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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 |
March
9, 2003 Volume 111
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Perfect Intention
In my last newsletter, I spoke about the necessity of recording
yourself if you want to be all that you can be as a musician. It
was all true enough, but there is more to the story. I feel I should
give you a bit more guidance in going about meeting the demands
of doing this, and they are considerable.
I have always seen the process of playing, whether alone, performing,
or recording, as the great goal, the great teacher, and the great
crucible. It is in actual playing that we enter the "holy of
holies", just as for the music listener, it is in listening
that they have the transcendent experience that it seems only music
gives.
But players are even more special than listeners. To actually be
the source of the music, to actually be responsible for calling
it forth and giving it birth, is a most delicious experience. I
am not sure of all the reasons, but I am sure that not only do I
feel that way, but many millions of people do (not that I have heard
from all of them, but I do get stories from enough representatives
of the playing population to know that great numbers of people are
intensely drawn to being the instrument that plays the instrument).
To play music gives you an opportunity listeners don't have. We
have the opportunity to become the music in a way listeners cannot.
By virtue of the relationship to music that we have chosen, pursued,
and earned, we have access to a dimension of involvement simply
not available unless one were actually willing the music into existence,
and giving it physical manifestation with their physical selves.
Of course, we also get to give the music a vital part of our own
selfhood, the stamp of our own individual personality (at least,
if the involvement is intense enough, and is what it should be).
The only thing I can compare it to is the difference between being
the mother of a child, and someone who just knows that child, and
perhaps, enjoys that child. There is simply a feeling that the mother
can have (and hopefully, does), that anyone else cannot. When the
music is the product or your own thought, and your own emotion,
and comes out of your own body, that is when we unify the two opposite
aspects of our personhood: the animal and the angel, the physical
self and the spiritual self which is its source.
When we play, we are birthing every note. Like having a child, or
raising a child, it requires great energy, and is a great responsibility.
We can do it well, or we can be irresponsible. We can be there,
or not be there, we can have great desire and will for each note
to exist and be there, or we can be thinking of something else when
we play. We can be greatly involved with the sound and the satisfaction
of our desire for the sound, or we can be somewhere else, thinking
of something else, or feeling something else.
There is a great confrontation that takes place when we play. That
confrontation is intensified when we record ourselves, and intensified
even further when we perform. It is a humbling confrontation between
us and our real selves, between who we think we are, and who we
really are. It is also a potentially instructive and illuminating
confrontation between what we think we are doing, and what we are
really doing, and between what we think we want, and what we really
want.
I read a number of comments in the forum recently, related to achieving
the proper relationship to the act of playing, and the proper relationship
to the whole idea of playing the guitar as well. These are matters
of fundamental importance, and I am glad our community has people
who recognize that importance.
One person writes,
"Being simply "aware" of the present
moment while doing anything sounds simple, but is not. While playing
the guitar, I am now aware of my mind rushing into at least 10 million
(when I last counted) directions - I am thinking about the song,
whether I am playing it right or not, feelings of dejection and
frustration because what I am playing is not what the song sounds
like on the CD or in my memory, fantasies of playing the solo at
twice the speed just to hear my friends say, "woah, that was
some solo" etc etc etc. And don't laugh -I will also admit
to mulling over some work-related issues and thinking about dinner
while practicing.
No wonder I am unable to pay attention to the details."
Ah yes, the confrontation with our real selves! What is this person
really doing? Well, we can see they are not playing! And what does
this person really want? Not the notes, that is clear. This person
wants validation, adulation, and someone to do the housework!
Now, don't think I am putting this person down, I am just telling
it like it is. They are merely confronting what most of us will confront,
especially if we are rather new to it all. I myself have battled all
that, and far more. I am as neurotic as anyone else. Probably, the
tendency will always be there, to weakly fall prey to the vagaries
and vanities of the self, the "ego", instead of serving
the great God Of Music, who is depending on us to bring into being
that true and great voice that speaks to all mankind.
The secret of transcending this inherent and incorrigible tendency
of the mind is not to somehow defeat it. It is to not do battle in
the first place. And the only way we will reach the place where these
things do not arise, and no battle is required, is when we become
incredibly sensitive to what is really going on; sensitive to what
music really is, the Divine Doorway. We players are the ones who open
that door, so everyone can enter. You either recognize and accept
that responsibility, you either recognize the reasons for doing so,
and the joy of doing so, or you don't.
When we know this, when we really know it, we will act like we know
it. And that means we will be capable of the great sacrifice when
practicing and playing, the sacrifice of our "self-concerns".
We will know that the magic does not happen unless we release those
concerns, and we release them by merely placing our attention where
it should be: on the music and the making of the music.
I will tell you this: when you hear the music that makes YOU feel
that magic, it is not being played by someone who is "somewhere
else", or who is doing "something else". It is being
played by someone who is investing every particle of themselves into
every note, the totality of their physical, mental, and emotional
selves.
This is Perfect Intention. It is an exalted state that every player
should seek, even from the beginning. The more you give yourself to
it, the more it reveals itself to you. You will know it when you find
it, and you will know it when you don't. Carlos Santana has said "it
is never good unless it makes me cry". That is one example of
someone recognizing when it happens, and when it doesn't.
We must confront our mediocre selves, not to condemn ourselves or
make ourselves feel bad, rather, to get to know ourselves, and accept
ourselves, and become more than we are. We must embrace our mediocre
(undeveloped) self, put our arm around it like a wise and good older
brother or sister, or perhaps mother or father, and simply educate
and enlighten. We must understand that these indulgences of the mind
and ego are in reality preventing us from having a much higher joy
than receiving approval from other people, or being able to say "gee,
I'm a great guitar player". Big deal, that and twenty cents will
get you nothing!
The mind has correctly been likened to a team of powerful but wild
horses. The mind has great energy, and it is the nature of mind to
expend that energy in an uncontrolled manner. The power of the mind
must be controlled and focused, there must be a master holding the
reins and giving the horses direction. That master is called the Will.
The Will is another word for Intention. The Will is "what we
desire to come into being,and have committed ourselves to". It
is the force of that desire that gives us the power to bring our will and our desire into being. When we play with Perfect Intention, we pour
all of ourselves into every note, we don't invest any part of ourselves
somewhere else, or in something else.
When our involvement reaches this white hot level of intensity, we
will be in our state of Perfect Intention. Every note is touched with
love, which is the desire to "be with". We should never
settle for anything less. If a part of ourselves is not there, we
must find out where it is, and put it in the service of the music.
"We", meaning our attention, is always somewhere. Not being
with the music is a decision we make, on some level of ourselves.
We are just not aware of that level. We must become aware of that
"level of volition" within ourselves where that decision
is being made, and make a different decision.
I don't think there has ever been a more perfect example of Perfect
Intention than Beethoven, that most supreme of supreme artists. As
far as music was concerned, Beethoven lived constantly in a state
of perfect intention. Beethoven would go so deeply through the Divine
Doorway that there was not a trace of any part of him that was
not given to the music. Of course, what he found on the other side,
and brought back, has been considered by so many people to be the
greatest and most profound music ever written (okay, I'm one of those
people!). Those people who were lucky enough to hear Beethoven improvise never forgot the experience. When an idea possessed him he lost
all awareness of anything or anyone outside himself, as he gave himself
in total surrender to the music.
Beethoven was a teacher too, teaching piano. I always found it interesting
and instructive that when teaching, he never got upset at random mistakes
a student might make, if they were due to technical problems or lack
of development. However, if they were due to not paying attention,
well, that was another matter! When he saw that the students mind
was wandering, he could become violent! Now, why do you think that
is? It is for the same reason the Christian would get upset at irreverence
toward Christ, or the Muslim to Allah or Muhammad, the Jew to Moses
or the Torah (you get the point).
Beethoven, more than anyone else, knew the power and beauty of music,
because if totally possessed him. And so, he had the highest reverence
for it. He was sickened by the insanity of the world, and felt privileged
to have access to a higher reality. He accepted his responsibility
to bring others to that reality, and so looked for and demanded the
proper attitude of respect from others that would lead them to receive
what he had received. Probably, he felt this was the greatest thing
he could teach.
Everyone has a native capacity for focusing the mind, which is
how we describe the process of taking control of the reins of the
horses, thereby becoming able to use the power of the mind. Everyone
can become stronger in their power to focus. The best way to become
stronger is to understand why you must do so. There is no growth
without this ability, especially growth as a guitarist.
After understanding the importance of focus, and seeking after Perfect
Intention, we must understand what to look for, what to focus on.
We have discussed what NOT to focus on, the self and its concerns.
I have described much of what TO focus on in my essay on "Memorizing" (available in the Newsletter Archives).
There are 3 areas of concern when we practice, 3 areas of awareness
we must cultivate: the sound of the music itself, the physical feeling
of the creation of each note, and the mental conception of each
note composing the music. When we play, all of this is tied together
by the intensity of our desire for the music itself, for each note.
Pepe Romero, that supreme master of our instrument, has given one
of the best descriptions of the state of Perfect Intention for the
guitarist. He describes the inner experience we should be having
when we practice as a "triangle". Of the two bottom points
of the triangle are the separate awareness of each side of the body,
each hand/arm, left and right, before its creation of the note.
The top of the triangle is the "desire for the note" that
acts as an igniting spark, giving life and direction to the body
as it proceeds to create the note, and fulfill the desire for the
note.
Pepe tells us: "Divide your energy equally between the three
points exclusively, not allowing any other thought to enter your
mind. Then, the desire for the sound will serve as electricity to
illuminate the center of the triangle, which will become a perfect
circumference from where the materialized sound appears." This
is Perfect Intention in the act of practicing. If that is what we
are doing, there really isn't anything left over to be meditating
on "gee, how do I look" or "I wonder what they think
of me?"
I recommend using the conception of Pepe's triangle in your practice,
especially at the bottom of your practice, your most intense no
tempo practice. As you play every note, from the beginning of its
conception in the mind, to the emotional desire to hear the note,
to the hearing of it in the inner ear, to the thinking of the note
itself, its name (and for readers, its look on the page of music),
to conscious knowledge of each finger to be used, to the awareness
of the body as it commences to create the note, to the hearing of
the actual note played, that is the intensity of the Perfect Intention
of a master musician.
I find in playing (as opposed to practicing), it is most useful
to me to keep my attention on two things simultaneously, my breath,
and my desire for the notes. While playing, I am "aerating
and intending", breathing and inwardly desiring and conceiving
the music (which is a mental AND emotional action). As soon as we
leave the state of Perfect Intention we will notice that our breath
has become disturbed or constricted, and we have begun to lose our
mental/emotional connection to the music. We have stopped wanting
it, and so it has stopped appearing. Bodily tensions will follow.
When playing, Pepe counsels us to "withdraw your consciousness
from your body and place it in the crown of your head, view your
hands as though they were those of another player; allow your tactual
memory to guide your fingers with confidence over the fretboard
and strings and balance the sound that comes out of the guitar with
that which you hear in your head."
It should also be understood that there is a level of Perfect Intention
where the music is "heard in silence", and "intended
in silence". It is like speaking. When we speak, we do not
necessarily know the words we will utter beforehand, but if we are
strongly enough focused on the essence of the meaning we wish to
convey, the words appear magically by themselves. If we are perfectly
focused, the perfect words appear. We can conceive and intend the
music in this silent manner as well. The meaning behind all sound
proceeds, ultimately and essentially, from silence, just as the
meaning behind the words exists in silence first.
One additional thought of great value to keep in mind when playing
comes from Celedonio Romero, Pepe's father and lifelong teacher.
He believed that every note we play travels and vibrates through
the universe eternally. Now, THAT ought to make us a little bit
careful about what we do when we touch a guitar!
Now, how do you compare to this incredibly high standard. Probably,
like me, when I first had these insights presented to me, you are
saying "what are you, out of your mind! First of all, I don't
think it is possible to focus so intensely on all of that (at least
for me), and second, who says you really have to do that to play
well. I mean, is everybody doing that?"
Yes, to whatever degree, some more and some less, but anyone who
is any good is doing this, in the way appropriate for them and the
style they play. Pepe is a classical player, and classical guitar
is the least forgiving, and probably most demanding style. Improvising
musicians know that to play with Perfect Intention certainly involves
hearing the music first, that is why all the greats sing what they
play (classical players do this too, except not when they perform,
unless you are Glenn Gould, who can always be heard pleasantly humming
along with the Bach fugue he is playing!). The classical player
makes sure he or she can sing all the parts being played, this means
the music has been properly internalized (bass lines usually receive
less Intention than melodies). Singing the music while playing unifies
the mind, emotions, and body in Perfect Intention.
Music is conceived with the mind and the emotions, and is delivered
to the body through and with the breath. The music should be breathed
in before being given birth, and singing makes sure this happens.
In the state of Perfect Intention, we are certainly in our Alone
Place, but that doesn't mean we can't let others in if we choose,
as we do when we perform for others. It is just like Frank Sinatra
used to say "this is my world, your just livin' in it".
We can let others in, and of course should, but as creators of the
music, from our point of view, they are guests in our world. We
are making the show happen, and we make it the way we want it. It
is our dream, and we should be free to dream our own, beautiful
dream, not a neurotic nightmare!
Yes, it is the nature of music to want to be shared. It is like
humor. What is the first thing you do when you hear a great joke?
You want to tell it to somebody of course. There is an energy inherent
in the joke, and it wants to be circulated and communicated. To
do so intensifies the energy. It is the nature of the thing (humor)
itself, and why the thing is a part of the human creation and experience.
Music is like that, we just need to get out of the way sometimes!
Perfect Intention requires Perfect Attention. Attention is Presence.
Paradoxically, when our Attention is perfect, "we" disappear.
This state of total absorption in which the "self" is
lost, has been known to all great musicians from Beethoven to Bird.
Perhaps Li Po, the great Chinese poet, described it best, when he
said:
I gaze at the mountain
Until only the mountain remains
Let us play with Perfect Intention, listening to the music, until
only the music remains.
"Shut Up And Play Yer' Guitar!"
Forum Controversy
Well, I guess sooner or later it had to happen. We have acquired
a reputation for a very high level of discourse on our forum, and
deservedly so. There is a lot of support, and intellectual discussion
going on all the time on all aspects of playing guitar, getting
better, and becoming excellent.
Perhaps it was just a matter of time before the universal principle
that says "anything taken to its extreme turns into its opposite"
would take effect. We have had a thread that became longer than
any other thread (89 posts, so far!), and over 700 views, on the
subject of how fast someone happens to be playing in an mp3 clip.
An exhaustive analysis of the clip began, and people began to take
sides, with different reasons for doing so. It was somewhat interesting
to me in the beginning, but I started to get a little bored with
it (maybe I wouldn't have if it had been something with classical
technique).
Anyway, as in real life, the coverage of the news became the news
itself. People began to not respond to the topic, but rather, responded
to how each other was responding to the topic. Things became quite
heated, people got emotional, and someone else posted a thread about
how stupid this thread was. Various people began bemoaning the fact
that the GuitarPrinciples forum was descending to the level of back-biting
petty mediocrity that many other guitar forums enjoy.
All in all, a wonderful time was had by all!
"To everything there is a season" we are told. There is
a time to be serious and noble, and it is important to once in awhile
pay the devil his due, and just become a little stupid and nasty.
In any case, the situation served to bring out of everyone what
is really inside them all the time anyway, for good or bad, so it
is all just a learning experience. (You will see in the essay below,
I refer to this part of people as "the underself, a concept
everyone would do well to learn).
Ultimately, I agree with a comment Ney made. Two notes of a good
melody are worth more than 8 billion notes played in a nano-second. A thread like this makes you hunger for a little
piece of some juicy music, so you can remember why you got that guitar in the first place.
Teaching Guitar- Getting Paid
As we go along happily hearing from so many teachers using The
Principles, and also from many people just beginning to teach guitar,
inspired by the superior results guaranteed by using The Principles
as the basis of their teaching, we must also face a few less than
happy issues (but none the less interesting opportunities for personal
growth). It seems that many people are finding themselves dealing
with issues after beginning to teach professionally that have nothing
to do with guitar; but everything to do with business, and that
means having to do with people, and our "people skills".
The practical problems that immediately begin to surface as soon
as one begins to form and live with that unique relationship called
"teacher/student" must be dealt with skillfully and correctly,
because if they are not, they will bring agony into your life as
a teacher (perhaps ending your budding teaching career), and ineffectiveness
and dis-satisfaction into the life of the student.
First of all, I would hope that anyone seriously interested in gaining
insight into this whole subject has studied carefully my essay "The
Basics Of Business". I wrote that laborious tome because
I had to set out the foundational understandings that I believe
are necessary to have in order to see deeply into the real dynamics
that are at play in the power exchange we call "business".
The foundational understandings are the following:
1) all relationships (including teacher/student) are based on need
fulfillment, successful relationships are those that successfully
satisfy needs.
2) people present "wrong needs" or "right needs"
depending on their level of inner development, which means the degree
to which their "self" has expanded to include "other
selves"
3) If teacher and/or student are presenting "wrong" needs,
you may still have a relationship, but it will be a dysfunctional
relationship. This means it won't fulfill its true purpose. This
means, if taken far enough, the student won't learn guitar, and
the teacher will have trouble making a living.
4) as a teacher, your greatest need should be to create excellent
guitarists (you have other needs, including the need to make a living).
5) A students greatest need, in relation to taking lessons, should
be to become a good or excellent guitarist. The student should,
because of this, be dedicated to eliminating any obstacles to achieving
this, and to engaging in any activities necessary to achieving this
ability.
Anyone teaching guitar must understand that their skills on the
guitar, or in teaching music, have nothing to do with the skills
required to handle the business end of things. You may be a virtuoso
player, yet find yourself deficient in knowing how to deal with
the multitude of inter-personal problems and challenges that arise
when you find yourself in a position of trust with an absolute stranger.
As I have explained in "The Basics Of Business", "trust"
means "to share power". As soon as you enter into commitments
with someone, you are sharing your power. You are giving that person
the ability to create changes in your life. If I schedule you for
lessons, and you don't show up, if you don't pay me on time, then
you are seriously affecting my life! Anyone who begins to deal with
the public at large will quickly see that they are now exposed to
a level of human nature that is unfamiliar, and often quite unsavory.
First of all, we must understand that we are dealing with two areas
of human functioning that bring out the absolute worst in people
when they become areas that are shared in trust with others: money,
and personal responsibility. This is another way of saying that
it brings out the parts of people that are always there, but are
usually able to be kept hidden until certain circumstances bring
them out. I call this part of people "the underself".
Everybody has one. Most people have never consciously met their
own underself, however, it is the part of you that is really running
your show. Some people have a malignant underself. They are busy
creating agony and unhappiness for themselves in their own inner
world. If they come into your world, you will be exposed to this
malignant underself, and at risk because of it.
You will meet many types of people playing many types of games.
You will find yourself with lots of (what we used to call) "head
trips". I will sometimes meet someone, and know immediately
that they will soon try to pull something on me, they will in some
way try to assert themselves, engage me in some sort of battle,
and attempt to "win". That is the game they are playing.
It may occur over money, it may occur over practical matters of
showing up on time, following directions, etc. They do it elsewhere,
maybe everywhere, because of the details of their personal psychology,
and I happen to be in proximity to them. When you are attempting
to build a teaching practice, and taking all comers, you will meet
a certain number of these type of people, and you better know how
to protect yourself, or you will find yourself with a growing number
of people who have "screwed" you in some way; left owing
you money, wasted your time by canceling or not practicing, etc..
Anyone who has run a business knows what I am talking about.
As a teacher, at some point, you will meet the type of person who
needs to invalidate you. They are in a search for their own power,
and unable to access it, and so they try to survive by taking the
power of others away from them. It is a little game they play. They
will contest your authority as a teacher, although it may be done
in a very subtle way. You may just find yourself becoming annoyed
with them, and not be able to put your finger on it. It will be
their underself pinching your underself. You will find all sorts
of annoying little conflicts arising from the seemingly most innocuous
situations as you go about teaching them; subtle gestures, body
language, tone of voice, various ways in which the underself communicates
and makes its presence known. Situations that should and do go smoothly
with other people, will become a problem with this one.
Very often, you will simply meet people who are essentially immature,
who have not developed a level of responsibility that enables them
to handle the needs of others with the proper respect. You will
find yourself at their mercy, as they cancel another lesson, show
up late, don't practice, etc., etc. You will find yourself afraid
to confront these things, afraid to set limits, afraid to stand
up for yourself. And if you don't learn to do this, you will suffer
(and probably whine!)
I recommend you learn how to deal with it. I recommend you "come
into your power' as a teacher, person, and businessperson. You will
feel better, and the student will be given the structure necessary
to make it possible for real learning and growth to take place.
I remember once teaching a spoiled little rich kid. One time, he
threw the check for the lessons on the floor, wanting me to pick
it up. I don't think I actually drew blood, but he never came through
my door again. I remember once teaching a kid who provoked a reaction
in me of such intense dislike, I was stunned. I simply could not
figure out why I couldn't stand this kid, and dreaded every time
he came for a lesson. I spoke to his mother about it, and found
I couldn't stand her either! Whatever games they were playing with
me were very subtle ( I was rather young at the time, I think I
could get a clear fix on it now). Anyway, I was trying to figure
out if it was me or them. The student happened to mention that he
had taken lessons with one of my old teachers, a very fine person
of unquestioned rationality and integrity, so I thought I would
call him. I said "John, I have so and so for a student now,
and I am finding myself hating him and his mother, and having anxiety
attacks when they come for lessons. Is it me? What was your experience?"
John said "Jamie, it's you!" Then he laughed, and told
me "Jamie, that kid and his mother are two of the sickest people
I have ever met, and I had nothing but problems and constant battles
with them".
I tell you this because, even though this is an extreme example,
you need to know they are out there, and you may come into contact
with such people, or milder versions.
So, the bottom line is that you must have various structures, various
policies, based on fundamental principles, that allow the process
of doing business as a guitar teacher to proceed in a healthy fashion.
I have exhaustively set these principles out in "The Basics Of
Business", so I don't want to repeat them here. Instead, I will
delineate some of the policies that should exist between teacher and
student, and which are based on the aforesaid principles.
The word "policy" means to "police", which means
"to control". The first question to be asked and answered
is "do I need, as a guitar teacher, to have certain policies,
and to communicate them to the student from the outset". There
are two answers: Yes, and Definitely!
My insight into human nature took a significant leap when I began
teaching for a living at the age of 17. As time went by, I found myself
with a full load of students at the local music store ( a common situation
for guitar teachers) and by then I had formed my first principle of
business success: people will treat you any way you allow them to
treat you. As I studied the interactions of various teachers and students
in the store, and studied my own, I saw this proven over and over.
And I began to get a strong liking for being treated a certain way.
Of equal importance, I saw that just as the teachers were subject
to shoddy treatment by students, students were (most often) subject
to equally shoddy treatment by teachers.
The degree to which you decide to control the teacher/student relationship
will depend on a number of factors. The first will be your own self-esteem.
If you as a person have low self-esteem (which we can only know by
actually examining our lives, feelings and interactions, not by consulting
the comfortable image of ourselves we may have grown used to), you
will expect little, and you will get little. Such a teacher will also
expect little from their own teaching ability, they will have a "fine
if you learn to play, and fine if you don't" attitude toward
students. They will be afraid to set policies because they don't want
to "scare off" any students. Any teacher in it for the long
haul, who wants to build a wonderful, rewarding and effective teaching
practice that will also really provide a living wage, will realize
that the type of student who will be scared off by reasonable policies
designed to look out for the real and legitimate needs of both teacher
and student are exactly the kind of students you WANT to scare off.
They are not serious about learning anyway. Let them go antagonize
some other teacher!
Do not tolerate students who don't practice. Do not tolerate students
who don't follow your directions, or read what you write down for
them to do. By the same token, students should not tolerate teachers
who seem to be "making it up as they go along", giving disconnected
"all over the place" lessons, with no appearance of an overall
plan for the students continuous progress toward stated goals as a
player. Students should feel the teacher has a personal investment,
and takes a personal pleasure in their progress.
In my days of teaching in the local music store, I realized a few
things right away. I saw the other teachers being plagued by last
minute cancellations all the time. I saw the store took no action,
and discouraged any action being taken. I then realized this was because
the store did not care about the teacher making a living, or the student
learning guitar. They simply wanted the traffic into the store. As
long as a student came occasionally, and bought guitars, music, strings,
etc, at the store when they needed these things, the stores needs
were being satisfied.
I also noticed most of the other teachers always taught "on the
fly" ( I remember only one who didn't). Few used methods, few
had any effective methods of their own, many taught with the "so,
what song do you want to (try to) learn this week?" method. I
also noticed these teachers had a high turnover rate. After about
a year, I noticed my teaching practice was of an entirely different
character. I had methods, systems, and was always working on improving
them. I noticed I was keeping students for months, even years. I was
being sought out, and recognized as being a superior teacher. So,
I began to charge accordingly. At that time, lessons were 4 dollars
a half hour, the store got one, I got three. I went to 6 dollars,
then 8, then 10. I told students they had to pay by the month, and
set a policy on cancellations and make-ups. The store owner freaked
out, but let me do what I wanted, because I made his store look good
(I was by this time giving local concerts, and often in the newspaper).
After awhile, it was clear that the store could not throw students
my way. If they wanted me, they sought me out, paid my price, and
accepted my policies. If not, fine, they got one of the other teachers.
And I am not saying the other teachers were a total waste as teachers,
or players. They were what they were. Heck, while I was teaching there,
I even took some rock lessons from the guy that taught with a "song
of the week in tab approach" when I wanted to learn rock guitar.
But I wouldn't have wanted him if I was a new, young, and serious
student.
Everyone who begins to teach guitar will decide what they are going
to have it mean to them. I always found it meant a lot to me, and
I liked it that way. I always got very involved with my students,
became good friends with them and their parents, and used the situation
to learn about people, myself, and also, of course, to continue to
explore music and the guitar for my growth and the students. I recommend
all teachers try to approach things this way. Ultimately, your entire
effectiveness as a teacher will be based upon exactly who you are
as a person. Teaching is a human thing, it is done between humans.
This requires certain qualities, qualities you might not need if you
were growing plants, If you do not have the ability to really enter
into another persons reality, if you have not really entered into
your own, you will have little power to actually touch another person,
have real contact, and make real changes.
The details of your policy with students must be tailored to your
own situation, your own stage of development, what you are comfortable
with at the time, how you want to develop your teaching practice over
time, and how much "discomfort" you are willing to risk
to attain a higher position in your profession. What is important
for every teacher to realize is that the serious students are out
there in abundance. In fact, by your attitude and behavior as a teacher,
you will in large measure determine the degree of seriousness of many
students. I had many students who behaved with great diligence and
responsibility that they didn't necessarily walk in with, but developed
because I demanded it. You as the teacher can create the kind of rewarding
teaching practice you desire if you see the truth of all this.
After you realize the necessity of forming policies, and do so, you
will find that the most important skill you will need to draw upon
in creating a successful teaching and business relationship with your
students is the same skill you must have to be effective as a teacher:
your ability to communicate. All long term problems that arise will
have been given their opportunity to become long term problems because
of your failure to communicate: to say what needs to be said, and
to ensure that it is heard (or to determine that it cannot be heard,
because no on wants to hear). You must have a thought out policy for
yourself as a teacher, you must put it in writing, and you must make
sure the student understands it and accepts it, (and hopefully, respects
it and sees the rightness of it, for the teacher and themselves).
Lastly, understand that all of this is really a wonderful opportunity
for your own growth as a person. As we meet various types of people,
we must understand that in reality, we are meeting and being given
the opportunity to confront various parts of ourselves. When you feel
uncomfortable over some situation, examine yourself. When you are
upset at someone's behavior, examine yourself. Recognize your discomfort,
and your fear, and your reluctance to confront people and to stand
up for yourself. If you have a lack of confidence, or low self-esteem,
wonderful, here is your chance to get to work on it.
When you become upset by how someone is behaving in lessons, or how
they are treating you, ask yourself if you have clearly communicated
your requirements. If you find yourself reluctant to do so, ask yourself
why. If you are afraid of losing the student, then realize that your
discomfort is the price you must pay for not confronting your fear
of not being able to get more and better students. Most of the time,
everything we want is on the other side of fear. Those afraid to make
the journey through fear find that not too much changes in their lives.
The second most important principle of business success is similar
to the first: you get what you settle for. People who end up in superior
positions do so because along the way, they would not, and did not,
settle for anything less. The reasons for settling for less have everything
to do with weakness, fear, and ignorance. The reasons for not settling
for anything less than what is right, and what is excellent, have
everything to do with strength, courage, and wisdom.
We have some fabulous "growth processes" going on here at
GuitarPrinciples right now, as a number of teachers are discussing
these issues, and learning how to handle them at first hand, head
on.
Drew, who recently began private lessons with me, has put a lot of
work into a "Teachers Contract". He is still developing
it, and welcomes anyone's reaction and input. You can check it out
here "Teacher's
Contract".
Donna has been chronicling her work with her 10 year old student Angie
(which has included having to deal with some of the issues raised
here). She is also doing excellent work with her new children's classes,
using a "Children's Principles" book she is developing.
Her reports are here: Donna's
Teaching Work.
The Principles
of Correct Oboe!
It's official! All musicians, even oboe players, should read "The
Principles"!
I was happily amused to come across this article about "The
Principles" in the recommended book section of a web site for
oboe players:
"Amongst the books I have consulted are (in alphabetical
order by author) Jamie Andreas, 'The Principles of Correct Practice
for Guitar', Seven Eyes Publications, 1999. Obviously this book
is written for guitar players, but she has many helpful things to
say about relaxation and about practice techniques and philosophy.
Her ideas include Muscle Memory, Rotating Attention, following,
no tempo and very slow practice, and that 'There are No Mistakes,
only Unwanted Results.' She emphasizes that the only difference between
a struggling player and an expert is that the expert has learned
what to do. Like the writers on Expert
Performance she discounts the importance of 'innate talent',
and though she does not use the term like them she emphasizes the
importance of Directed Practice. Highly Recommended!!"
Principled
Teacher Offers Unique Practice Ideas
I was very happy to hear from one of our Principled Players, Keith
Wells, in Toronto Canada. He is very lucky to have a great teacher
who seems to be the kind of teacher everyone is looking for (Rocco
Baldesarra, who is listed in our Teacher
Network). Keith sent along some interesting practice tips which
Rocco gave him, and were of great benefit. He asked me to pass them
along, believing other players would find them very useful as well.
Hi Jamie,
As stated in previous E-mail I would like your opinion on a technique
given me by my teacher (Rocco Baldesarra) to help correct tension
buildup and finger spread while playing or practicing. I found it
to have a profound effect in helping correct a slow tension build-up,
and thus the gradual spreading of the fingers, particularly the
ring and baby fingers of the right hand. Rocco pointed this out
to me many times and even though I stated to him I was aware of
this when I practiced slowly.
It still persists even when reviewing pieces in Mel Bay Gr. 1 that
I have mastered to perfection. I am near the end of Gr. 2 at this
point. At my last lesson Rocco told me to place a loony (slang term
for metal Canadian dollar) between my middle finger and ring finger
and place the R.hand (fingers forming cup shape) over the strings.
We both played a dozen pieces from the Mel Bay 1. and 2. along with
a variety of scales. I was stunned with the results. My right hand
stayed completely relaxed and my fingers stayed completely true
to form. I don't know why if it was just mind over matter or what?
But it works, for me.
At no time did I feel the need to squeeze the coin with any muscle.
It seemed to act as a magnet drawing the fingers gently together.
Rocco explained that this was to teach the memory muscles of the
fingers R.hand to relax and retain proper form with no tension.
When the coin was removed eventually positive results could be seen.
I might add another little trick he has used with me and especially
his beginner students regarding basic strumming , is the use of
a paper pick(same thickness as a book of matches) cut in shape of
a plastic pick. At my level I find it extremely helpful when learning
the offbeat latin rhythms. It provides very little resistance, allows
one to count and feel the rhythm, and allows the wrist to developed
the flexibility to play these rhythms.
Rocco and I have a fantastic student teacher relationship. Rocco
has expressed to me his admiration of your command of the English
language and your talented ability to communicate through your books
and essay's the no-bull steps to becoming a better if not accomplished
guitar player. Well there it is Jamie. If you think it has any value,
I would hope that it could be shared with any other students that
may be having the same troubles.
Many Thanks again Jamie
Yours Truly
Keith Wells, Toronto, Canada
(Famous Rocco Quote) "Keith this is just a piece of wood with
strings on it, Conquer or be Conquered"
That sounds great Keith. I have not personally used the "coin"
technique, I have always just focused on extreme relaxation in the
right hand, but my attitude is this: if you find something useful,
anything that moves you in the direction of greater skill, pursue
that, analyze what is going on, and why it is working. So, that
is what I suggest for anyone who thinks this technique may help
them.
The paper pick idea, I believe, works because it reduces the amount
of force transmitted back to the hand and arm by the strumming action,
thereby reducing the body's tensing reaction, and allowing more
relaxation to occur. Sounds like a very good technique, especially
for beginners just getting comfortable with strumming. The "locked
up arm syndrome" while strumming can be a major obstacle for
many students.
Thanks very much for that, Keith & Rocco (I am really happy
to hear about such a great teacher, and happy student!).
Practicing Chord Changes
Hi Jamie,
I was practicing stretching into a difficult chord today, and I
found that there are two ways that one can go about it. Do you think
that it is a good idea to "relax your way into the chord"?
What I mean is you start out relaxed, and then slowly stretch the
finger to its note, relaxing any tension that happens as you go?
Or do you think it is a good idea to just stretch into the chord,
and then start relaxing all the muscles? Maybe both of these methods
lead to the same results in the end, but I just want to hear your
opinion.
Thank you,
Mike.
Hi Mike,
The first way is the way to go. Focus on the entire body, most especially
shoulders on down, from the instant you begin to move the fingers
into the chord shape. Stop on the chord, pose, breath, and relax.
Do this at various stages of transitioning into the chord. Then
apply the recommended approach to mastering chord changes taught
in The Path.
Can Anyone Play The Guitar?
Hello Jamie,
I have a couple of questions and would like your view on them.
As like all of your students, I've always had a passion for the
guitar. I can remember when I was in 1st grade (I'm 39 now) drawing
and cutting out a silhouette of a guitar out of the cardboard in
the back of my notebook and going out to the playground and being
a rock star! Anyway...
I have taken some instruction and guitars have come and gone but
the dream of playing is still there. My grandparents raised me and
pounded in my head that "you either have or you don't"
and "I didn't" when it comes to the ability to be a musician.
I remember asking my high school band teacher (which I thought was
a great guitar player) if it was possible for anyone (me) to become
a good player. He assured me that "Yes" it was and it
just depended on how hard you work at it. I still find that hard
to accept. I guess half of my brain tells me that I was born to
play and the other half says who are you kidding? Just watch the
show American Idol. Wow! ....I do know I'm not a singer! Does everybody
possess the ability to be a musician?
Thank you for your time,
Tony
Hi Tony,
Your grandparents were wrong, and your teacher is wrong. Actually,
your teacher is half right, but there is nothing more untrue than
half of the truth!
Your grandparents sound like they just didn't want you to study
guitar, for whatever reason. I guess they figured if God wanted
you to play the guitar, you would have sprouted one out of the side
of your body, and just started wailing! No, we need to be a bit
proactive ourselves in getting what we want.
You know, I hear all the time now, someone telling me how their
parents or whoever took away their dreams, rained on their parade
somehow. Let me take this opportunity to tell everyone who is presently
having someone do this: SAVE YOURSELVES! Stop blaming someone else
for not giving you support or permission to follow your inner voice,
your dreams. If you keep doing this, you will become more and more
miserable as you grow older. Then BAM, someday you will be 40 or
50 saying "gee, if only I................)
Now, the reason your high school teacher was wrong is because you
can work as hard as you want, but if you are working the wrong way,
you will go nowhere. It doesn't matter how fast I drive if I am
on the wrong road! Now, I agree, it is better to keep going, no
matter what, than to give up. There is always the chance you will
come upon the right knowledge, the right teaching, the right road.
Then, you can put the other half of the truth with what your teacher
said, and fulfill the two requirements of success in anything: do
the right thing, and do enough of it.
Especially in the beginning, make sure you put a whole lot more
effort into working the right way, instead of merely working a lot.
When you see someone who can play better than you, or better than
you think you can ever play, it may or may not be true that this
person has worked harder than you. But, it will definitely be true
that they have worked differently than you. You want to find out
what that difference is, whether in method, attitude, or thought
process. Then, get to the "work hard" part.
Dear Jamie,
Just read the letter you had from Bill and as a left handed player(?)
of 25 years I know how he feels. I've always enjoyed playing but
never believed that I could ever attain the ability to play like
my heroes but since I've been reading your newsletters for the last
2 or 3 months I've noticed a significant change in my ability AND
in my belief. I can understand my belief increasing but where has
this extra ability come from, I've only studied some of your articles.
I am currently unemployed but saving for your book "The Principles
of Correct Practice for Guitar" as I believe what I'm searching
for lies within it and I only know this through the feedback of
others within your newsletter. I too have had several teachers throughout
my playing time but I felt either used financially or I was there
for them to show off (which had the effect of making me feel inferior
and ineffective). I look forward to the day I can purchase your
book because I know I need it.
Mike McLeary, England.
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