|
|
The
Principles of Practice
Based on "The Principles of Correct
Practice for Guitar"
by Jamie Andreas
|
| IN
THIS ISSUE |
January
12, 2003 Volume 107
|
NOTE: I apologize for the length of this newsletter, in
which I bring my essay "The Basics Of Business" to a conclusion.
I never know where something will take me when I begin, but I must
follow where it leads until the job is done. It has become a 28
page essay, all of which now resides in the Philosophy section.
It seemed necessary to do at this time. I felt an inner need to
write it, to clarify and communicate these ideas, and, essentially,
to write it for the same reason I write most things: so I can read
it!
So, whether you have decided to put out the time and effort to read
this series or not, and gain the fullest and deepest understanding
of what we are doing here at GuitarPrinciples and why (and a few
other things as well), take comfort, IT'S OVER NOW!
The first 5 parts of "The
Basics Of Business" are now in the Philosophy Section.
Basics of Business: Conclusion
And now I would like to bring all of this far-flung ruminating home
to my business, GuitarPrinciples.
We have established insights into quite a number of things here,
such as the foundation of all successful relationships being the
mutual satisfaction of needs, how that is done through the use of
Power, what Power is, and how it is distributed. We have seen it
is distributed via various modes: war, business, politics, and so
on. We have seen that the exact form these power exchanges take
as relationships unfold is determined by the ability of a person
or a group of persons to expand their concept of self, and so begin
to respond to progressively higher levels of need within themselves,
until their needs merge seamlessly and effortlessly in an inter-dependent
fashion with other persons (and all things). And so, such a person
finds that to serve others is to serve themselves, and to serve
themselves is to serve others.
And, we have seen that when that occurs, there is the possibility
of relationships that have what would best be called a "spiritual
focus", and trust, or the sharing of power, is naturally present
when those in relationship to one another come to know that their
needs are going to be recognized and satisfied. Power exchanges
between those in relationship are then able take the form of value
centered, principled , or "spiritual" business ( the quest
for win-win power exchanges serving mutual right needs), and not
the form of war (the one sided, win-lose quest for domination).
Understanding these things, and how these dynamics interact, it
is possible to understand where I am coming from in my practice
of business, and what I recommend anyone consider for themselves,
especially those people who will be doing business in the future
as teachers of the guitar using my work, in whole or in part.
The first thing I or anyone else has to do is examine themselves,
their motivations and their actions in relation to the business
they do, and ask themselves, "what needs am I serving for myself
and others?" The reason this is necessary is this (one more
principle to consider): it is only possible to serve the same level
of need in others that we are serving in ourselves.
However I am relating to myself, that is how I will relate to you.
If I am serving my lower needs, I will serve your lower needs. If
I am serving my higher needs, I will be able to serve yours, and
find myself motivated to do so.
My greatest need throughout my life has been the pursuit of my own
excellence. It is my greatest need now. The Principles, GuitarPrinciples.com,
and everything that will follow, is simply my process of doing that
and sharing that with you. That fact has a big effect on the nature
of what I do. It means that you, the student, are part of my process,
and that puts a heavy responsibility on you: it means that you must
be, or be willing to become, dedicated to your own excellence as
well. If you aren't, you will be hurting me, not helping me, just
as I would be hurting you if I were dedicated to my mediocrity,
rather than my excellence. It also means that my work, my teaching
methods and style, are often going to put quite a demand on the
student. The Principles, for example, is simply not for those who
cannot summon great attention and intention, great willpower and
mental focus, and of course, great desire.
The power of The Principles and the other teachings here at GuitarPrinciples.com
is a result of many wonderful individuals over the years being willing
to tolerate the often demanding ordeal of taking lessons with me;
people willing to examine one measure of music for an hour, or work
on one song or piece for an entire year if necessary, and doing
whatever must be done to achieve their potential for excellence
in playing that music. There have been many of these wonderful students,
and I could have done nothing without them. I will be eternally
grateful to them, and also spoiled. I expect the same thing in the
future!
Happily, the world seems full of people desperately desiring to
achieve their excellence as guitarists, musicians, and artists,
and so I have the highest hopes and expectations, and so should
anyone planning on teaching the guitar. You should know that there
is an eager and willing population of people willing to go to extraordinary
lengths of commitment to achieve superior results and the excellence
that only emerges from the intense application of Attention and
Intention that we call "correct practice".
My Style Of Teaching, the What and the Why
In my teaching, I am concerned with one thing, and one thing only,
and everything else is judged in light of this one thing; RESULTS.
I do not take the "open hand approach" to teaching, where
the "teacher" holds the knowledge in their outstretched
hand in front of the student, and if the student can somehow figure
out how to "snatch it", they are allowed to do so. If
they can't figure out how to snatch it, well, the teacher goes home
with a clear conscience, knowing they have done their job, they
have offered their knowledge to the student. They have laid it out
there, they have "taught it" regardless of whether it's
been learned!
There is no concern with whether the knowledge was actually transferred
from the open hand to the students mind, and no attempt to verify.
The teachers' real job is to do much more than passively display
the knowledge. It is the teachers' job to do whatever is required
to make the transfer of knowledge possible. In a normal classroom
situation, the teacher is more likely to take for granted that the
student is able to effectively learn, and so may not feel the imperative
to actually teach the student HOW to learn (although that assumption
is often erroneous). When teaching a musical instrument, we can
never make that assumption. It is not just knowledge we are transferring,
it is ability; not just knowing, but doing. The music teacher MUST
teach the student how to learn and how to practice. No one comes to
the guitar knowing how to effectively learn it, and most never figure
it out for themselves. And to make matters even worse, every wrong
move made with the guitar makes it less likely you will ever discover
the right moves.
This is one of the real needs of the student, probably the most
important one. In the process of serving this need, the teacher
must often ask the student for a higher level of concentration and
mental effort than they have ever made before. The student may balk
at this, may be reluctant to summon that effort. This is often the
case. When I am asking a student to put out this kind of effort,
to pull out of themselves a new level of power in the form of concentration
and mental intensity, I am essentially asking the student to "share
their power", their ability to create change, with me. I must
have this from the student, or I will have no power as a teacher,
since the teaching process requires two things: a good teacher,
and a good student.
So, I must get the student on my side, and to do that, I must first
teach the student what every teacher of any subject should strive
to teach the student: why this subject should be learned, in other
words, how this knowledge, and how these procedures, are going to
serve the real needs of the student. I must show the student that
they have no choice, there is only one path to the mastery they
seek. Once this is done, the teacher and student are on the same
side (which is so often not the case), and the power of this alliance
will accomplish great things.
And beyond that, it must be seen that the guitar teachers job is
more than just teaching the student to play the guitar; it is really
the job of teaching the student to properly view and conduct their
entire relationship to playing the guitar, learning the guitar,
and developing as a musician. (In fact, this need is often overlooked,
the average guitar student doesn't have a concept of pursuing development
as a musician as well as a guitarist. This is why I have put together
the Mel Bay Study Group, and in general advocate pursuing a wide
and continuous field of study.) Happily, I find the greatest number of guitar students out there
DO want this comprehensive and intense form of involvement with
music and the guitar, and so trust is established, the right efforts
are made, and things are accomplished. If ever that cannot be done,
if the teacher cannot get the student on their side by convincing
them that their real needs will be served by making the effort required
by correct practice, then the teaching process should not continue.
If the student refuses to even make the attempt to summon a new
level of intensity in their practice, then the teacher should simply
inform the student that it is not possible for real learning to
take place, and so there is no point in continuing to waste time
or money.
Of course, the student will often protest about this, they may be
quite happy with the "progress" they are making; quite
happy with the ten songs they play horribly, and would like to learn
ten more! Who knows, maybe they just love walking down the street
with a guitar, looking and feeling so cool! They don't need to sound
good as long as they look good! Well, there are certainly teachers
who will continue to serve those wrong needs, and in such cases,
I advise these students to go find one! I even tell them there is
one big benefit- those teachers will be much cheaper as well!
The student must present the right needs to the teacher, the need
to be a good or great guitarist, primarily for the sake of the thing
itself (and hopefully secondary "ego" needs kept to a
minimum, but hey, you have to love being the center of attention
to some extent if you are going to be on stage with everyone staring
at you!). The teacher, for their part, must present the right needs
to the student. From the teachers side of things, the needs being
presented by the teacher should be "I need to build guitar
players", not "I need to make a living somehow, and the
playing thing ain't cuttin' it, so here I am supposedly teaching
you". In this case, the wise student will sense this and not
remain with that teacher. If they remain, they will not be serving
their own right needs for growth as a guitarist. If they are the
type of student who is not really committed to their excellence,
and wants to avoid that kind of effort and challenge anyway, then
the wrong needs of the teacher will mesh nicely with the wrong needs
of the student, and they will have a good old time together! Time
will pass, the teacher will get paid, and the obstacles to real
growth will remain in place for the student.
Any business that decides to serve the wrong needs of people, will
always find a very big market. Anyone who wants to sell "get
rich quick with no effort on your part" or, lose weight without
diet and exercise while you sleep", or "use this pick,
buy this book, learn these 10 hot licks and become a rock guitar
god" will always find plenty of people who will sign up. P.T.
Barnum, and every con-man who ever lived knows "there's a sucker
born every minute" (a conservative estimate). I call this "serving
the stupid and lazy market". It always has and always will
be the way to the largest market share.
In spite of this, it is a very reassuring observation on my part
that the population of self avowed potential guitarists out there,
if given half a chance, if given any kind of competent, effective,
and reality based instruction, happily leave the stupid and lazy
market. They are willing to work hard and smart to get what they
want, as long as they know their hard work actually will get them
what they want.
The Problem of Money and Art
There is an attitude, sometimes subtle, sometimes not, concerning
artists doing business. It is the belief that there is something
"unspiritual", or "un-artistic" about an artist
being concerned about money. The student may play a little game
called "if you were really sincere you wouldn't take money
for what you are doing, you would teach all this wonderful stuff
to me for free". If I consider the student irredeemable, incapable
of understanding the idiotic, hypocritical, and inappropriate nature
of their statement, I will send them away at once to learn the ways
of the world. Perhaps they will learn how to become great artists
for free, and not have to sweat blood, life, and money like I did
to become an artist, and then they can go give it away for free
and sleep under a tree at night!
More often, I will set the student straight as to the reality of
our relationship. I will enlighten them as to the right needs that
should be presented and fulfilled on both sides. I will say "from
my point of view, the most important thing about you taking lessons
with me (aside from my need to build guitar players), is that you
pay me, on time and gratefully. If you don't, I will end this relationship.
Perhaps we can be friends, but we cannot be student-teacher in a
business relationship. The fact is, no matter how much of a wonderful
person you are, or I am, and no matter how much I might wish you
the best in your efforts to learn the guitar if you were not here
to pay me to teach you, I would not be taking time away from my
life to be here right now with you".
Then I will tell them: "and from your point of view, the most
important thing about you taking lessons with me should be that
you get what you are paying for, learning to play the guitar. If
that doesn't happen, if you do not learn to play, you ought to fire
me and get somebody else. Perhaps we can still be friends, but the
fact is, no matter how nice a person I am, if I were not here to
teach you to play the guitar, and able to teach you to play the
guitar, you wouldn't be here taking time out of your life and paying
me money!"
Many guitar teachers, especially new ones, are so embarrassed about
the subject of money with their students, as if there was something
to be ashamed of or guilty about. It has been my experience that
when things are realistically understood in the manner described
above, once both parties understand each other, trust each other
based on the knowledge that each others needs are respected and
will be met, it is quite easy to settle down to enjoyable and productive
work, and add all the other "human niceties" that accompany
working relationships. I believe the number of students I have had
over the years whose time with me totaled into 5, 10, or more years,
testifies to the soundness of this approach.
The Problem Of Art and Advertising
There are two possible modes in which one human can relate to another:
free self expression, or "manipulate and control". Most
of us are only familiar with "manipulate and control"
because, for the most part, that is all anyone is ever doing. For
many people, it can truly be said that everything they do, and everything
they say, is done for the purpose of getting something from someone
else, or making them do something they want them to do.
In personal and social relationships, It may take the form of saying
something designed to impress someone, in which case you are trying
to get that persons good opinion of you. It may be a matter of flattering
the boss, as an attempt to manipulate and control their behavior
toward you in the workplace. Of course, between the sexes, "manipulate
and control" is about all you are going to find!
Free self expression is rarely found. Free self expression is the
mode of the lover of truth, because it is simply an allowing of
whatever is, to be. It is also the necessary domain of the artist.
The artist must do what needs to be done only because it needs to
be done, not to achieve any other purpose. The artist must say what
needs to be said, only because it is the truth, and art is the discovery and expression of truth.
The reaction of the world must be allowed to be whatever it will
be, the artist must be unattached to it (this does not mean approval
is not enjoyed, but it is not the motivation behind the creative,
self-expressive act).
There are times when "manipulate and control" is appropriate.
If a student is sitting in front of me, and happens to have the
smallest amount of natural talent for the guitar that I have ever
seen, I probably won't decide to be on "free self-expression"
mode, and share my amazement at how untalented they are. I will
be on manipulate and control. I want to produce an effect here,
one of building confidence and bringing out the best in the student,
so I will ignore all that and magnify every positive aspect (boy,
what big thumbs you have!), and praise every achievement (excellent,
you remembered your notebook, I see good things up ahead!).
Some professions are by nature more sinister. The attempt at manipulate
and control is absolute, and done solely for the benefit of the
controller. The needs of the person being controlled are not considered,
or are considered only as little as it is possible to get away with.
Used car salesman are endeared to everyone's heart for this reason.
We know they want to move those cars off the lot so badly, that
whether it is the right car for us, or whether it will even run
after it is off the lot, is not entering into the equation. It is
only fear of the law that will keep the customers needs even partially
inserted into the equation. Lawyers in the courtroom, pretending
to seek the truth, but in reality seeking the best "truth"
that can be invented to serve the needs of their client, are the
ultimate expression of "manipulate and control"
All advertising is "manipulate and control". It is a communication,
like propaganda, designed to influence your behavior, get you to
do something, namely, buy the product. That in itself is not a bad
thing, of course, it all depends on what the product is! Does it
serve the real and right needs of the object of the advertising,
or only the need of the seller to make money. Very often, it is
the latter, and so, most advertising is regarded with suspicion,
the seller and product is guilty until proven innocent. This suspicion
is arguably well deserved, as most of our experiences as consumers
teach us "let the buyer beware".
In the guitar instructional field, this suspicion is well deserved,
as students fork over the bucks for a plethora of "teaching
materials" that do everything but teach! A personally poignant
example of this occurred shortly after I wrote The Principles. I
met a man who had a PhD in Education, recently retired, and in his
desperate efforts to learn the guitar, had bought every book and
video he could find before discovering The Principles.
He lent me one of the videos, done by a world famous and very excellent
player, who spent the entire video really doing nothing other than
displaying his own amazing playing ability. Although I certainly
enjoyed watching this person play, I had to wonder what any student
could possibly learn from this video, except "this guy is great,
and I'm not". There was obviously no attempt to teach anyone
anything in any systematic or effective way. The company making
the video had obviously said to themselves " I think we can
really make some money if we stick a camera in front of this guy,
have him do whatever he feels like doing, and then stick his face
and famous name on the cover".
After watching the video, this man realized that the only thing
he learned was "boy he's good, and man, I'm not, and probably
never will be". It was funny but sad when he said to me, "they
should call this a "non-instructional video!" He was mad,
and rightly so. It borders on contempt for the customer.
GuitarPrinciples is in the business of building guitar players.
We are also in the business of providing the spiritual and philosophical
foundation by which one can become an artist, if one has the "wings"
to fly in the rarified air of Art, a world beyond this world, and
brought into this world by the artist. This world is open to everyone,
not just those of us who decide to take up permanent residence there.
The artist deals in the communication of truth, and so the artist
must be wedded to truth in every respect. For this reason (and for
my own sanity), I try to arrange my life so that I spend as little
time as possible in "manipulate and control" mode, and
as much as possible in "free self-expression", in all
my relationships, and in all my activities. However, being in business
as I am, I must engage in that all pervasive activity everyone enjoys
so much: I must advertise! I must try to convince you to buy what
I am selling. However, as stated above, advertising has two forms:
either it is for the benefit of the seller AND the buyer, or only
for the benefit of the seller.
Of course, I have often been perceived as being a "hard sell"
with The Principles. That is because selling The Principles is like
selling the cure for the plague to the diseased and dying population!
If I seem a bit adamant and over-zealous about my belief that all
you ailing guitarists need this medicine, it is for a very good
reason: it's the truth! If I did not know this to be the truth,
a truth verified in front of my eyes throughout my life, and testified
to on a daily basis by thousands of guitarists around the world,
I wouldn't act this way.
But, after tapping so many struggling guitarists on the head with
a copy of The Principles, and then saying, "arise, take your
pick, and play!", and standing back and listening to the wondrous
music suddenly pouring forth from their guitar………
Okay, maybe I get a little carried away.
But the truth is, I couldn't sell something I didn't feel this way
about. It is a win-win situation, and it feels good on both ends.
At GuitarPrinciples, we take a daily delight in hearing all the
wonderful stories of people finally being able to learn how to play
and keep getting better. We enjoy our success and having our needs
as a business met by the customer, and we enjoy seeing the customer's
needs served as well. We wouldn't want one without the other.
One of our mottos here is "Feed the world, and the world will
feed you". This is an expression of business done in its highest
form. "Eat the world before the world eats you" is often
the motto of a business, and is really a declaration of war.
Of course, there is a deeper business going on here at GuitarPrinciples
as well. All true artists know that what we call "Art",
and especially music, is an inherently spiritual affair, coming
from and touching us in the deepest dimension of our humanity and
our total being. To develop oneself artistically is to begin to
climb a ladder, to make a mellifluous ascent that never ends, and
in which we discover and become more and more of what we are, day
by day. To make music and to play music oneself is to know a special
kind of ecstasy. Essentially, that is how I have always seen my
work; my work on my own development, and my efforts to help others
in their development. To climb that ladder, to make that ascent,
is the need (the highest need) that I am interested in serving.
Feeding the world and being fed in return, is what GuitarPrinciples
has been doing in its first few years of existence. That is what
we will continue to do. All those who do business with GuitarPrinciples
should know that we are grateful for the trust, the power you share
with us, and we will continue to deserve it. We are clear on two
important things: our right needs, and the right needs of those
we serve. That clarity and commitment will continue to be our guiding
principle.
The first
5 parts of "The Basics Of Business" are now in the
Philosophy Section.
ASK NEY
Guitar Virtuoso Ney Mello Answers Your Questions
How To Practice For The Rock Stage
Hi Ney, how are you?
I will soon be receiving my copy of Guitar Principles (I placed
the order late last night) however I need to have what I feel is
a very important question answered and I think you could help. I
am clearly what you would consider a beginner guitar player, although
I have noodled and noodled around for years with an off again on
again approach to guitar I am very much starting anew.
My question to you is regarding "PRACTICING" and how to
approach it from the beginning.
The principles I imagine will teach me about discipline and form
to build the foundation required to develop short and long term
as a player. And with all the "how to" videos, books and
dvd's out there learning the chops will be only a matter of time
and repetition.
However, I want to play on stage as soon as possible and mainly
focus on blues & rock style ELECTRIC GUITAR!!
How do you suggest that I and others like me practice so we are
just as EFFECTIVE, COMFORTABLE, AND CAPABLE of playing on STAGE
and rockin' hard with our axes slung nice and low, like our heroes
a la: Zakk Wylde, Stevie Ray, Eddie and of course Hendrix.
You cannot begin to understand how important this both physical
and mental block to approaching guitar is for me and I imagine others
as well. If you could please address this question with as much
DETAIL & UNDERSTANDING of not only HOW but WHY this approach
is recommended and the "attitude" behind it I would be
very appreciative, thank you!
Sincerely, TED
P.S. Have a ROCKIN' NEW YEAR!!
Hi Ted,
This question is putting the cart before the horse and I wonder
if you are interested in the guitar and in music or primarily in
being on stage as the center of attention of your adoring legions
of fans. It is like this:
One gets on stage when one has something to offer the audience musically.
If attitude and a desire to be noticed are ALL that is offered there
will be no fans because they want you to move them emotionally.
The artist has to feel very strongly the music he or she is playing
even if he is doing stage moves and gyrating or throwing himself
and his instrument in he crowd (I love to watch it personally) or
setting things on fire and behaving wildly.
To be great on stage you will have to practice as you would play
onstage eventually. That means to practice with your guitar hanging
extremely low and your amp extremely loud. The louder the better.
But DO wear earplugs whenever doing this. You also need to practice
throwing your body around onstage so you don't get disoriented when
doing it for real.
The "attitude" behind it is more of a philosophical stance
that you take according to your beliefs. That means you have to
live the spirit of Rock and let yourself be entirely possessed by
it during the performance. This cannot be really faked because the
audience knows the spirit very well,. They just cant play and be
under pressure on stage.
You can't be politically correct and play rock convincingly so be
prepared to let yourself be emotionally revealed. You also have
to be strong enough to not let others critique your stage moves
and persona too much and clip your wings in the process. You need
to believe that you are right (because you actually are, remember
YOU are the artist and YOU decide what to give the audience. But
you have to give a lot.) and disregard opinions that go against
your natural intuition and feel. Also believe in whatever you choose
to wear on stage. Remember as an example eminem knows who he is
and has a very strong stage persona and conviction in what he does.
So he comes across as genuine and audiences want the real thing
regardless of music style. You cant fool them for too long.
What people call stage presence or charisma is conviction in what
you do and giving yourself entirely to it without censoring yourself
in the process and having fun doing it without being concerned about
the repercussions and fruit (rewards from the audience) of your
actions.
If you can do this you won't be (self conscious) in the way of the
experience and it will flow THROUGH you as the artist. The more
you get out of the way the greater the musical experience and consequent
results.
Stay stoked...
Ney Mello,
Great Lakshmi Productions.
Learn
more about Ney and his music.......
From the Practice Room: Free MP3 Download
"Alman" by Robert Johnson
I have been practicing and playing this fingerstyle piece from the
English Renaissance composer and lutenist (sorry, it's not that
other Robert Johnson!). It is a special favorite of mine, so I thought
I would offer it to you, and maybe it will become a special favorite
of yours! The piece is included in the great collection of repertoire
recommended in the Book
Review section "Guitar
Classics Vol 1" by Jerry Williard.
Someone had written in to tell me how much they enjoyed the lute
pieces on my CD, and wanted to know where to find such pieces. There
are many fine ones in this collection (although not the specific
one they mentioned, # 2).
Enjoy!
Download
"Alman"
Finally, on "The Path", and Moving Full Speed Ahead!
Two Years Of Trying, No "Talent", Just Love Of Music.......
I have written about my student Jim Challenger, who flies in from
Chicago about once a month for a lesson. He is the perfect example
and proof of various assertions I have made about learning the guitar.
Probably, the one assertion Jim is proves most conclusively is what
I said in my essay "Natural
Talent". "Natural talent is simply the tendency to
do things the right way. If you don't have any, don't worry, you
can get it". Meaning, anyone can begin to learn to do things
the right way, no matter what position they are starting from.
Since everyone is starting from their own unique position, missing
this or that piece of the puzzle, the most important thing to have
is a method that uncovers and deals with ALL the pieces of the puzzle,
and helps the student put them together into that beautiful picture
we all want: the ability to GET the ability to play the guitar,
and then continue to get MORE!
"The Principles", and "The Path" are that method.
Let Jim speak for himself in this letter I just received:
Hey Jamie,
I just wanted to get back to you with some more detailed observations
about your new book, Level One: Chords and Rhythms. As you know,
I started guitar lessons 2 years ago at the age of 44 after having
never played an instrument in my life. I floundered around during
the first year with several different teachers where I didn't really
learn anything of lasting value except a cursory ability to read
music. Over the last year, I've taken around ten lessons with you
where we've focused on the development of my left hand and playing
the melodies from Mel Bay's first book while always using The Principles
as our guide to becoming a musician.
You also know that I have the desire, attention, and intention to
learn to be a musician. However, I'd say that one of my biggest
stumbling blocks has been my inability to practice chords and strumming
along to songs because I kept saying that I found this too boring.
You tried several different ways to get me to spend some time in
these areas, but to no avail. So, you finally said that it will
come when it comes.
Well, it came in the form of your new book. I can now admit to the
real reason that I didn't play chords. My previous teachers never
told me that they were hard and that I could not learn a bunch of
new chord changes between our weekly lessons (before moving on to
the next set of chords for the next weekly lesson). They made me
feel inferior and stupid that I didn't "get it." I didn't
really understand rhythms either which they also portrayed as "easy."
I was not born with a sense of rhythm, nor any natural talent for
playing guitar -- just a love of music. However, after reading your
new book and working with it for the past 30 days, I can tell you
that I now know that smooth chord changes and a sense of rhythm
can be developed and that it is hard to do for many people, not
just the "stupid ones." I am finally, after two years
of training to play a guitar, getting better at my first few chords:
G, Em, C, D, (soon) Am. I am also improving at reading and strumming
along to different rhythms, including syncopated rhythms and 16th
notes (which are quite challenging for me). I am having lots of
fun, and your new book has given me a new fervor for learning to
be a musician.
Thank you for always admitting that playing a guitar is hard to
do, but anyone can learn to do it if they have the have desire,
attention, and awareness. I'd also add they need to read and adhere
to your methods that you've detailed in The Principles of Correct
Practice for Guitar and Level One: Chords and Rhythms. I'm waiting
for Level Two: ... so that I'll understand where to go next! I sure
hope that you're working on it!!
Your methods are truly outstanding, and they continue to blow me
away every week, if not every day. Your books and your instructional
style are teaching me how to think about playing the guitar. I had
yet another epiphany when I was practicing my major scales this
morning, and it had to do with muscle memory and playing slow in
order to play fast. As I was practicing my scales, I realized that
the notes that I often miss are when my fingers aren't ready (i.e.
laying in wait above the string) for the note they have to play.
My epiphany came when I realized that as I finish a note and go
to a light finger, I need to immediately start moving that finger
to the next note that it has to play. At first, this was a real
challenge for my fingers, but after just a short amount of practice,
especially no tempo and 4 clicks at 60, I was able to start putting
this idea into my scales! I know that this will help me improve
the speed at which I play these scales in all positions, and I don't
believe I would ever have been able to learn it if the bottom of
my practice wasn't low enough.
I am glad if you can use the words that I wrote, and I hope that
it will help your readers understand the value of your teachings.
You deserve a wider following (are you still thinking about your
own Fur Peace Ranch?). I am so glad to have found a teacher who
really thinks about teaching and what it takes to learn to be a
musician. I know that I mentioned that I was going to write something
that I hoped would help you sell more books, but I hope that you
know that what I said is coming from the bottom of my heart (or
is it my practice?), not just to help you market your abilities.
Peace,
Jim
Thank you Jim, thank you very much. It is my pleasure and my privilege
to help you and others achieve your dreams. Believe, I know how
much it means to see your dreams of being a real musician fulfilled!
Mel Bay Checkpoint 11: Vital Information on "Keys"
I have posted a new checkpoint for our Mel Bay Study Group. We are
up to p.36, which introduces the key of G, our second major key.
There are a number of things I explain to students at this point
concerning this whole subject of "keys" which give a broader
perspective, and so greatly aid in the learning and retention process
as time goes on. It is easy to become overwhelmed with data as we
progress, and we want to optimize our chances for successful learning
by acquiring a framework in which to place new information as it
comes. Even so, constant review and application is mandatory.
If you have already studied this page, go back and review it after
reading this lesson.
Mel Bay Checkpoint 11: Vital Understandings On The Subject of Keys
Book Review: The Power
of Focus
I am always trying to make the point that what you are as a person
will determine what you will be as a guitarist and musician. There
are many skills aside from what we think of as musical talent that
contribute to, and indeed make possible, the eventual emergence
of real musical ability. I have written about these skills in such
essays as "Practice
Organization", "The
Importance of Repertoire", and "Measuring
Your Progress", to name a few.
Recognizing this fact early in life, I have made a habit of reading
a wide variety of what are today known as "self-help"
books. Along the way, I have discovered a number of them that contributed
immeasurably to my success in my efforts to become a good guitarist,
understand my own obstacles, and also to figure out how to make
it through this world without a "real job"! I believe
I have a knack for picking out the good books, the ones where fundamental
truths about the world and the people living in it are communicated
in a powerful way.
One of the most potent books I have come across is called in recent
times is "The Power Of Focus", written by 3 top achievers,
in fact, the 3 guys who created the popular "Chicken Soup For
Absolutely Everything" series of books (none of which I have
read, by the way!). "The Power Of Focus" caught my eye
one day while browsing through the rack in the Business Section
of a local book store, and it is literally jam packed with wisdom
about what it takes to be a great achiever in this world. The book
is structured into 10 Focusing Strategies, each one a powerful primer
on a vital aspect of becoming a powerful person. The best thing
about the book is the author's ability to present the essential
concepts of becoming a "person of power", (one who has
the ability to create change), penetrate to the fundamental principles
of each topic, and then to give the reader specific action steps,
which, if followed, will inevitably begin to steer one into the
direction of what is called "success" (which is nothing
but the ability to choose and achieve meaningful goals).
For instance, the first thing I really caught onto in this book
was this idea, from the 2nd Chapter: discover your most brilliant
natural talents, and spend most of your time doing what you do best.
This idea has very useful to me in building GuitarPrinciples, as
it helps me define what I should be spending my time on, and what
I should be having other people do. It is very easy to get caught
up in wasting time trying to do "everything". One sentence
on p.31 really hit home: "you must spend most of your time
every week doing what you do best, and let others do what they do
best". The authors even use as an example a Rolling Stones
concert, making the point that you don't see Mick Jagger hauling
amps and setting up equipment, the Stones simply focus on what they
do best: singing and playing.
Of course, many other ideas that more directly relate to achieving
mastery in a particular skill are laid out, such as:
-- the importance of habits, and self-examination techniques for
discovering where you are using your time and how that relates to
achieving your goals (which often makes us discover we don't HAVE
any goals),
-- the importance of planning and prioritization, and knowing our
own strengths and weaknesses (are we starters of finishers), and
the wisdom of aligning our strengths with someone whose strength's
compensate for our weaknesses (just ask Geraldine, who loves "bookkeeping"
type stuff, how I feel about sitting down to look at the monthly
sales reports and other fun "numbers" stuff, ugh, where's
my guitar!).
One of the most important concepts for those of us committed to
our excellence is the "and then some" technique. Using
this, we inquire of others or ourselves "no matter how great
I am at this or that (guitar, organization, being a parent, whatever),
where can I improve, what is the weakest part of my otherwise wonderful
self". You see, most people go around trying to look better
than they are, trying to hide their weak parts from themselves and
others. The wise person is always more interested in discovering
their faults than focusing on their virtues, that is where growth
lies. Throughout my life, applying this one concept alone has done
wonders.
I always feel that if I get even one new, and really powerful and
useful insight from a book, it is worth the money many times over,
because I will make that idea pay off for me big time as my life
unfolds. I got that and much more from "The Power Of Focus".
Of course, at this point, I have come into contact with a good number
of these concepts already, but I always say "the truth cannot
be heard or spoken too often", and I love to be reminded of
these fundamental principles of success, as well as hearing them
explained from new angles. Sometimes you get reminded of the right
thing at just the right time, or have something emphasized that
you knew in the back of your mind, maybe!
Every principled player knows that the ability to pay great attention,
or focus, is the foundation of our ability to create growth in our
playing. The biggest problem people have, in guitar or life in general
is this: they don't know how to focus, and they don't know what
to focus on. Just as I have done for guitar players in The Principles,
the authors of "The Power Of Focus" clearly explain the
major obstacles people face that prevent them from achieving, and
what to do about them. You will discover where you are, how you
got where you are, and how to get somewhere else. But, like The
Principles, your life does not change simply because you buy the
book! You must read it, and you must use it, intensely.
I can remember every book that had a major impact in my life, and
I am grateful for every one of them, and that I had the fortune
to find them, and the sense to read them and take seriously what
I read. I think you will feel that way about "The Power Of
Focus", for what it will do for you as a developing guitarist
and musician, and anything else you undertake in life.
ORDER
INFORMATION FOR "THE POWER OF FOCUS"
All
material copyright © 2003 by Jamie Andreas, GuitarPrinciples.com |
