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Frustrated with your guitar skills?
by Greg Michael
How long is it going to take you to become a guitarist you always wanted to be?
Is it going to happen in six months, two years, five years or maybe you think that it will never happen...?
What steps do you need to take to get closer to the level of your favorite players? Practicing countless amount of time, spending a fortune on instructional videos and sheet music, maybe watching all sort of on-line video streaming instructional programs?
How to develop your own music style, how to go beyond just learning somebody else songs, how to get recognized and stand out of the crowd to earn your own place in the hall of fame?
In the life of almost any musician no matter if you are just starting out or you have been doing this for quite a while, also regardless your music style, there are these disempowering moments of frustration or burnt out. Suddenly all these questions come up and make you think of where you are at right now and where you wish to be as a musician. Sometimes the answers you come up with don’t make you feel that great.
It’s good to realize that frustration is a part of being a musician or an artist in general; it is actually a natural part of the process. It is also good to accept it and learn how to overcome it or prevent from its damaging repercussions as early as possible.
The best way to prevent yourself from frustration or music burnt out is to set up some music objectives and find the way to measure whether your goals were accomplished or not. If you are really serious about being a professional musician or at least you wish to play at some decent level sooner or later you will have to do that. It is also good to have any kind of time frame to accomplish your goals this will immensely help you stay focused and motivated.
Ok, when I ask my students about their music goals I often hear-I don’t know type of answers- the word “goal” it is a quite vague term for the most people. What goals are we actually talking about? As an example if you are a beginner guitarist probably your goal could be to learn all open chords and be able to change them effortlessly, be able to do different strumming patterns and the time frame for it will be for instance six weeks.
If you are more advanced player maybe your music goal could be to learn sweep picking technique or learn all modes in any key within two months time. Perhaps a good music goal for musicians of all levels could be to compose or learn some songs and perform them in front of some audience.
These are only some examples of what your musical goals could be, the punch line is to stay motivated in what you are doing by keeping yourself busy and finding new challenges.
Once your goals are clear it is good to create a strategy to achieve them. The most valuable advice I could possibly give to you right now is to ask for help of some experienced musician or teacher, someone who understands the principles of learning the instrument and knows what difficulties you may encounter. I am pretty sure that he or she will guide you to do the right things and help to avoid unnecessary mistakes. This will therefore fast track your improvement as a musician and help to fight your frustration.
I also mentioned earlier about finding the way to measure your accomplishments-there are many ways to do so. In my teaching I come up with an idea of recording my students every so often to show them where they were at previously and where are they now. This can be done simply by a video camera or an audio track recorder. I believe it is always nice to have some tangible proof of your skills that you can play to someone later. Sometimes even though you don’t think that this is the greatest stuff in the World it is really cool thing to have.
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Making the Right Choices
by Greg Michael
I used to think of having a large collection of guitars as the way to become a great guitarist, many people have thought that way, but what I found is that owning another instrument sitting somewhere in a corner of my room covered all by the dust will surely not increase any of my music capabilities any further. This is when I stopped purchasing extra instruments that in fact I didn’t really need and decided to invest my money into my music skills. I signed up for the music course at the college.
I can not even stress this hard enough, how immensely this increased my music abilities and literally expanded my musical horizons. I realized how little I knew about music
back then and how many things still need to be learnt. I also understood how having someone who can show me things the easy way can speed up my progress. In music like in life there are things that can be done both easy and hard way. Sometimes we do things and struggle a lot, then at some point of time we discover that this could be done much easier, saving us these moments of stress and frustration and sometimes even a lot of money. In the college I have been shown many music shortcuts, ways to learn music faster, easier and having a lot of fun at the same time. Education is all about getting new inspirations, discovering anyone’s potential and learning how to avoid unnecessary negative outcomes of our decisions. Why to do it on your own?
I made yet another important choice in my life. Music college or another teaching establishment such as guitar course are great way to learn music It also lets you be a part of a big music community alongside with learning side of things, but I realized that learning in a larger group splits the time of your progress between the number of students of a group you are a part of. As I didn’t have that much time in my life I decided to find a private teacher who will create for me an individual development program.
So by having a personal teacher you can work directly on your problems and ways to solve them. If you choose the right person you will get the same values as if you were getting from the formal education establishment, you will just save more time. You will also learn things that you want to know whereas college teaches will instruct you in more general context
You will even learn things that you wouldn’t get chance to learn in college.
Some of you may think that you will not get any certificate or formal proof of your skills. My answer to this is that music is about knowing how to play, playing in front of people and having fun, the place of your certificate is on your room’s wall and in my opinion there is no fun in it.
So, do you still think of buying another instrument, guitar amplifier or maybe some non music related useless junk? Think twice. Why don’t you sign up for a guitar course instead and learn how to actually play the guitar and discover how easy and enjoyable the learning process can be. Why don’t you invest in your skills that will pay off later in your life, give a lot of satisfaction and help to find some new friends.
I am not talking only about learning how to play few songs to jam along with a cd player. I am talking about mastering your instrument to get the professional tone and total control so you can do with it whatever you want. It doesn’t matter whether you are an aspiring rock star or just play for your own enjoyment.
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Choosing a Teacher
The electric guitar has advanced far beyond the time when someone could teach himself (or herself) to become a world class player. If your ambition is to become a competent player and a competent musician, you need a competent teacher. Even if your goals are more modest, you can reach those goals far more quickly, easily and efficiently with the guidance of the right teacher. Much of the information that is needed to learn about guitar playing (and music in general) is available from many different sources. There are hundreds of books, instructional videos, CD-ROMs and, of course, the internet. Even though a lot of information is readily available, there exists a lot of incorrect, incomplete and otherwise bad information (this is especially true for a lot of information found on the internet!). You will need the aid of an excellent teacher to teach you how to fully understand and apply the correct information. You can save yourself a lot of unnecessary frustration and disappointment by studying with the good teacher. Remember that text books, CD-ROMs, instructional videos and the internet cannot answer your specific questions. They cannot offer you advice on your playing, song writing, ear training, etc. They cannot listen to your playing and point out any mistakes or flaws that may be present. Some text books are great and I have seen some pretty good CD-ROMs out there too, but you still need the aid of an excellent teacher to guide you through everything and to help you to develop your abilities and musicianship correctly and efficiently.
Great teachers manage and schedule new materials and effectively explain its importance and meaning. A teacher should encourage you when you are doing well and correct you where you may have gone wrong. Good teachers will show you how to better organize your practice materials and show you how to effectively manage your practice time (this is crucial to your progress!). They help you to build up your confidence level (even if you are not consciously aware that this is happening). A great teacher will help you to become secure with your technical skills so that you can execute difficult techniques on your guitar comfortably. These teachers emphasize creativity (song writing & improvising) and performing. Great teachers want to make sure that you fully understand what you are learning and, most importantly, teach you how to apply it by giving you detailed explanations and encouraging you to ask questions when something is unclear. A good teacher sincerely cares about your musical growth and development. An experienced and competent teacher will take you far beyond what you could learn on your own.
Unfortunately, guitar teachers are not licensed and there is no organization that oversees or regulates them. Anyone can claim to be a good teacher and there are lots of people who make this claim. The number of competent teachers, however, is limited. This brings us to this crucial question; How can a student find, choose, and then accurately evaluate a guitar teacher?
Here are some questions that you should ask any teachers that you are considering to study with. I have also included my own comments for each question:
1. Can you please tell me about your teaching experience, such as: How long have you been teaching and approximately how many students have you taught during that time? At least 3-5 years of teaching experience would be preferred. Certainly no less than 1 year of experience. It is good if the teacher has taught a moderate to large number of students. It takes time for a teacher to really learn how to teach well and the main way that someone learns to teach is by teaching for a while. So a young teacher's first students are like experiments. The teacher learns how to teach on-the-job by trial and error. The teacher learns how to teach over time and will make some mistakes in the beginning of his or her career. You don't want to be one of those first 30-50 students. Let that teacher gain his or her experience by making mistakes on someone else.
2. Do you teach private lessons or group lessons? You definitely want private lessons, unless you are a total beginner or are enrolled in a college music course. You will learn a lot more about playing guitar in a one-on-one private lesson or in a correspondence lesson program.
3. What styles of music do you teach best? Make sure that you ask this question before telling the prospective teacher what style of music you want to learn. A lot of teachers claim to teach all styles of music well, beware of this. Do not be impressed by someone who tells you that he or she can teach every style of music well. If you really want to be a great rock guitarist, you want to take lessons from a rock teacher, not a blues or country player who claims to teach all styles well. Find yourself a good rock teacher. If you want to learn multiple styles of music that are not similar (like country, classical guitar and heavy metal) take lessons from more than one teacher for each of those styles. Unless you are a total beginner, you are better off with an expert teacher in your style of music, not a jack-of-all-trades teacher.
4. What is the cost of lessons? Excellent teachers are in demand and usually already have a lot of students. These teachers often are not cheap. I can tell you that the going rates for good teachers in the Midwestern United States (where I live) is between $16-$24 per 1/2 hour private lesson (rates may be different in your state or country). There are a handful of teachers that offer correspondence lessons for students who do not live in the same state or country as the teacher. Usually these lessons are less expensive in the long run (more about correspondence lesson programs later.) In general, don't look for the teacher with the lowest rates, you usually get what you pay for. If you can't afford to pay the higher rates for a really good teacher, ask the teacher if you can take lessons on a bi-monthly basis instead of taking weekly lessons.
5. Can you tell me how you teach the lessons? This is probably the most important question that you can ask a teacher. The answer to this question can really help you to determine if a teacher is competent because this is actually a trick question. Anyone can tell you that they have been teaching for 100 years and that they have had 10,000 students and the cost is $1,000 per lesson because they are the greatest teacher of all time, but an inexperienced teacher cannot trick you with his or her answer to this question (unless he or she is reading this article.) If a prospective teacher who does not know you, your musical knowledge, your guitar technique, your musical tastes, and your musical goals tries to explain how he or she will teach you, then this is not a competent teacher. Not even the best teacher on Earth could answer this question if that teacher knows nothing about you, your goals, your playing level, your knowledge of music theory, etc. So what would an experienced and competent teacher say to you when you ask the question? Well, I can tell you what I do when a new prospective student asks me this. I explain to him or her that I can't formulate a lesson plan for anyone until I learn a lot more about that student's playing, goals, musical tastes, knowledge of theory, etc. For my correspondence students (who I don't see face to face), I send them a long list of questions about everything that I need to know about their music background in order for me to know what is the best way for us to begin. I also encourage the student to send me a tape or CD of his or her playing with a variety of his or her playing on it so that I have a clearer picture of what areas need improvement. Obviously, for my private students (whom I do see face to face), I can simply ask the questions that I need answers to and I can hear the student play in front of me. Only after all of this, I (or any other teacher) can really know how to teach that individual student. It seems obvious that you shouldn't teach a 13-year-old-boy who has never played guitar before and wants to learn to play alternative rock the same way that you would teach a 27-year-old-man who has been playing for 16 years and wants to become a virtuoso in the style of Steve Vai or Yngwie Malmsteen.
In addition to asking the questions above, here are some other things to watch out for:
* When students ask how to approach a certain technique or how to hold the pick correctly or how to most effectively mute strings that are not supposed to be sounding, the advice of some teachers is to do whatever feels natural to you. Sometimes what you may think is the natural way to hold your left hand may not be the correct way at all. It is the teacher's job to know those types of things, the teacher should be teaching, not letting you do whatever you feel like. For most things, there is a right and wrong way and you will better off learning it the right way from the beginning.
* Just because a teacher may have some talented students, does not mean that the teacher is good. This might seem like a good criteria for evaluating a teacher, but the fact is that sometimes advanced students were already good players before taking lessons from this new teacher. The only time that judging a teacher's teaching skills, based on his or her student's playing skills, is really a reliable criteria is when those advanced students started taking lessons from the same teacher since they were beginners.
* Some teachers tell their students to try to learn from as many sources as possible and then leave it up to you to sort through it all and decide what works best for you. How are you supposed to decide that? How is a student to know what the best fingering is for a particular scale? Students typically won't know how to determine what the right way is. This is one of the reasons why you have a teacher, it is his or her job to teach you these things, this is why you are giving the teacher your money!
* Do not assume that someone is a good teacher just because he or she may be an excellent player or has good credentials. I know plenty of competent players with advanced music degrees that I don't believe are good teachers. I was fortunate to have some truly great teachers, but I had some incompetent ones too, along the way. Whenever I realized that a teacher wasn't good, I looked for a new teacher.
The following things are not required for someone to be a good teacher, but it certainly is to your advantage to have a teacher who, in addition to teaching you about guitar and music, can help you in some of these other ways:
1. Guitar Pedagogy. This is learning how to teach guitar. If one of your goals is to be a guitar / music teacher then you would benefit greatly from a teacher who can teach you how to teach a variety of techniques, music theory, ear training, song writing, improvisation, etc. You will also need to learn about how to deal with a wide variety of personality types. Every student is different and each of those students may learn and comprehend information in different ways. It is important for any teacher to understand this. You need to know how to explain the same information in several different ways so that you will be better able to teach all of your students well.
2. Recording advice. The better you become as a musician, the more likely it will be that you will want to record your guitar playing. If you have little or no experience in this area, then having someone who can help you is especially helpful.
3. Music business. If you plan to record, release and sell your own CD, now or in the future, there is a huge amount of music business information that you will need to learn if you want to make any money. Some teachers who have released their own CDs, and are promoting it themselves, can be the best source of help for selling your CD. You can also learn other things like how to set up gigs for your band and how to get the press to write about you.
So now that you have a better idea about what to look for in a teacher, the next question is, Where do you look for a really good teacher? This depends on if you are looking for a teacher to teach you privately (face to face) or if you are looking for a teacher to teach you through correspondence. Both are good and there are advantages to both ways.
If you are looking for a private teacher to teach you face to face, check out these places first: Contact the music department at universities and colleges near you. Even if they can't help you directly, they can usually refer you to someone who can help. Next, you can try your local music shops (where guitars are sold). Most music shops offer lessons, most of the teachers found here are not of the highest quality, but sometimes there are some really great teachers that you can find at these shops. When you call one of these shops, ask to speak to the manager or owner. Ask him or her, who are the most qualified teachers for you (your style of music and skill level). After you get the teachers names, make arrangements to speak to each of the teachers privately. Ask those teachers all of the questions that are written above. If you are not satisfied with any of those teachers, keep looking.
If you are looking for correspondence lessons, your search will be a little different (and these lessons are usually a little cheaper in the long run.) You can look on the internet for these types of teachers and you can also contact universities (in any part of the world.) The best thing about correspondence lessons is that you can take lessons from any teacher in the world (that teaches via correspondence)! What I would look for in a correspondence teacher is someone who has been doing this type of teaching for a while. Someone who always allows you to ask questions about your lesson via e-mail or telephone (for no additional charge!). I personally don't think that courses (like CD-ROM courses) are a good idea because then you really are not getting the private and individual instruction that is needed to learn in the most efficient way. Even though correspondence lessons are not face to face, the lessons should be personalized for you, your skill level, your musical knowledge, your style of music and your musical goals. Stay away from a one-size-fits-all method or the cookie-cutter style courses. Everyone is different and is at a different level, has different musical goals, likes different music, so the lessons (whether face to face or correspondence) should be tailored specifically to your needs.
After teaching guitar / music for over 11 years now, I can tell you that using the information above can really make a huge difference in finding an experienced high quality teacher. An incompetent teacher can severely hinder you ability to fully develop your guitar and music skills. If you are not progressing well, but you are spending a lot of time practicing, find another teacher.
Used by permission of Tom Hess
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Will expensive gear make you a better guitarist?
by Greg Michael
I wrote this article because this question comes up in very often conversations about guitar equipment. It’s addressed to all the people who can't afford to buy a signature guitar of their favourite guitarist, as well as for those who already have one.
When I was younger, I was very frustrated about my lack of quality gear. I thought that not having top notch equipment was stopping me from becoming a better musician. Back then, I didn’t' realize that great musicians make their gear sound great, not the other way around.
Of course, I didn't give up on the guitar because of that set back. Instead, I have been doing all what someone has to do in order to become an excellent musician. Since I couldn't afford to have a guitar amp with really good distortion, I was forced to imagine that my current amp was actually really good. Moreover, my amp was so cheap that it didn't even have reverb –so I just imagined that I have it. As a result, I worked very hard to get a good tone.
At that time, I was really crazy about Deep Purple and Rainbow (my biggest guitar hero ever is Ritchie Blackmore). In those bands, Blackmore used a tremolo bar, something I didn't have installed in my guitar (I had an ordinary fixed bridge). Instead of using a tremolo bar that wasn’t there, I tried to recreate those licks without it. As well, in my head, I imagined playing his licks if I did have a tremolo bar.
How did I benefit from not having all the gear I wanted? Because of my lack of gear, I managed to develop good articulation, as opposed to my mates who practiced only with distortion and effects (things that mask your errors). I developed my own original sound that they did not even think of or care about. They had multi effects with everything pre-set, so they could not be bothered to try to develop their own sound. As well, my speed increased since I was forced to pay more attention to what I was doing. Less distortion means you hear YOUR mistakes much better.
There is one more thing in addition to that- everybody always asked me what kind of guitar I had (my guitar didn't even have a brand-name on it!), and what pickups I used to get such a good tone etc. I realized why they asked me all those questions: People did not think about me as a person who plays well. Rather, they thought my equipment was responsible for all that.
The question is: Do you really need all that stuff to become a professional musician?
Do you think that only equipment will make YOU sound like YOUR idol?
Do you believe that all of the sudden your expensive equipment will be like magic touch that will convert you into a guitar hero?
My answer is no. As soon as you get your brand-new, EXTREMELY expensive guitar, you'll realise that not much has changed in your life. You still have the same problems you had before. Of course the instrument sounds better but that is all. Soon you'll become frustrated that it was not the main reason why you suck as a guitarist.
I am not saying to you to not to play top quality gear and go for a cheap stuff. Nothing like that. You should get the best stuff available once you can afford it.
By definition, it guarantees you good tone, good look and it will never let you down.
However, don’t take them for granted, as you will always find a black sheep among even the most expensive equipment.
I see many talented players having ordinary equipment but extraordinary skills and sound much better than the numbers of mediocre players with first class amps and guitars but have no skills and worse tone.
The punch line is not what your equipment can do for you, but what you can do for your equipment. I still own a guitar that I mentioned before and I believe that is the best instrument I have ever owned.
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Musical Frustration
Are you musically frustrated with yourself? Are you not the musician that you want to be? Or not as good as you could be or should be? Do you look with envy at other musicians who are doing what you wish you could be doing? Does reaching your musical goals seem out of reach?
I think just about everyone has had these thoughts go through their mind from time to time. Fortunately, you are not alone and there are things you can do to combat the negativity of frustration. Many of the great masters of music have been frustrated at times with their own musical abilities. I've provided four (4) examples from famous classical composers:
1. Ludwig von Beethoven (1770-1827) worked for long periods of time on his compositions before completing them. He revised his pieces over and over again, reworking them, doubting his original efforts. This was almost unheard of in Beethoven's time. Many of you may already know that Beethoven gradually became deaf later in his life. Because of this, Beethoven quit performing as a pianist in 1814 (13 years before his death). He stopped composing in 1815.
2. Johannes Brahms (1833-1897) was so frustrated with his composing abilities that he spent twenty-one (21) years composing his first symphony! He felt as if he could never compose a symphony as well as Beethoven. Brahms kept starting over with his symphony, revising it, abandoning it, starting over, reworking it, etc.
3. Gustav Mahler (1860-1911) (master of symphonies), revised his symphonies and other works after having doubts about what he had composed originally. Mahler kept revising his works until his death. It must have been frustrating to keep revising pieces that were already published.
4. Jean Sibelius (1865-1957) actually stopped composing for about 30 years because he felt that he had run out of new musical ideas. He doubted his abilities to compose anything worthwhile at the height of his popularity. He worked on new music for those 30 or so years, sketching his ideas during the day and throwing them away every time. That is some very serious frustration!
Beethoven began composing again in 1817. Many of his most important compositions are from this last period in his life. Beethoven broke new ground and had done things never before done in music once he began working again. Had he continued to let the frustrations of his deafness paralyze him musically, Beethoven would not be as highly regarded as he is to this day.
After the twenty-one (21) period of composing his first symphony, Brahms felt relieved. The shadow of Beethoven was lifted enough to allow Brahms to move forward. He finally found a way to move on and deal with his frustrations. He completed his next symphony in less than one year.
Frustration can be help you or hurt you depending on how you deal with it. As you can see, Beethoven and Brahms eventually found positive ways to deal with their frustration and overcame it. Unfortunately, Sibelius never did. He is perhaps the most extreme example of a person who let frustration destroy him musically. Sadly, he died without finishing any substantial music compositions during the last 30 years of his life!
When I was a teenager, some friends of mine (all guitar players) and I went to see Yngwie Malmsteen perform in Chicago. After the concert had finished, some of my friends made comments about how they felt depressed after hearing Yngwie and that they just wanted to quit playing guitar completely. We were all young and knew how much better Yngwie was as a musician than we were. The main difference between their reaction and mine was they let their awe for Yngwie frustrate them to the point of feeling hopeless in their efforts to become better players. Many of my friends stopped playing their guitars for several days, one of them actually did quit completely.
My reaction to the event was quite different. I used my awe for Yngwie as a massive positive inspiring force. I was so inspired that I went straight home and practiced through the night until I couldn't keep my eyes open any longer.
The point here is not to seek to avoid frustration, but to use it to your advantage. I have always turned my own musical frustrations as the biggest source of motivation. I was always looking for other players to jam with that were better than I was. Of course that was easy to do when I was a beginner and became increasingly more difficult over the years that followed. I got a lot out of those experiences.
In a past article I wrote on perseverance, I wrote of the importance of believing in yourself and not giving up. I don't want to be too redundant here, but those points are worth mentioning briefly again.
Too often players don't ever reach their own potential because they feel they couldn't measure up to other players or their own expectations. Why compare yourself to others. Does it really matter if you are, or are not, as good as someone else? Of course not. Music should not be thought of as a competitive sport. It is, and should be, an art. All that really matters is how well you are able to express yourself. Therefore the only question should be this: Do you currently have the skills to express yourself fully in music?
As much as I have never liked or respected Nirvana's singer/songwriter/guitarist Kurt Cobain, I must admit that he was able to express himself fairly well. Despite the fact that Kurt's musical skills were primitive and very limited, one could hear his personality come through his music. It didn't matter that he was not a good guitarist. It didn't matter that his knowledge of music theory was probably close to zero. It also didn't matter that he played out of tune and had an absolutely sloppy guitar technique. Fortunately for him, what he wanted to express didn't require any of the skills that most musicians generally consider to be good and necessary. Had Kurt wanted to express anything more significant or complex he would have been extremely frustrated because he didn't have a lot of musicianship skills beyond what could be heard in his music. So in the end, it worked out well for him and my guess is that he probably wasn't very frustrated with himself musically because he wasn't trying to be a better guitarist, songwriter or singer than anyone else. He didn't make those types of comparisons between himself and the rest of the music world.
This is, in my opinion, the only significant thing to that we can all follow. Of course Kurt Cobain's approach to not caring about those comparisons is certainly not a new idea, countless others before and after him have also done so. He is used here as an example because almost everyone during our time knows him.
In my own life, the thought of quitting guitar early on did occur in my mind (although never very seriously). As a teenager, I too was frustrated when I thought I may never become a virtuoso guitarist (like Yngwie or Jason Becker) and may never become a master composer (like Bach or Chopin). When I stopped trying to compete with everyone else and made new goals of self-expression, everything changed. I stopped making comparisons to other guitarists, composers and songwriters, because with my new goal, those comparisons did little or nothing to serve my new quest to simply express myself fully through music. I felt liberated from the burden of having to compete with the rest of the world. Beginning in the early 1990s, my only focus was on gaining more of the skills, tools, etc. that I would need to express what I had inside me.
In my case, what I want to express does require a high level of guitar and compositional virtuosity, musical complexity and integrity, etc. Because I need those skills, my journey to reach a higher level of musicianship has taken a lot more time, effort, studying, etc. than it did for someone like Kurt Cobain who had very different needs to express himself than mine.
Most musicians who will read this will have much greater musical ambitions than Kurt Cobain and so for you, you will feel frustrated whenever you feel limited by your abilities. The key is to use that as a positive force in the form of motivation and inspiration. Masters of all types of art have gone through what you are going through. Today you are at whatever skill level you are at. Through your frustration and motivation, you will eventually reach your current goals. As you reach those goals you will probably still feel frustrated because your desire to improve even further will make you establish new goals for yourself. And so the cycle will go on and on. But you too are progressing and improving on and on.
Used by permission of Tom Hess
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