|  So what is the most important skill that most guitar players do not have? Some would claim that it is thorough knowledge of music theory. Others would say that the most important skill is creativity. Of course there are whole legions of guitar players that believe having impeccable technique is the holy grail of guitar playing. Maybe you agree with one of the statements above, or maybe you think it is something else like songwriting, playing with others in a band or having perseverance.
All of the skills mentioned above are crucial to the development of any guitar player who really wants to become an excellent guitarist and musician. But the single most important skill that most guitar players don't have, and don't know how to practice, is Ear Training! (also known as aural skills). We are dealing with music here right?! How do most of us enjoy making music? By listening to it! So why is it that most guitarists have poor aural skills (an unskilled ear). Non classical guitarists have traditionally played by ear, but surprisingly most of these players' ears are still not as good as they could be and should be... |
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|  Over the years, I have met many guitar students who could not actually play anything, even though they had taken lessons, perhaps for years.
If they were asked to play something, the best they could do would be offer you some isolated "pieces" of songs or solos they had worked on.
They are missing certain pieces of knowledge about the Art & Science of practicing that would enable them to get past a hurdle that stops the progress of many guitar students: how to actually finish something you are learning, and bring it up to what is called "performance level", which is another way of saying "I can get through this without it falling apart so badly I can't keep it going", or "I play it all the way through well enough to not cause me major embarrassment, or the listener major discomfort, or pain".
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|  There are musicians who are more than comfortable remaining anonymous. You know, happy to hide behind their guitars or keyboards and be sidemen to the stars of today or tomorrow. Then there are those that have grandiose aspirations of stardom, adoration and limelight. And then there are those who have a driving desire and need to say something original artistically, to express themselves and to communicate that expression to an audience, be it a small niche market or wider demographic.
Those falling into the first category can make a living, albeit fairly modest as a general rule. Those falling into the second category often live in a little bit of a dream world and, depending on their tenacity and 'smart' skills, usually end up disappointed because the focus is set on the destination rather than the journey. The third category usually reap the rewards of the second category gaining all the success and limelight, but as a result of focusing on their art rather than the shallow and flighty end of the musician's world. These are usually the most fascinating people too, because they generally have a little mystery about them and because they actually possess what most entertainers really want; sincere and dedicated talent! ...
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| How to avoid musical burnout.
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| Tuesday, 19 January 2010 09:03 |
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|  Do you sometimes find it difficult to stay focused and motivated to practice or play music? Most musicians I know (including myself) have had at least one significant period in their lives when they have experienced musical burn out - a general feeling of being uninspired, unmotivated, bored, or just plain lazy! I'm not necessarily talking about people who have lost interest in music, I'm referring to those who love it, but have struggled to maintain focus at some point during their lives. Let me illustrate 2 examples, an intermediate level player and a professional musician... Here is an excerpt of an email I received from an intermediate level player:...
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| Playing with conviction
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| Sunday, 20 December 2009 09:53 |
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 "As instrumentalists we have to try that much harder to communicate with the listener because there is no vocalist to do that for us. We have to make sure our instrumental voice carries." I'm very often disappointed when I go and hear straight-ahead jazz guitarists play in a club, no matter how good they may be. Many have practiced their technique and have a knowledge of harmony that is clearly impressive. They have good time and play well with the other band members. But 9 times out of 10 I am disappointed and for the most part I think I know why. Most of these players spend countless hours in the bedroom practicing, working on stuff, perfecting things, analyzing chord changes, working on harmonic ideas and so on, something that no one recommends more highly than I, but it seems that so often these musicians lack the ability to communicate musically. Now I'm not suggesting that we as artists entertain with tap dancing, plate spinning, telling jokes and so on, I'm talking about finding a way to connect with the audience, and the first step to doing this is through sound projection with our instrument. Don't forget, as instrumentalists we have to try that much harder to communicate with the listener because there is no vocalist to do that for us. We have to make sure our instrumental voice carries... |
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MASTERCLASS
