Practice techniques

  • Thread starter Thread starter leedon
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oh yeah, if it sounds plain or common, play it at different tempo's, if it's fast lick, cut its tempo in half, play it like a rythem, then make it harder to play, with more expression (palm muting, an extra note, etc), and get it back up to tempo, and don't forget not all music is riff and fill, there's also clean and pretty, use that stuff for a "warm" rest, instead of stopping for a rest, like all physical training, it's best to warm up and stay warmed up, on and off or cooling down can cause injury far easier than over practicing. but if you do feel pain or numbness, esp. numbness, stop playing get it checked out.
 
Re: I Agree With BBB

Torpid-x said:
you have to practice allot,

I also have to disagree with the always play relaxed, that'll give you tendonitis for sure, if you practice for hours strait.

players who play relaxed tend to sound sloppy, or they aren't fast players, they may hide behind distortion, or they are just exceptionally gifted.

BAD players that tend to play sloppy maybe look relaxed... Have you ever seen a REAL good player that doesn't care for showing off?? They play relaxed. Hell, look at any good guitarplayer: Al di Meola, McLaughlin, Vai, Clapton, I don't care, they all play relaxed. They might do some funny faces etc, but their fingering and playing is RELAXED. And extremely fast and clean too...

Problem with playing tense is that you will play in a non-natural position, and THAT is the reason of injuries. Playing alot, even in a relaxed way, will get your muscles trained enough to play... You should play like handling your knife and fork, in a subconcious way, aiming for a result, not for the action that you think is needed to get it and doing just what you need to get your result, nothing more. Ever had injuries of eating all day long?

I REALLY know what I'm talking about. I talked it over with 14 doctors in 2 years and sh!t-loads of professional (highly educated) musicians... One of my ex-piano teachers did conservatory WITH tendonitis, and got rid of it after 7 years, he doesn't move ANY muscle that doesn't need to move when playing, and believe me, I don't even dream of ever playing what he does with his eyes closed, body completely relaxed, and arms and fingers going over the WHOLE keyboard. It was a very noisy audience in the club that night, even when one of belgians most famous jazz-saxplayers was doing his thing; well, that piano-solo, everybody was dead-silent.

The musicians "in a firm position with every muscle in there body flexed, covered in sweat from stance alone" are doing SHOWS, and would probably be sweating just from the spotlights on their head. Holding your body in a tense position will LIMIT your skills, and will not allow your body to move in a subconcious accurate and fast way. Ever tried to RUN with your whole body tense all the time? Try it... (Your legs will never be tense when they don't need to be. That's because you do it in a subconcious way.)

Sorry about getting on my horse, but you obviously never suffered from RSI, and seems you really haven't got a clue what you're talking about.
 
When I was just starting out, another guitar player told me two things:

1) The definition of a good guitar player is one that can immediately play whatever is in his head.
2) The difference between a good guitar player and a great guitar player is what's in the head.

So, concentrate on playing what's in your head. Sing some little riff...then play it. Sing a little solo ditty, then play it. Play along as you sing/hum it. Once you can do this consistently, I'd consider you a pretty damn good guitar player.

But you'll never be "great" unless there's something special going on in your head. And for most of us, that just isn't the case. :D
 
Just a thought. Relaxaton is a good thing on ANY instrument.

I've had guitarist especially metal heads mock where i strap my bass. I like it high. It's comfortable there. My left hand (fretting hand) is comfortable. I don't have to contort my wrist and I can play as fast as I think. My right hand is comfortable. And what's funny is the same guitarist are pissed when i can play the rythmn back to them faster. So my question to the low riders is why should i drop my bass to my knees and play when I can be comfortable and not fight discomfort.

Second thing if you don't spend time with your instrument how are you going to get comfortable with. As one of my old teacher's poster say's Practice or you'll suck.

Just an opinion. Later.
 
2 Cents Worth

First off, I wasted the 1st 10 years & 2 grand on aimless playing. I expected instant gratification. Then 1 day I sat down & DEDICATED myself to learning one song, Comfortably Numb. It was perfect, easy chords, a good basic solo & something beneficial.

Advice to a beginner: focus on 1 thing at a time & know what you want, don't spread yourself to thin on wanting to play everything at once or you'll get nowhere, practice everything in small incriments of stopping & starting (the brain needs time to absorb the motor skills), to play fast you must slowly build a good technique (nothing worse than a sloppy fast gtrist), definately learn scales if you're metal/thrash, relax from the fingers to the shoulder, set obtainable goals, learn other player's riffs & you'll evolve (EVH started on EC), spend your time on good riffs & songs -- one's that will benefit, practice on a daily basis & then don't play at all some days "Sometimes it's best NOT to play." ---The Edge & realize that you'll never master the guitar, you will always be a student.
 
hi leedon...here is a list of exercises that has helped me get better (aside from practice, practice, and practice)
1) play your guitar by yourself 6-8 hours at a time as often as you can
2) solo with a really good drummer 6-8 hours at a time as often as you can
3) tune down to where jimi is on voodoo-chil/slight return and try to keep up with him or just improvise along with the song for as long as it takes to get a groove, then, cut loose with your favorite drum-machine patterns
4) spend prolonged periods of time in alternate-tunings such as CACDCE, DGCGCD, DADGAD, openG, openD, openE--don't be afraid of being called a "cheater" just because you can find so many 1 and 2 finger chords here...these tunings make it very easy to play rhythm and the lead at the same time
5) did I mention that you should play for prolonged periods of time?--as often as daily
6) learn "blackbird", "the rain song", and "braun-yr-aur"--on physical graffitti.....then take the chords from each song respectively and create your own melodies
7) practice a scale and then play the same notes with intent in any order except the order which the scale would have you play them
8) play keep-up or 2d guitar to the following CDs--jeff beck's "live in japan 98'" and "you had it coming", satriani's "the extremist", "engines of creation", and "surfing with the alien", vai's "passion and warfare", dimeola's "kiss my axe", and any CD featuring jimmy page or duane allman
9) turn on your fav. radio station early in the morning and play along with every song--especially when YOU can find the correct key...
seriously, though, if you want to take a leap forward, get out of standard tuning frequently, and alternate your guitars--one day with your elec., another day with your acous., then your class., then some slide....these things force you to do "more" and in the process of doing "more", YOU will become MORE...if these things don't help you improve, then perhaps YOU should take up the harmonica....hopes this helps.
 
leedon said:
The thing that gets to me is that I listen to sound clips demonstrating equipment, and the little guitar bits really sound great - and I can just picture the guy that recorded it, sitting down and just playing whatever - not having to think about it.


That comes from playing.

Just play for fun and quit thinking about it so much. Throw on a CD and improvise over the top - choosing your own notes - have fun. Throw on a different CD (different style) - have fun. Want to learn a specific trick or lick? Learn it and forget about it - you may find itself being incorporated into your style or mannerisms without you even realizing it. Create a weird loop with Fruity Loops or something and improvise over that with different sounds, guitars, etc - have fun. Create some ten track guitar harmonies - have fun. Don't necessarily copy a Beck lick, think of what Beck would play in a given musical setting.

Before you know it (years?), you'll be playing better than the "little guitar bits" but not realizing it. You'll still think you have a long way to go. If you ever "feel" you've learned it all, or it isn't fun anymore, sell your gear and take up horseback riding or something.

That said, there is honour in learning music theory and taking that approach. But it's not a must.
 
The thing that gets to me is that I listen to sound clips demonstrating equipment, and the little guitar bits really sound great - and I can just picture the guy that recorded it, sitting down and just playing whatever - not having to think about it

Its all relative....or like that time when you first heard your voice recorded and played back. I'm sure you would impress me. Just have a blast doing whatever you do.

By the way, Larry Carlton looks pretty relaxed while riffing and I can't picture him at the gym on the Cybex.
 
I partially disagree with a few of the above posts. Especially the ones that suggest ignoring your guitar gods and just jamming with backing tracks.

The quickest way to become more proficient at your instrument is to learn the techniques of your favorite guitarists. This is efficient for the following reasons:

1. You don't waste time reinventing the wheel. These guitarists employ techniques that you enjoy, learn from them.

2. It helps you break free of bad techniques and habits.

3. It builds your vocabulary. You can incorporate other guitarists techniques into your own style.

4. It gives you goals. For example, repeating a particular riff until it is perfect.

5. It is fun. Especially when you can jam along with your favorite solos note-for-note.

Eventually you want to strive for originality. However, you won't have much of a vocabulary unless you learn from others. Some great examples are Eddie Van Halen and Greg Howe. Eddie supposedly learned all of Clapton's licks note-for-note and then developed his own style. I don't know anybody who would mistake EVH for Clapton or accuse EVH of not being original. Also Greg Howe copied EVH's solos note-for-note. He claims that for a while he sounded too much like EVH, but then eventually developed a style of his own.

I'll repeat and elaborate on my minimum practice requirements.

1. AT LEAST 30 minutes of scales with a metronome (preferably an hour). This develops accuracy, cleanliness, and articulation.

2. AT LEAST one hour of learning licks. Be it off of a CD, out of a book, from a teacher, whatever. This builds your vocabulary.

3. AT LEAST 30 minutes of jamming. This allows you to put the licks you have learned into different contexts.

Again these are minimum requirements. Nothing develops your technique faster than three things: practice, practice, practice.

Me
 
BBB,

I certainly don't disagree with you. But I would emphasize with your statement:

"3. AT LEAST 30 minutes of jamming. This allows you to put the licks you have learned into different contexts."

I've seen more than one guitar player who could turn your head with a scorching note-for-note display of some famous lick, but be totally lost in an improvisational setting.

And as for jamming, that's effectively what I'm doing when I occasionally play against the backdrop of the radio or a CD. Don't you ever hear a tune on the radio and feel the almighty urge to plug in and jam along with the groove? Perhaps learn a lick or two in the process? Steely Dan is a good example. Whenever I hear "Riding with the King" (BB and Eric), for example, I virtually sprint for the guitar. Not unlike a cig craving for a smoker.

Of course, I do admit that I'd like to have the discipline to learn some licks note-for-note - I'm just too lazy.

Enough from me...............
 
A few things from me now:

METRONOMES ARE YOUR FRIEND. It's the best way to improve your rythym.

SCALES ARE YOUR FRIEND. No matter how dumb they sound at times, or how tedious it is, learn as many as you can. Buy a Berklee book, or that "Scales and Modes in The Beginning" book. It WILL help you.

A few sites that I've found SOO useful, and fun too.

http://www.jamcenter.com

http://www.wholenote.com

Jamcenter has two different "jam machines". They are Falsh movies that loop a short little recording of a band playing in a style. You can pick from 2 keys, and liek 5 styles for each. It reccomends scales, and has diagrams of how to play them.

Wholenote has a really pretty in-depth "groovemaker". You can pick from TONS of chords, like 10 styles, and a few sound choices. Change the tempo, whatever you want. Just it's MIDI tracks, where Jamecenter is audio. Either way, Just jam out for an hour in some scale. It will help your playing SO much.

Jake
 
Talking of injuries, although I've been playing guitar for years, I recently switched to Bass and the extra distance between frets and pressing down on the strings harder has left me with a constant pain in the base of my left thumb. Stops me playing for more than 1/2 hour at a time. Not too much of a problem as I spend most of my time at home recording now, so I just stop. But I wouldn't fancy a couple of sets a night gigging.

Now I was/am more of a chord playing rhythm man, and for improving my playing, I found that getting a songbook with new and complex chords in helped me no end. I had the music for Santana's Supernatural for Christmas and that is really good for pushing back the boundaries of what you think you can play. It's all to easy to stick with what you know and the chords you are familiar with. Trouble is, all of your songs start to sound the same. So always be on the lookout for something to stretch you!
 
Be carefull! The pain can have two causes:
- There is something wrong in your thumb.
- You are doing something wrong.

Try to position your bass in such a way that your hand is in a natural position, and make sure you don't put to much pressure on the strings. You only need to push 'em against the frets, no need to try pushing them any harder. I explained in a post above how you can find that natural position.

Don't care about how it looks. It's not ridiculous. Playing with constant pain because you want to look cool IS.

If this doesn't stop the pain fast, go see a doctor on it. Preferably someone that specialises on hands and wrists. Don't let them put a gips bondage on it. Won't help unless you have a fracture.

And don't push it. If you keep on playing with the pain, you are bound to get a chronic thingy. It will get worse and worse, and you'll end up as pathetique as I am. Thank god for the invention of whisky... burps :D
 
More likely I am doing something wrong. I never had this trouble when playing my 6 string, even with bar chords, so I guess there is nothing wrong with the joint itsself. I put it down to having to stretch more, but as I say, I don't play live these days, just record. That way I just stop the tape when it hurts too much.
 
For all of you who didn't understand my theory

double post deleted
 
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For all of you who didn't understand my theory

My point was, Play hard, get good. you can slack of after the first 8-10 years, but to get good... you have to play hard. BTW Steve Via does play hard even if it doesn't look like it, check his stance.. Larry Carlton hasn't improved in 20 years, and playing in proper stance does not limit your playing abillities, it gives you more control.

I'm not a punk kid, I'm almost 30 years old. I've been playing for 14 years, my only playing pain comes when I get out of proper position. I'm also not a die hard death metal type, although I can be. I have bad joints all over my body(back, work injury from a direct "HARD hit", Knees, working in a carpet store, elbows, years of work related stress, wrists, impact injuries from work, shoulders, my newest and first noticed when playing "piano" HARD I do RIP when I'm not playing lazy (I was going to save this post untill I had a song posted), standing in a firm playing position, with your elbow squared, keeps your wrist in proper playing position, thus avoiding injury.

Pianist play in the most unnatural of all posible positions, as typists do, and are more suseptable to wrist injury,

I can only say that my "Play Hard" theory has continually strengthened my weak points, not added to them.

anyone who doubts my theory, take the hardest piece you can play, now up the tempo 20 bpm, notice what you're body does naturally, your chest, lats, tricepts and bicepts tighten up in your pick hand, your synchronization goes off..... now tighten the same muscles in your fret hand, your syncronization comes together. if your vibrato is weak, muscle it, if your bends don't make it to pitch, muscle it.

I said " standing in a lunge position may help take your mind off your stance" not that your legs have anything to do with playing directly, a duck walk will also help, if that's your thing, it also makes playing more fun, players who just stand there almost always look like they'de rather be committing suicide than playing, check the faces. speaking of faces, they are natural, unless you're posing, your body and mind are so wrapped up in playing (if your really playing) that your face does it's own thing, I've heard people say "look at his face" while I'm playing, early on I used to drool, but posers make faces on purpose. If you're a headbanger, headbang, if your a groover than grove. but you can't do either without a firm stance and strength.

I've listened to many of you, and frankly, many of you need to work on your feeling, your bends aren't cutting mustard, and your vibrato's are weak...You know who you are. playing with effort will fix that, but are you willing to sweat?

now then, like I said, Theory is important, Jamming is important.. one more thing... the pick, dunlop tortex, red for thin..usually a beginners choice, yellow for most of the rest, and if the red doesn't cut it anymore. some prefer other, but most use dunlop tortex yellow.

I'm drunk and PO'd at some of the replies, esp. after listening to some of you.

Roel, I'd like to hear something with guitar work from you. your track 1, Track 2, sounded like piano(keyboard), bass, drum machine, vocals.
 
one more thing

just to help you guys understand where I'm coming from, I consider ripping all the time to be tasteless, but even a good melody needs a strong vibrato or such to get it out of the "plain" sound, the bassline of an arpeggio ballad needs a little extra effort here and there, and how many of you play metal/punk anyway, I don't hear it.
 
Hey torpid, again my apologies about getting on my horse, you know 'i have my reasons...
So... :D
My guitar playing sucks totally... Three years ago, my classical playing was at conservatory entrance level (after playing classical for just 1 year, playing with my nails and everything), but after I took back on piano, I got my wrist troubles, and I quit playing. :( Really can't play more than half an hour a week, dropped back to every once in a while, so my playing sucks. And I don't have any recordings of that time...

About the picks... I started with the yellow ones. (Tortex ofcourse, they rule.) Then green, blue. And ended up with the purple ones. A harder pick gives you more control. (Soft picks have something of a faster-than-your-pick-feel.) But you shouldn't really worry about it. Get one of them each, try whichever one suits you best, and you'll notice when you need a harder one.

Vibrato's... I like controlled vibrato's. Not the as fast as you can get stuff. David Gilmour has a good vibrato. Also, you get a more controlled vibrato by moving your finger back and forward in the direction of the string. Might seem obvious for those that know, but on electric guitar, you tend to do vibrato's in the other direction (Like bending). Good for wider vibrations, but much harder to control. On classical guitar, moving in the direction of the string is the only way...

Both tracks you mentionned are me on keys. They're both improvisations. And totally relaxed. Does the 2nd one sound sloppy? Some bad timing but we were all laughing our @ off while playing.
And I do the faces thing too... Heavy breathing all the way. :)

By the way, my playing is not the cause of my wrist problems. It just makes them come out. The doc told me what it was, but I was half asleep. Forgot... :rolleyes:

So, I took my hardest piece up to 20 bpm... :D

Anyway, I guess the thing is, if you want to learn fast, you have to train hard. When you get it all together, the movements will become natural to you, your muscles will get trained, and it won't take you effort to do what you want. If you try to play relaxed before this point, you will play sloppy.

What you say about the picking hand getting tense, no sync 'till you tighten up your other hand, is normal. If you don't tighten your pick hand, which is, as you know, the way I think you should play, you could get the same speed. Also synchronized. You should have noticed that when playing something you know by heart, technically not that demanding, you play it effortlessly, and it IS played right anyway? That is what I'm talking about. And playing everything this way, even more demanding stuff, will get you there as well. Just another way of working. Maybe not the way to go in rock, but for jazz and classical, this really is the way to go.

On training method I have heard of in this context is rather strange. (And something to get advanced players further after a dead point...)
Just STOP playing, and ONLY do this exercise. start with 5 min a day, just playing 1 note, with 1 finger. Play the same note untill you get it PERFECTLY RIGHT. Then move on to your next finger. After you have done all your fingers, (which could take weeks) try little lines. First 2 notes, then more... Always the same thing. After doing this for a while, you'll give up eventually anyway, but you'll notice that your playing has really improved. Offcourse. Don't try this if you're no advanced player. It helps because doing this, you're focussing on the movement you have to make, doing it the right way. You'll forget about your errors more easily, and blah blah. I never tried it. Not playing is just to much effort... hehe.
 
Roel said:
On training method I have heard of in this context is rather strange. (And something to get advanced players further after a dead point...)
Just STOP playing, and ONLY do this exercise. start with 5 min a day, just playing 1 note, with 1 finger. Play the same note untill you get it PERFECTLY RIGHT. Then move on to your next finger. After you have done all your fingers, (which could take weeks) try little lines. First 2 notes, then more... Always the same thing. After doing this for a while, you'll give up eventually anyway, but you'll notice that your playing has really improved. Offcourse. Don't try this if you're no advanced player. It helps because doing this, you're focussing on the movement you have to make, doing it the right way. You'll forget about your errors more easily, and blah blah. I never tried it. Not playing is just to much effort... hehe.

I'va always had fun and improvement with this method. Except for more than 5 min a day and with other practicing along with it. It's most fun when you have a great sounding setup because single notes just siiiiiinnnnng.

Me
 
I feel so much better now, thanks Roel (I thought I had a BBS enemy) I only have time for a few short posts so I'll get back to you in the mixing clinic on your song.

LOL@ I took my hardest piece up to 20

another good exercise is to trill notes... fingers 1-2 2-3 3-4 for about a minute or two each, a day, the exercise you mentioned, do you mean play the notes for intonation or bending to pitch ?, I guess both would work... hold a bent note and play it till it's perfect, then bend another half step....repeat

TX
 
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