There
ARE reasons why people end up in your condition, but they are all
bad reasons.
As I always say, if you are taking lessons, and you are doing what
your teacher tells you, and you are getting nowhere, then it is
your teachers fault. He or she is not pointing out to you what you
are doing wrong in your approach, it's as simple as that. Because
your teacher is not teaching you properly, you are left, essentially,
to try to guide the path of your own development, which you are
not prepared to do. Your teacher, not giving you the real instruction
and hands on guidance you need, is simply supplying information
to you. That is the lowest level of teaching there is. It is also
the easiest, requiring the least amount of effort on the part of
the teacher, which is why it is so prevalent. You might as well
be sitting and reading a pile of guitar books by yourself. If you
were sitting in front of me each week, you would learn, guaranteed.
It's too bad teachers don't get paid according to the real quality
of what they are doing, and the real quantity of the results they
produce. There would be a lot of starving guitar teachers out there!
To put it succinctly, NO, it is not true that the reason you are
stuck is that you have no ability. The purpose of practice is to
DEVELOP ability. The reason you are stuck is because the thing you
don't have is the ABILITY TO PRACTICE so that you CAN develop playing
ability! What you don't have are the STUDY SKILLS necessary to effectively
perform the processes associated with developing new motor skills.
You should not be investigating whether or not you have the ability
to play the guitar. You should be infinitely suspicious of your
ability to practice. If you knew how to practice, you would develop
the ability to play, it's as simple as that.
Unfortunately, you are not infinitely suspicious of your ability
to practice. In fact, I don't think you are even mildly suspicious!
So, I am going to try to put you on "high alert" about
the matter. It SHOULD be your teachers job to instruct you in proper
practice, but as I well know from my experience and the hundreds
of letters I get on the subject, many teachers simply are unable
and uninterested in doing so.
What you, and everyone, needs to understand is this. Playing the
guitar to the level that would begin to give musical satisfaction
is not that big a deal. It is really pretty elementary stuff, developing
the initial flexibility to manipulate the fingers into various shapes
on the fingerboard, and make the movements smoothly to a beat. It
is no big deal at all. I NEVER fail to achieve that with anyone
who I see over a period of time. UNLESS, and this is a big UNLESS,
they don't really do what I tell them to do, IN THE WAY I tell them
to do it. (You, for instance CANNOT be doing the Foundation Exercises
in my book, following my instructions to the letter, and applying
yourself every day. Please let me know if you believe you are).
No, I strongly suspect you are not doing what I tell you to do in
my book. Your words " I have attempted to apply your Principles",
tell me that. As Yoda said in Star Wars, "there is no try,
there is only do". Unfortunately, you think whatever it is
you did do was "trying", well, it may have been "trying"
something, but it wasn't trying to do what I tell you to do in my
book. Now, it is true, (and many people have remarked on this),
my book is very intense, it requires a whole lot from the student,
as does my personal teaching. There are people who read it and kind
of just sit there with their mouths hanging open unable to move,
unable to begin. Knowing how to begin is an essential study skill
in itself. For many people, there is a learning curve that must
take place over time to bring them from where they are, to where
they must be (in terms of focus and study skills) in order to effectively
use my book.
But, don't worry. This also is no big deal. It simply means that
a few things need to be done, including a more accessible approach
for you and others in your situation. Yes, I deal with such people
all the time, and yes, I always teach them to play, because in person,
I can always find that accessible approach AND I can use the energy
needed to break through the persons obstacles of ignorance (lack
of correct knowledge and understanding) and obstacles of unawareness
(inability to muster the proper level of Attention and Intention
needed during practicing).
It's like threading a needle before you use it to sew with. It sometimes
takes exceptionally clear vision and a steady hand to get that thread
through the hole in the needle, especially if it is very small hole.
But, once you do, you are off and running, ready to sew up a storm.
You're needle needs this kind of precision to get that thread through
so you can get started. Once that happens, you'll be on your way
to becoming a tailor!
The first thing I do with people is show them where and how what
they are presently doing is ineffective, or limited. There are some
people who are doing things SO wrong, that they need an EXTREME
amount of direction. If you were to see me teaching someone, you
would see me constantly grabbing their hands, fingers, arms; moving
their legs, jumping up and down, and occasionally screaming. You
would hear me taking things apart for that person, in terms of the
"missing piece of the playing puzzle" that was keeping
them stuck.
Unfortunately for you, no one is grabbing your hands, no one is
jumping up and down and screaming.
The fact is, yes, the only way I can absolutely, guaranteed, fix
up someone in your situation, which I will hereby dub the "Non-Starters",
is to have that personal physical contact. Long distance is another
matter, because I cannot, for instance, point out to you that tensed
up shoulder you are ignoring while you try to control your fingers.
BUT, I am going to try. I am going to put up a series of lessons
for "Non-Starters". I am going to use the materials I
use with young children, and with cases where people just aren't
able to get to "first base" in playing.
This first lesson is like baby food, but don't underestimate it.
It requires only one simple chord, and the ability to strum a steady
beat while tapping the foot and singing. But, there are people trying
to do more complicated things who can't even do this, and we must
discover all the missing pieces, so we must start this way. You
will also find other instructions at the end of the lesson, directing
you to go and study the 4 Lessons on Rhythm I have posted at HotFrets,
in the free area. Everyone, by the way, should study these, as they
clear up a lot of the root mis-conceptions people have concerning
rhythmic concepts.
We need to find what pieces of the playing puzzle are missing in
your case, so, nothing is taken for granted here. This lesson will
serve as a "checking mechanism", to make sure there are
no simple skills whose presence is taken for granted, but which
are, in fact, missing.
Now, let me tell you a few things you are not doing concerning my
book:
1) You are not following a written out practice schedule every day,
which includes all my Foundation Exercises, done exactly as described.
2) You are not setting specific, obtainable and appropriate goals,
week by week, and working to achieve them. Learning is a step by
step process, and must be treated as such , no matter what the subject
being studied.
3) You are not developing and discovering the sensations of the
Light Finger and the Heavy Arm in the context of the Crutch Exercises
in my book.
4) You are not doing proper No Tempo Practice and becoming aware
of the real state of muscular tension you are allowing during practice.
5) You are not following the Basic Practice Approach for these and
other exercises.
Here are a couple of other things I suspect are true also:
1) You have not read all the essays in my Getting Better section,
and taking all the advice to heart, using it to guide your practice
approach.
2) You have not spent time in the Forum on my site, getting to know
the actions and attitudes of excellent practicers like Eric K who
runs the Forum, and the other players who are posting great questions
and insights on a daily basis. Many of these people are facing the
same problems that you face, and you would learn a lot from reading
about how they deal with it. Also, they would be very happy to hold
your hand through as you work to deal with various obstacles to
development.
P.B., and all other NonStarters reading this, make an honest assessment
of your efforts, and see how you can begin to change things for
the better by using all the insights and resources I have provided
here.
NOTE: The lessons referred to here are now known as "The Path
Level One: Chords & Rhythm"
World Famous Violinist Realized He Needed to Practice!
Further making the point that it is knowledge of how to practice
that is important, not talent, here is a little excerpt from the
reports following the recent death of one of the 20th century's
major musical figures, the great violinist Issac Stern. I was very
interested to read about the time in his life when he wasn't sure
that he had what it takes to be a professional musician. Then, he
decided that more PRACTICE would be the answer. Without a doubt,
he knew how to do Correct Practice!
Here is the excerpt:
Stern, who died Saturday at age 81 of complications
from heart surgery, was one of the foremost violinists of the 20th
century.
He was among the most recorded classical musicians in history, making
well over 100 recordings, including some that are considered THE
definitive interpretations.
At 16, Stern attracted his first national attention, performing
the Brahms Violin Concerto with Pierre Monteux conducting the San
Francisco Symphony in a nationally broadcast radio concert.
The following year, he made his New York debut at Town Hall to mixed
reviews. Afterward, Stern recalled in his memoir ``My First 79 Years,''
he rode a bus to nowhere for six hours. ``I had hoped that my Town
Hall debut would be the moment of breakthrough,'' he said. ``Instead,
the New York critics were telling me to go home and practice some
more. ... And, riding that bus, I was asking myself repeatedly:
Should I keep on trying?''
He decided to practice.
Six years later, on Jan. 8, 1943, he made his Carnegie Hall debut
in a recital produced by the impresario Sol Hurok. ``I played almost
defiantly, to demonstrate my skills, to show them all what I was
capable of doing with the fiddle,'' Stern recalled.
The performance attracted the attention of composer-critic Virgil
Thomson, who in the New York Herald Tribune proclaimed him ``one
of the world's master fiddle players.''
And the rest is history. If you are riding a bus to nowhere, asking
yourself "should I keep trying", think about how Issac Stern
answered that question. Then, get off the bus, and get to work!
Should I Be a Psychologist or a Minister?
I am often told by friends, and now by my online friends and students,
that I missed my calling for some other profession. The two most
popular are Psychologist or some type of minister. Here are two
letters, the first from Dick, to whom I gave some advice concerning
his trouble remembering music, and his feelings about playing for
others.
(In reaction to my advice last week about fear of playing for others):
Dear Jamie, First of all many thanks to you for taking the time to answer
this question. I had not expected such a lengthy and detailed response.
I hope that many of your
other "students" will receive value from the time you
took to respond to me.
Now to the response. There is certainly much for me to ponder in
your response, however after careful review, I was compelled to
focus on two things you mentioned that were much like turning on
a light bulb for me. I'll quote the passages; "I will bet that
this fear is actually causing or contributing to your memory lapses."
This was followed later on by passage;
"Most people don't do that. When they have a "fear"
part, they defend that part."
By putting these two passages together, I think I have arrived at
some insight. After much thought, I think you correctly assess that
I am probably mentally causing these memory lapses. Subconsciously
I must be thinking that if occasionally I completely lose the music
in practice sessions, I must not be ready to play for anyone, i.e.
I must need more
practice.
Therefore, I am not forced to play for anyone because I'm obviously
not prepared to perform. In this way, I probably have been defending
the fear of playing in front of people by unwittingly "practicing"
this insecurity into my playing. This is undoubtedly a much more
comfortable position than confronting (oops sorry, ignoring) the
fear.
So here are my resolutions:
1. I will re-read your Getting Better and Stage Fright essays.
2. I will put some practice time into the "mental memory"
process and a little extra time polishing a few pieces.
3. I will also acquire the "The Power of Focus" and read
it cover to cover.
4. I will set a time certain to play in front of a two friends.
The first will probably be my wife, who has a musical gift. Darn
the luck. The other will be some unsuspecting soul.
5. Finally, I'll try to leave my fears behind and evaluate the process
after I have performed.
Among all your other good pieces of advice in your response, I especially
like the analogy of fear acting like a bully. If you ever give up
the guitar, I think you have a calling as a psychologist. Keep up
the good work. Thanks again for your help. If I stumble, I'll be
back for more help.
Sincerely,
Dick Schmidt
Excellent Dick. Thanks for letting me know that my time spent on
your question last week was worthwhile. You have absorbed it wonderfully.
The connection you made about how your "forgetting" may
serve an unconscious purpose by providing an excuse not to play
for others is brilliant conclusion. I'm too busy practicing and
playing to be a headshrinker, so maybe you should be the psychologist!
(In reaction to "The Divine Doorway"):
Jamie,
I just finished reading your weekly letter and was moved by your thoughts
and beliefs. Thank you for your inspiring words.
Mick N
PS: Have you ever considered going in to the ministry?
Thanks Mick. As a musician, I consider I already have a ministry.
Any musician I have ever respected, from Jimi Hendrix to Ludwig Van
Beethoven, has considered their music to be their religion, and they
approach it with that reverence. To Play is To Pray. To play for others,
and to teach people how to play is my ministry.
30 Years of "Clawing" Comes to an End!
Hi Jamie,
I am currently half way through my second reading of The Principles.
Within just a few days of implementing the principles into my practice
I was playing Sor's estudio number 5 in Bmin for my teacher when he
turned to me and remarked that it was the best he had heard me play.
He commented that my playing sounded relaxed and solid.
After clawing at the guitar for more than 30 years, I think I'm finally
getting somewhere. I'm sure I've read the importance of playing without
tension in other books and my teacher has certainly stressed the importance
of this as well, but your book laid it on the line in a very clear,
plain spoken way.
Your "understanding, tools and exercises" method is effective
beyond any other approach I've tried, and, believe me, I've tried
a lot (and spent a lot) over the past 30+ years.
Skip
Finger Dipping Exercises
Dear Jamie,
In the Finger Dipping Exercises from "The Principles", you
emphasize the fact that the index, middle and ring finger, when not
playing, must "remain lightly in touch with the string".
Is that an expedient to force the correct movement and to be abandoned,
by maintaining those fingers near (not in touch with) the strings
during actual play or is it to be meant so as a rule when executing
arpeggios, also for fast ones? I am applying the "basic practice
approach" and starting from the 8th notes it becomes difficult
to keep the index, middle and ring fingers "in touch" with
the strings.
Many thanks in advance for you kind attention.
Francesco S
Hi Francesco, The purpose of the exercise for the arpeggios is to counteract
the tendency toward sympathetic tension in the inactive fingers
arising from the motion of the active ones. Over time, you will
develop the ability to actually keep inactive fingers lightly on
the string if you desire, even while playing fast. However, when
playing, you should not worry about that. When practicing, especially
slow and no tempo, then, insist on light contact, again, frequently
but not necessarily always. The important thing is that you are
ABLE to do it, not that you always DO do it.
As in many of the techniques in my book, the exercise is designed
to lead you toward maximum development of the hand. It is not that
that particular practice technique is THE way and the only way to
actually DO the technique while playing. It is simply that if you
practice those arpeggio exercises with attention to the fingers
as I have described, making them have the control necessary to stay
in light contact with the strings, and you do that consistently,
then, you will notice over time a great increase in speed and control
in your fingers.
This is because keeping the fingers in light contact with the strings
is only possible with a high degree of relaxation present in the
entire arm. If you cannot do it, then, you have too much tension.
The ONLY way to do it, in the beginning, is to go EXTREMELY slowly.
Anyone watching you should be tempted to check your pulse to see
if you are still alive!
I have, for instance, developed the ability to keep a light, totally
relaxed index finger on the 3rd string while doing 16ths with the
middle and ring finger on the 1st & 2nd, up to 160 bpm. This
is from years of practice on the same exercises and principles in
my book. What you think is impossible now will begin to become possible
if you persevere and follow the principles of success: do the right
thing, and do enough of it.
Jamie
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material copyright © 2003 by Jamie Andreas, GuitarPrinciples.com |
