|
|
|
Masterclass
- Take
A Breath, Listen To The Spaces - By Chris Standring
As jazz guitarists, there is a terrible tendency
for us to play a lot of notes, firstly because the genre historically
has given us permission to do so, and second, archtop jazz guitars
don't generally lend themselves to sustaining notes, so in order
to 'get over', guitarists fall into the trap of overplaying.
- Creative
Music Tools - Why Licks? Why Not?
- By Mark Stefani
Great lines (including bass) plus great progressions equals
great music. It's not all that unbelievable when you think about
it.
- Maintaining
Your Focus
- By Mark Stefani
What is a high priority goal as opposed to a low priority goal?
Ah, that's a very tough question, because it differs from player
to player, and is highly dependent on what stage you're already
at, and where you're trying to go with your music.
- How
To Avoid Musical Burn Out - By Tom Hess
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!
- Emotion
In Music - Passing The 'Soul Test' - By Mark Stefani
Self-expression. Feeling. Soul. These are just
three ways of describing the one most integral part of a musical
experience, and without these elements of emotion there's really
nothing of lasting significance in a performance. As I've said
many times in the past, it's so easy to get caught up in the
mental or physical side of what we do, but they're utterly meaningless
without the most important ingredient of all.
- How
To Develop Your Own Style Part 1 - By Tom Hess
Among musicians in general and guitar players
specifically, the approach that is commonly taken to being "original"
is often crippling, oppressing, unnatural. This is why so many
people only seem to struggle and become frustrated.
- How
To Develop Your Own Style Part 2
- By Tom Hess
Some musicians rely heavily on the crutch of their instrument
through improvising. While I do know that creating music in
this way is perfectly legitimate and can produce good results
in some situations, it is the most difficult process in which
we can hope to discover our own originality.
-
The
Pursuit Of Artistic Greatness
- By Tom Hess
The Pursuit of Artistic Greatness has been
among us for thousands of years, yet it has eluded most of
us. It seems almost impossible to pursue that which we can
hardly define.(artistic greatness). It's not surprising so
many people, who may possess all the potential they need,
still fall short because they didn't realize they already
possessed the single most important element. But what is it?
-
Thoughts
From A Robben Ford Masterclass - By Chris Standring
An artist becomes a truly great artist when
he or she is thinking about their own music and how to make
it unique. The struggle for an identifiable and distinctive
voice becomes the number one goal.
- Take
Command Over Your Instrument - By Chris Standring
"What do you really want to say musically?
Play a phrase and damn well mean it! Every note from beginning
to end!"
- How
To Seriously Improve Your Guitar Playing - By Chris
Standring
There are bedroom guitar players and there are
live performers. There doesn't seem to be anything in between.
The minute you walk on to a stage (whether you get paid or not)
you are a professional. You are in the business of entertaining
and displaying your wares, so to speak. And if you really want
to seriously get your guitar playing together it is the latter
you need to strive for in my opinion.
- Developing
Good 'Time' -
By Chris Standring
How
do we approach improving our 'time'? Well first, it is extremely
important that we are aware that it is one of the most important
aspects of music. At all levels, we need to work on this.
- Playing
With Conviction - By Chris Standring
Imagine you are in a club or even a concert hall.
Play a musical phrase and imagine that the people in the back
of the theater need to "feel" that phrase, just like
you mean to feel it. How would you do that?
- Building
A Relationship With Your Guitar By Chris Standring
To become a wonderful guitarist takes time. This
article addresses the idea that positive results often happen
in their own time and that we must let things ebb and flow,
just like a healthy relationship.
- Defining
the True Artist - Do You Have What It Takes?
By Chris Standring
Great artists are uniquely different from the
norm. But what makes those true greats really stand out from
the crowd? This article explains why real talent is so elusive
to many and what musicians need to focus on in order to reach
dizzying heights of success.
- Reaching
For The Soul Zone
By Chris Standring
That Zen like trancendental state is what all
serious searching musicians are striving for. The question is;
why is it not always possible to get there? This article answers
that question and presents some thoughts on the subject.
- The
Art Of Improvising Part 1 - By Mark Stefani
The focus for this trio of brief articles is improvisation.
My intention here is to offer something concrete in the way
of a solid game plan, underlining some of the more important
considerations along the way. As with any other kind of approach
philosophy, the main goal is to 'cut some fat' from your practice
schedule and help you streamline your efforts in becoming the
best soloist that you can.
- The
Art Of Improvising Part 2 - By Mark Stefani
Despite
my general disdain for the fact that so many players and teachers
overemphasize scale practice, I'd be the last person on earth
to suggest that you skip the notion of including them in your
improvising arsenal. But let's spend a few moments defining
the most important scales to know, and why.
- The
Art Of Improvising Part 3
- By Mark Stefani
Yes, I know. I've heard the line before.
Improvisation is all about being spontaneous and creating 'on
the fly.' A great soloist never repeats himself. Right? Well,
yes and no. While it's certainly true that you want to be spontaneous,
what you're really after is the ability to play well at the
same time.
- The
Secrets Of Transcribing Part 1 - By Mark Stefani
One of the biggest factors in successful transcription is familiarity
with either a style or an artist, so you may wish to choose
a project based on your desire to evolve within a certain style,
or your desire to absorb as much as you can from an artist that
you admire.
- The
Secrets Of Transcribing Part 2 -
By Mark Stefani
I'm not about to lie to you. There's inherently
a pretty high frustration factor involved with transcription,
sometimes to the degree where it keeps a player away from doing
it at all (which is a big mistake!).
- The
Secrets Of Transcribing Part 3
- By Mark Stefani
Don't even consider picking up your pencil until you can play
what you're going to attempt to notate. And by the way, use
a pencil (not a pen) with an "industrial strength" eraser. Accept
the fact that you're going to make a lot of mistakes until you
get good at this.
- Lost
In Time
- By Jamie Andreas
When you play your guitar, you must be able to
become "lost in time", lost in NOW. There must be no concern
for a future that takes your Attention out of the NOW.
- Learning
From The Masters
- By Aaron J. Weibe
In
October, I was able to get in touch with Pat Martino. He spends
a lot of time touring, so getting together with him took a few
tries. I have been well aware of Pat Martino for quite a long
time and I am well aware of his exceptional ability as a musician.
My lesson with him was on January 4th, 2007 at his home in Philadelphia.
Back
to articles index
|
Guitar
Lessons | Guitar Tabs
|
