When a student wants to learn a real live rock solo, the student gets the tab off the internet, then the student looks at the series of “numbers” on the tab sheet and dutifully attempts to turn each number into a “note”. Often, the student is not really listening to the sounds which are the result of these efforts, and is certainly not comparing them to the original solo. Unless we are constantly comparing out efforts to the original, we will have no success.
Learning guitar is teaching the fingers how to move. This is called “motor control learning”. For motor control learning to take place, the principle of “knowledge of results” must be applied. The essence of this principle is that we cannot acquire and improve a motor skill if we do not receive some kind of feedback that gives us an awareness of how close our efforts are to the model we are attempting to copy. If we are shooting a basketball we cannot improve if we can’t see the hoop, evaluate our effort, and make corrections for the next attempt. We will talk about how to do that below.
First, let’s talk about the skills that must be in place before we can learn how to play rock songs on guitar.
Many students attempt to learn rock songs and solos when they have not even mastered the fundamental skills that are constantly used in rock music. These skills are:
Music is a language. To speak a language we must first learn to make the sounds that are grouped together to make the words and sentences of that language. If these skills are not in place, your playing will sound like someone speaking with a speech impediment! The lack of knowing the right way to do these things will make it impossible for the music to emerge.
After learning the essential skills, we must understand the specific practice approach necessary to use for learning electric guitar solos.
Listen To The Model: When you sit for practice, you must have far more than the tab to the solo you are working on in front of you. The most important thing to have is some kind of recording of the solo you are working on (the model), so that you can listen to it, bit by bit, as you work on each lick in the solo. The best thing is if it is on some kind of player that will also play it half speed, so you can switch back and forth between the actual speed and half speed. One such program is Amazing Slow Downer.
The right sound is much more elusive in rock/blues than in other styles. This is because of the highly individual nature of a player’s style and sound, and the actual manner of producing sound in this style, which leaves more room for error. By this I mean string bending.
The infinite variety of sounds made possible by the technique of bending strings makes it imperative for students to be constantly comparing their efforts during practice to the solo they are learning. It may sound obvious, but I am constantly meeting students who don’t do this!
Listen To Yourself: This is the part that most students get wrong! As you are working on the solo, you must constantly record yourself, lick by lick, and then listen to the original. Ask yourself “does my playing sound like the original”? You must estimate how close or how far your playing is from that of the original. If there is a gap (and there almost always is!), you must work to close that gap. For this, you must know how to practice correctly.
After listening and judging your own playing against the model, you make another attempt, recording yourself. Then, listen and compare again. Rinse and repeat until there is no difference between your playing and the model. You must discover exactly how yours is falling short, and then figure out how to fix it. Are the bends in tune? Is the vibrato even? Is the rhythm correct, and how about articulation? Your goal is to sound as good, as polished and professional as the original.
After working on the solo in small pieces, and you feel your playing is reasonably close to the original in quality, it is time to start putting it together. You must do this by actually playing the solo to the rhythm background. This is something most students do not do, and it will prevent you from ever approaching a professional level of ability. You should never consider that you know a solo unless you have listened back to yourself playing it to the recorded rhythm background.
Once you get the solo together, stand up with your guitar and play along with the original. This will do wonders for your feel and timing. See if you can keep up through to the end. If not, find and fix the problems (correct practice again!).
For any solo you are working on, you should learn the rhythm as well, and record it at various tempos. Master the whole thing at a slow tempo first, maybe playing it to the background chords played at half tempo. The best idea is to make 4 or 5 versions of the rhythm part at different tempos for your practice sessions.
These days all students should avail themselves of the tremendous resources for study that are available; everyone should have some kind of multi-tracking software available (which can be found for as low as 20 or 30 dollars), and begin their own collection of recorded solos. You will experience great growth as a player if you do.
I am not saying that everything you practice must be swallowed whole, and mastered in its entirety. Sometimes you just might like a small part of a solo, or one lick perhaps. There is nothing wrong with just sitting down and copying a fragment of something you like, but you should still use the same approach of comparing it, in recorded form, to the original. But along the way, you should master some whole songs, or whole solos, and prove yourself on tape. The next step, of course, is to prove yourself in a live situation by finding people to play with (of course, that means dealing with other real live human beings, and brings about challenges far beyond the scope of what I wish to talk about here!).
What is your “exit strategy” for any solo or song you are working on? How do you know when you “know it”? When all these things are in place…….
Jamie Andreas has one goal: to make sure that everyone who wants to learn guitar is successful. After her first 25 years of teaching, she wrote the world acclaimed method for guitar "The Principles of Correct Practice For Guitar". She put everything into this method that was essential for success on guitar. Called "The Holy Grail" of guitar books, the Principles has enabled thousands of students who tried and failed to play guitar for years or even decades, to become real guitar players. In 2012 Jamie was profiled in "Guitar Zero" (Penguin Press 2012), a study of how adults learn to play guitar. Jamie was interviewed along with some of the worlds leading guitarist/teachers, including jazz legend Pat Martino and Tom Morello ("Rage Against The Machine").