GuitarPrinciples Newsletter 5-4-08

I often wonder if users of The Principles understand the meaning of the quote that opens the 4th chapter, the one dealing with the left hand. It is by one of the people on my "top ten" list of personal favorites from among the great souls of history. I am speaking of Lao Tzu (604 b.c.), credited as the "founder of Taoism".

Of course, anyone familiar with the wise and mystical old hermit knows that founding anything was the last thing on Lao Tzu's mind! He was quite occupied living entirely in the present, and in fact was forced to write the famous "Tao Te Ching" or "The Way of Life" while he was busy trying to run away from everyone else and live in the mountains! (The keeper of the city gate, knowing the great wisdom the sage possessed, would not let him pass unless he wrote down the essence of his knowledge and realization).

When one reads the "Tao Te Ching", one realizes that it could be called "The Principles of Correct Existence". It is full of Principles that will enlighten anyone's viewpoint on anything, if applied to this business of Life. The 4th chapter of my book opens with Lao Tzu's quote "the use of clay in molding a pitcher comes from the hollow of its absence. Doors, windows in a house are used for their emptiness. Thus we are helped by what is not, to use what is".

In his enigmatic way, Lao Tzu is elaborating on a fundamental Principle of Taoism, as well as other great systems of thought, the concept of the dualistic nature of manifest existence. Briefly stated, this concept teaches that all things are composed of two elements that appear as opposites, but actually, taken together, form one thing. Further, the existence of one actually depends on the existence of the other. It is not possible to understand anything, unless we consider the dualistic nature of whatever we are trying to understand. Much of the trouble in the world can be traced to an ignorant over-adherence to one of the poles of a pair of polar opposites.

We could apply this to anything in life, good and evil, rich and poor, male and female, inhale and exhale: all of them opposites, but each an integral part of a larger entity or process. The enlightened mind knows that to eliminate one would eliminate the other. It is not possible to truly understand anything in this world until you see the unity that underlies the apparent duality of its manifestation.

Being guitar players, let's see what this means for us. More specifically, what it means to the functioning of the left hand.

On & Off

Our fingers do two things when we play; they go on, and they come off. Unfortunately, most players, and certainly beginners, are almost wholly focused on the "on" part, and do not pay the proper respect to the "off" part. Also unfortunately, there is a heavy price for this unbalanced focus. Many technical problems will have at their root, wholly or partially, the improperly timed release of inactive fingers (or no release at all). Sometimes, the finger which should release does the opposite; it starts clutching on for dear life! When finger release is in harmony with the use of force of active fingers, we are helped in the use of the active finger by the non-use, or release, of the presently inactive finger. We are aided in using what is by what is not. When finger release is not what it should be, we are hindered in our use of what is (or should be).

This principle dominates left hand usage on the guitar, and analysis of problem passages with this principle in mind will often lead us to the solution we seek.

This is why the left hand exercises in The Principles promote the experience of both states of the finger, on and off, light finger and firm finger. All the left hand exercises should be done with attention to these alternating states, and the physical feeling focused on. Whenever we play scales, or really anything, we must examine our left hand finger work along these lines. We must be as aware of the "coming off" of the fingers as we are of the "going on" of the fingers. I would like to give you a few examples of passages that gave me trouble for years until I uncovered the root of the problem by applying the Principles discussed above.

Here is a pull off figure from a very virtuosic piece for classical players by Fernando Sor the "Mozart Variations". It is played at about 132 bpm in 16ths. The figure is repeated constantly throughout the whole variation, and if you are not doing it with perfect finger release, you are not going to have the stamina to get through it, accurately that is. ^ indicates the pull off, the fingers are 2, 1, 4, 2, respectively.

^ ^
----7-6-9-7--------
---------------------
---------------------
---------------------
---------------------
---------------------

You can hear me playing the passage in which this occurs(at 132 bpm) here.

Try this pull off at your top speed, over and over, and notice what your 1st finger does. Does it release as 4 touches the string, and then pulls off, or does it continue its pressure on the string. Well, maybe you will be luckier than I was. Maybe you somehow avoided this bad habit. But most people I have seen have not. It took me about two years to eliminate this from my playing after I discovered its disastrous effects, but what a difference in my playing ability it has made!

Here is another passage, one that I considered impossible (although I had heard the great players play it) until I applied this principle. In fact, it was impossible the way I was doing it. I never realized how badly my 1st finger was clutching needlessly at it's already played note, and thus preventing the other fingers from doing their job. The first two notes are played together with fingers 2(3rd string) and 3(1st). Then 4 reaches up to pull off from the 4th fret to the waiting 3rd finger still on the 2nd fret. Quite a challenge at performance speed even when you are doing it correctly, especially in the context of the piece!

^ ^
---2-1--4-2-0-----------
---------------------------
---2----------1-------------
---------------------------
---------------------------
---------------------------

You can hear me playing the passage in which this occurs here.

For years I had been torturing my hand by trying to do this without releasing the 1st finger from its duty, and holding it down (actually, mashing it into the fingerboard) while I was asking my 4th and 3rd to do that pull off. It was not a pretty sight, or a pretty sound. This also took also about two years to fully correct. What should happen is this: the 1st should release AS the 4 reaches, and move to the 3rd string immediately to prepare for the G# it will play along with the open E after the 4-2 pull off. Of course, you may notice the 1st doesn't exactly WANT to do that. It will probably say, "hey, I can't do that, what are you, nuts! I'm staying here and holding on tight, good luck to you other fingers!"

Well, that is what training and practice are all about. The fact is, as I managed to convince my 1st to release AS 4 reached for the G#, it began to develop a new kind of strength and limberness which improved all my playing. It is very important to remember as we practice and attempt new things that some things will seem impossible not because they really are impossible, but because they are unreachable from where we are presently in our development. As we move to a further point, the unreachable becomes reachable. Of course, how to move to that next point is always the question. If you begin to examine your left hand action with a focus on the "off" part as well as the "on" part of their functioning, you will find more of what is for you "unreachable" coming into view. You will begin to agree with Lao Tzu that "we are helped by what is not, to use what is".

Addendum: Do not conclude from the above that removing fingers, even in hammer/pull off situations, is always the answer, although it often is. The principles governing left hand functioning have to do with a complex set of dynamics that combine in innumerable ways while playing. These dynamics have to do with balance, pressure, speed, context, etc., and must often be discovered in each situation. In addition, they do not just include considerations of the fingers, but the arm, shoulder, and upper body as well.

As always, anyone wishing a deep, and ultimately usable understanding of these matters should be undertaking a long range study of my teaching materials.

"After a 20 year quest to learn to play, I reached a brick wall which I had no idea how to overcome...........Jamie's book has rekindled my love of music and the guitar and I'm finding the pleasure of playing has returned."

This letter just in:

"Let me add my name to the long list of people who have found in Jamie's book an answer to questions and dilemmas which have threatened to permanently end their quest to play music. I stopped playing for five years due to the frustration that I felt. Jamie's book has rekindled my love of music and the guitar and I'm finding the pleasure of playing has returned."

Thanks again,

Moises E

With GuitarPrinciples -- You CAN Be A Great Guitarist!
Problem	Cause	Solution
Problem: Inability to play smoothly, or learn ANYTHING well or completely	Cause: Lack of basic understanding of how to practice effectively. Lack of a solid technical foundation.	Solution: "The Principles Of Correct Practice For Guitar", which provides a complete practice methodology, as well as the most effective set of exercises for gaining a solid technique you will ever find! more info..... order info.....
Problem: Inability to strum and sing, or change chords smoothly.	Cause: Lack of knowledge of how to practice chord changes.	Solution: "The Path Level One: Chords & Rhythm" Shows you how to practice and master chord changes. more info...... order info.......
Problem: Trouble playing hammers or pulls fast or evenly.	Cause: Lack of knowledge of the inner dynamics of the hammer & pull action on a string.	Solution: "Hammers & Pulls According To The Principles" What your teacher never told you about how to do hammers & pulls! Vital info not found anywhere else! more info....order info.....
Problem: Staying stuck at a level of ability beyond which you can't move. Inability to solve numerous specific playing problems. Inability to develop speed on scales, arpeggios, etc.	Cause: Lack of effective and organized methods for diagnosing and solving playing problems	Solution: "Beyond The Basic Practice Approach - Strategies For Higher Levels Of Achievement On Guitar" The most powerful collection of advanced practice strategies in print! When it comes to continuous growth in playing abilities, these methods will serve you well and faithfully throughout your lifetime as a guitarist. "Beyond what is in "The Principles", these are the methods I use myself, and teach all my students ".... more info....order info.....

From the "Idiot Moments: Path To Enlightenment" Forum

Posted by Ken P

"White Belt"

Mind - Body - Spirit

“Correct Practice” seems to be building a connection between all three.

I have attempted this many times before with other activities, purposely searching for it.

I was unsuccessful. I eventually stopped looking.

It appears that making notes on the guitar and finding or searching for “my song” is the difference.

This is quite by accident and unexpected. I just wanted to play “Sweet Home Alabama”.

So it is very welcome.

It feels so obvious and natural, how could I have I missed it. All these years. Like a blind man.

At least it may explain why the box with strings was always there, waiting until I could understand what it could offer me.

I thank the spirit of the forum for tolerating my ignorance and enthusiasm.

This is a special place.

Essential Essays At GuitarPrinciples!

When GuitarPrinciples was just starting its work of liberating all guitar students from the bondage of mediocre guitar instruction, it was necessary to do a few things. I was quite aware that when I wrote “The Principles Of Correct Practice For Guitar” that I had provided THE way for anyone to learn how to play the guitar, and for anyone who plays to advance to their next level of ability. I knew it because I had systematically and scientifically proven it over and over in my private teaching.

Even though I knew I had found the cure for the disease which prevents so many people who try to learn the guitar from being successful and actually learning how to play the guitar, there was still a big problem. The “patients” who were suffering from the condition I wanted to cure, did not know they had the disease!

They thought they had a congenital condition, something in their genes perhaps that prevented them from learning to play guitar, even though they saw so many other people playing. They figured they suffered from “talentus minimus”, they simply didn’t have the talent. By this, they meant that they did not have the potential to play the guitar, so they might as well give up. It was my job to show them that their real disease was “instructus minimus”, a condition characterized by the presence of absolutely insufficient instructional materials and instructors.

“Talent” is the tendency to do the right thing-that is the real definition (as explained in my essay “Natural Talent”). By this true definition, these students are correct; they do not have the tendency to the right thing. And that is why The Principles work for everyone, because they show everyone the right thing to do, step by step, from the beginning of touching a guitar, to achieving the highest levels of mastery.

Make Sure You Have Read These Essays!

In order to educate students as to their real condition, and the cure for it, I wrote a number of essays, and those essays have done their work very well for many people who have read them. I want to tell you that if you have not read these essays, you should do so immediately. They will bring you up to speed with what learning the guitar is really about, and enable you to dispel the illusions that hamper the efforts of so many guitar aspirants.

These essays are:

Discover Your Discomfort: in this essay I succinctly describe the essence of the approach to the guitar, and continuing relationship to it, that is required for achieving ability, and ultimately mastery. Knowing what to do, why you must do it, and how to do it, are what it’s all about. Read it here..........

The Secret of Speed: moving fast on the guitar is something every player wants to do. Unfortunately, SO many players are locked out of this, or frustrated by a self-imposed speed limit of their own (unconscious) making. Here is insight into what it is like for those of us who can play as fast as we want to, and how you can get there too! Read it here.........

How Are You Growing As A Guitarist - Vertical & Horizontal Growth: there are 3 kinds of guitar students. First, the kind that try the guitar, with lessons or without, get absolutely nowhere fast, and give up, believing that learning the guitar is not possible for them. I estimate this describes at least 50% of guitar students. Second, the kind that are able to get some ability to play, but soon hit obstacles they simply cannot get past. They begin to do "horizontal growth", meaning, they learn more material and play it at the same level of ability. They cannot get better. I estimate these to be at least 40% of all guitar students.

Third, the last lucky 10% (I am being generous), the kind that figure out what the process of continually increasing ability on the guitar is really about. They are usually professionals--its hard to be professional without knowing this!

If you are a guitar student, read this essay and understand what growth on the guitar is really about. Read it here......

Q&A: I've Got The Pieces, How Do I Put It Together?

Hi Jamie,

I'm not making any progress in feeling like I'm learning how to play anything. What do you think the best way to find out 'what' to learn to play now that I've read your book many a time and feel fairly certain that i know 'how' I should go about trying to learn.

I can't stop listening to your Spanish Romance and I know that style is what I want to play, I've always liked the flamenco (sp?) sound, but I know I shouldn't rush into anything, and just wanted to know what you think would be the best way to learn how to play to actually be able to play something, and not just have a bunch of little pieces all over the map and not be able to put any of it together?

Thanks a bunch for everything so far... I'm still not giving up!

Chris

Hi Chris,

When I have a student in your position, I require them to immediately start to build a repertoire. I pick something out, with or without their consent, and require them to come in next time and play it for me as a piece of music.

You are having a "failure of Intention" here Chris. It doesn't matter so much WHAT you nail down as a complete piece of music that you can play. It is much more important to just nail down SOMETHING, ANYTHING. This will give you the feeling you are missing, the feeling of being a musician. You don't feel it now for a very simple reason: you aren't one yet! You're not a musician until you have made some music, and like falling in love, you won't need somebody to tell you whether it has happened or not!

I can't tell you, with great specific certainty, WHAT would be best for you to learn. I work this out with each person depending on what they love most. Maybe it's a rock song, a blues solo, a folk song. Of course, it depends on your level of development also. In general, everyone should be able to strum simple chords and sing along. Can you do that? If not, start studying my "The Path", and accomplish those goals.

You ask: "what do you think would be the best way to learn how to play to actually be able to play something, and not just have a bunch of little pieces all over the map". This shows that your obstacle has nothing to do with learning the guitar, it has to do with understanding how to learn ANYTHING. Take these steps:

1) Sit down with a piece of paper and write down three things that you are going to learn completely, in fact, you are going to record them. Make sure they are things you feel reasonably confident you can master at your level. If you can't decide, choose the songs from "The Path" which are doable by anyone.

2) Make yourself an organized practice schedule, and get to it. Do it. Master those pieces as completely as you can. Record them and play them for somebody, anybody. Your dog, your cat, your mother, your father, anybody.

Chris, you must realize that you have everything you need to start developing as a musician and guitarist. You HAVE everything you need, but you are not DOING everything you need to do. You are paralyzed, like a deer caught in the headlights. You are confused like a person who walks into a messy room, with things all over the place, and feels helpless to begin to create order. It is done by focusing on one thing at a time, one goal at a time, accomplishing it and moving on.

You are in a place I call "doing anything is better than doing nothing". It doesn't matter what you pick (except for picking an impossible goal), just pick something and do it. If you want to end up playing Spanish Romance, you had better be with a good classical teacher, and I would recommend getting my "Practice Secrets For Spanish Romance", where I give explicit instructions on how to play every note, and studying the many resources I have on the site to help those working with it. Do not make this one of your short term goals.

In addition, make sure you read and understand the essays in the "Essential Wisdom" section, especially "The Importance of Having a Repertoire".