Overcoming Plateaus: Tribute to the Old Adage of Playing for the Song

Plateaus are something we all deal with in our mutual quest to achieve guitar mastery.

Periodically there comes a point where we cease to see any discernable improvements in our playing.

Despite hours of practice, we find ourselves stuck in a rut, held back by the same old weaknesses and shortcomings in our playing.

Like all such hardships, such points are best viewed as a blessing in disguise. If nothing else, they force us to sit back and reflect on what we are doing, and where we have gone wrong in our approach.

When it comes to guitar playing, plateaus are often caused by our own failure to focus on the things that matter. Rather than focusing on the “song,” the “music” or the “sound,” we get caught up in all the externals. We want fame, fortune, money, girls, whatever.

In short-- most of us have moved on to Step B before mastering Step A.

Somewhere along the line all the externals have come to supersede the true purpose of playing an instrument – to create beautiful music.

Out of our desire for instant gratification, we end up cutting corners: we seek to play fast too soon, we get lazy, we noodle, we lose discipline and focus. We think we can get by with subpar material.

Unfortunately, while one might find temporary success with mediocrity, it is unlikely to be a viable long run option.

Many cynical players think that the music doesn’t matter, that it’s all about networking with friends and putting on a show. They ask: why focus on the internals (e.g., the quality of the music, one’s skills on the instrument, and the overall sound being produced) when we can have all the externals without having mastered the internals?

Unfortunately, once the gimmick has worn off, and people are sick of your image and style, people have already moved on to the next hip thing.

Once you are past the “college stage” where being in a band is just a fun excuse to get your social network out on the town mingling such a strategy is no longer viable. People get married, get serious in their careers, and abandon the whole party thing.

At such points, what determines those that go on from those that wither and drown is the presence of serious musical talent.

Eventually reach a fork in the road, at which point you will have to choose to either quit or seek to bring your chops to a professional level of quality.

There comes a point when there are no shortcuts – the house must be built on talent. This often requires rediscovering the real purpose of playing – to achieve technical and musical mastery.

Somewhere along the line most people lose sight of what matters: focusing on the music. Every second you focus your thoughts on the audience and the impression you are making on them, you take your attention away from the thing that is ultimately going to impact your audiences– your performance on the task at hand.

Paradoxically, when we focus solely on the music – not the impression we create on our audience, not how to get girls, not the next big party – we in fact impress a lot more, and in fact achieve all the external rewards we were looking for.

Cloud 9

It has been a while since I last recorded and posted a track, but I am back with what I feel is my finest cut yet.



Once again a diversity of influences come together to create a delightful musical experience, that has no precedent on the modern rock guitar.

Cloud 9 sees a blend of my trademark classically influenced guitar style with the heavy bottom end of nu metal, the melodicism of Gothenburg death metal scene, the stately drum beats of Lady Gaga, all topped off with blazing shred guitar licks.

The song traverses a number of musical modes including the Mixolydian, Phrygian and Ionian modes.

Compared to earlier tunes, Club Shred and Into the Night, Cloud 9 showcases the legato technique. After some dreamy atmospheric lines at 3:09, the listener is smashed upside the head with some ripping arpeggios and Final Fantasy-esque melodies, which culminate in a descending scalar passage, splitting at 3:44 into a descending chromatic scale harmonized in diminished intervals. This passage fluidly transitions back into the Ionian mode for an Eddie Van Halen style licks, two-hand tapping, and finally, an ascending legato lick a la Joe Satriani, which spans the entire fingerboard.

Enjoy!

Achieving Perfect Guitar Technique by Focusing on Tonal Quality

A problematic tendency exhibited by many developing players is to focus on technique rather than the quality of the sound being emitted from the instrument. 

It is a common misconception that focusing directly on the physical motions involved in playing is the best way to improve technique, and by extension, the quality of one’s overall tone.

It is especially easy for intermediate level players to think that the key to improving their chops is to mull over every minor detail of physical technique -- for example, the angle at which the pick strikes the string, the position of the right hand, whether to anchor palm of the bridge, etc.

They become so wrapped up in bodily processes that they become so self-conscious that their playing in fact becomes worse.  

They make more mistakes – their playing becomes, tense, sloppy and uneven. 

This rigid way of approaching learning is typical of traditional music education.  It is thought that by making conscious the mechanics of proper technique these habits will eventually become ingrained and automatic.   

This approach is appropriate in the early stages of playing.  However, at the intermediate to advanced stages -- when the basics should have already been acquired -- over focus on physical mechanics short circuits the mind-body feedback loop that occurs when one focuses exclusively on tonal quality and adjusts physical technique in order to achieve the desired aesthetic results.

While self-awareness is perhaps the most distinguishing feature of human intelligence it is possible for it to be increased to a maladaptive level.  When self-awareness is abnormally high, it can lead to nervousness, anxiety and tension. 

Translated to guitar playing (and perhaps most other aspects of life) this means a relative inability to act with confidence.  We become so self-conscious that we begin to fumble around and make mistakes, being preoccupied with what our hands are doing and what the audience is thinking.   

In reality, a far more efficient means it to focus predominantly on the quality of the tone, and letting this guide the physical motions. 

Typically, players think in the reverse.  They think that by focusing on the physical they can control to the quality of the tone.  In reality, by focusing on the quality of the tone, they are actually giving the body all the instructions it needs to achieve perfect technique -- as well as perfect tone.   

That said, next time you pick up your axe, try conducting a little experiment: 

Instead of focusing on your hands, close your eyes and focus on the sound being emitted from the instrument.  Play slowly, for example, a basic major or minor scale.  Then, while maintaining focus on tonal quality, adjust your playing technique until you notice an improvement in overall sound.  Make sure every note rings clearly.  Noise should be reduced to as low a level as possible.  You might try loosening your wrist, or softening your picking technique. 

Once you have attained a more refined sound, observe what your hands are doing.  It is likely that that the physical mechanics you have just discovered represent those that should become your standard playing technique.  By running this exercise routinely, you should eventually gain valuable insight into how to advance your chops to a whole new level.

Learning Classical Guitar: The Key to Insane Shred Chops?

In the spirit of all guitarists’ mutual quest in becoming better players I share my experience with the one factor that led to the most drastic improvement in my guitar playing: the disciplined study of classical guitar.

Surprisingly, most of my formal studies on the guitar have been in the area of classical guitar rather than electric.  And no, I’m not talking about just learning classical pieces on electric as you might have guessed if you’ve seen my Youtube videos.   I’m talking the "real" classical guitar here, nylon strings, long finger nails and all. 

Each time I went out and took lessons with a classical guitar instructor -- almost completely neglecting the electric in the process -- I found myself coming back to the electric a far more seasoned, confident, relaxed, faster, better, player.  The electric guitar just seemed easier after the experience. 

The reason is simple: classical guitar is far more difficult, physically, cognitively, and spiritually to play. 

Benefits to the Left Hand

The left hand improves tremendously just due to the extra strength required to fret notes and chords and do the stretches involved in classical pieces.  This much should be obvious. 

Look at Chris Broderick of Megadeth, for instance, who has a Bachelor’s degree in guitar performance.  This guy studied classical guitar formally and now is famous for executing some of the most insane “piano-like” tapping on the electric guitar, which requires the utmost strength in the left hand.   You’ll notice his technique is flawless: very relaxed with his left-hand pinky glued to the fingerboard.  Although Broderick is not much of an alternate picker from most indications, his left hand strength and dexterity has done more than its fair share in boosting him to stardom in the shred community. 

Benefits to the Right Hand

Even better, one may not think so, but the strength gained in the right hand actually transfers into playing electric with a pick.  I believe this is due to the fact that picking technique on electric actually engages the fingers, as well as the wrist – despite the fact that most tend to think of alternate picking as nearly entirely coming from the wrist.  The fingers often act as stabilizing muscles when alternate picking, and when playing slower are often directly engaged in the motion for many players.    

This ability for right hand skills in the one style to transfer into the other, I find only works from classical to electric and not vice versa.  Being able to use the plectrum typically does little to make one good at finger picking.

Global Meta- Cognitive Skill

Finally, the classical guitar requires tremendous cognitive effort to play.  There is more coordination required in the right hand, as well as the left hand.  Extra meta-cognitive and meta-physiological effort is required to maintain a relaxed state and achieve good tone, with consistency and clarity. 

After going through all this extra exertion when studying classical for a while you will find that the electric becomes easy by comparison. 

Conclusion:

Given the above, you might consider putting down your electric, getting a classical, enrolling in some lessons, and only playing electric when you need to practice or perform with/for your rock band.  Give it a try: it’s like running with a parachute.

Must Read:

How to Improve you Chops Part II: Playing to Perfection

The Quick Ways to Improve your Shred Chops

Solo Artistry: A Better Business Model for Guitarists?

As part of my now long-running series documenting my journey to becoming a full-fledged solo artist, I now seek to provide some thoughts on the benefits of becoming a solo artist over-and-above the traditional band thing.

Reservations about the “Band Thing”

Typically, the band thing is considered to be the standard of making it as a guitarist in the music business.  After all, that is how most people do it and the whole sex drugs and rock-and-roll thing is just too alluring for many to pass by (and in fact these days this is largely a myth; more on this in a future post).

Nonetheless, after several band experiences under my belt, I’ve been left underwhelmed overall.  It seems that bands typically end up being a very short run endeavor.  Inevitably, people quit, relocate, move on to other things, e.g., work, family, the “mainstream” lifestyle.

Once the band meets its demise, all the content the band created together becomes a relic of the past.  Unless the band achieved fame, they are forgotten.  The initial investment of time, energy and money comes to naught, only serving to keep the memory of prior days still alive.

Let’s face it, the music industry is changing; in the days of YouTube, iTunes, and other online media, a greater share of revenue is generated online through advertising, mp3 downloads and the like. 

While touring is still a money maker, most bands simply aren’t going to reclaim their initial investment.  Strong followings are hard to build up at a local level.  Touring to convert new people into fans is a slow and arduous process. 

Assuming the band lasts long enough to recoup their initial investment, they have probably been locked into some corporate scheme to which they essentially become slaves.  Then life becomes truly about generating income through touring and merchandising.  And once everyone takes their cut, and then profits are divided four ways, one gets to become a "Working Class Rockstar". 

If the band splits, then the investment is lost and haunting debts may very well have accumulated.

I still can't get over hearing about how Chuck Shuldinger of Death, perhaps the biggest name in death metal died of a brain tumor, all because he did not have health insurance.  While it's possible Chuck just didn't buy health insurance because he didn't think it was important, I'm guessing it's because he couldn't afford it. 

Quite simply, there has got to be a better business model. 

Benefits of Becoming an Independent Solo Artist

Trends in the industry suggest that the ideal business model is changing, with social media marketing taking center stage.  Look at the massive success of Rebecca Black.   On an initial $2,000 or so investment, she may very well have cashed in over a million bucks.  The song was catchy, albeit, cheesy and simplistic, and of course, the lyrics were god awful.  However, everyone could relate to it since everyone has experienced the relief one feels on a “Friday”.  Her vocal quality may have been poor and auto-tuned, but at least it was original and “interesting.”

That said, the business model is changing, people are interested in seeing independent artists.  The notion that anyone can "be a celebrity" with the advent of Youtube has enraptured the public and people are looking to these outlets for entertainment.  People see these everyday folks getting famous and they like it because it suggests they could to. 

From my own experience, Youtube views saw a manifold increase when I finally ditched the band mates and tried writing stuff to be played by me alone.  I'm sure most my views come from people around the globe, but  in many respects impact is impact. 

By just improving my craft, and getting better at promoting, a decent critical mass could perhaps be met.  People rarely check out local bands on Youtube.  Quite simply, they are impossible to find in search results.

I can tell you, I see the following benefits of this business model:

•  I own full rights to all my material.
• When playing live, the solo artist retains 100% of the payout from the venue.
• The solo artist doesn’t need to share the spotlight with others.
• No more more dealing with petty ego’s and other band drama.
• Investing in myself rather than some ephemeral “group” means I can capitalize on my music throughout the duration of my own lifetime.
• Greater potential for long-run growth in revenue since the same project will likely be in existence much longer.
•  The status of “Guru” in the community.

Benefits of “Band” Format

I’m sure I could think of many more reasons, but you get the idea.  Of course, there are the downfalls. 

• The social aspects of being in a “band” can be a lot of fun.
• Band members provide reciprocal motivation for the other members and exert quality controls.
•  Band members can stimulate you to think in different ways, and bring good ideas to the table.
•  Role differentiation takes the pressure off any single member.  More efficient when each only has to worry about his or her own part in the mix.
•  Networking easier since more members can bring more faces into the venue.

That said, there are pros and cons to each.  However, economically, it appears to be in one’s better financial interest to do the solo artist thing.  As any business man could tell you, in the long run, operating in deficit is a recipe for going belly up. 

Anyway, just some thoughts.  Feel free to leave a comment and discuss!

MUST READ:
How to Become a Solo Artist: Backing Tracks

Becoming a Solo Artist: Lessons Learned

Drum Machines: They are Better than a Metronome

How to Promote Yourself as a Solo Artist

The Local Music Scene: Quickly Becoming One Big Circus?

So I've been fascinated by this DVD documentary, called Working Class Rockstar.  They make some interesting points about the state of the contemporary music scene/industry.

In the clip below Frank Marino is talking about how it always used to be that live music events would be referred to as "concerts" but now they are referred to as "shows". 

Apparently, the quality of the music has deteriorated so much that it is no longer about the art, rather image has taken over.

It just got me thinking about how these days it seems I never go to a local music show just for the music -- rather, something else seems to draw me out to these events. 

The typical event featuring small local artists tends to follow this formula:

• A large number of acts featured on a single bill, often ranging from 5 to 9; necessary to maximize revenue for venue. 
• None of the acts present originality to any real degree; current trends reproduced in caricatured form.
• Bar is set low talent-wise; ability to play in time is the bare minimum; virtuosity rare to non-existent.
• Audience consists primarily of friends of the band, and the friends of those friends. 
• Fans of each band show little interest in other bands on bill; often leave venue after “their” band plays.
• Fans’ motivations for coming lies in being part of the “scene;” partying, people watching, alcohol use is the norm.
• Attention seeking one-upmanship behavior on part of the bands; goal is to look more "pro" than other artists on bill.

That said, what is the allure of these shows?  Why do people insist on going to see a big smelly pile of dog crap wrapped in a fancy package?  Doesn’t it just seem like it’s all, well, one big circus? 

And that’s just it -- perhaps the allure of these shows lies in that there entertainment value is similar to that of the real circus.  Consider the following similarities:

• Sweaty, shirtless men jumping around and banging their heads like animals. 
• A noisy crowd of onlookers seeking a good laugh at another’s expense.
• Large pieces of equipment being wheeled in and out of the venues onto a tour bus every night.
• Subjects dehumanized, stage persona becomes true self.

It seems pretty clear cut, although perhaps not a perfect analogy.  But in all reality, when examining this situation structurally, it appears that just having the bands set their instruments aside and bang their chests on stage would work just as well.  But then again, perhaps we should keep those around – after all, maybe one day the music will come back.

How to Promote Yourself as a Solo Artist (for Guitarists)

In many ways it is easier to get recognized as a solo artist than it is for a band to get recognized since we live in an individualist culture and tend to be more captivated by the confidence it takes to get up there and put on a show all by one’s self.

Quite simply, solo artists stand out from the crowd.

Of course, no matter how much one stands out, it takes a lot of hard work in promoting yourself if you are ever going to make a name for yourself.

Promoting yourself as a guitar solo artist is really no different than promoting your self in a band situation.

I find the following to work quite well:

First you will want to start a Facebook, Youtube, Reverbnation, and perhaps, a Blogger account.

Facebook:

Facebook will serve as you primary hub where you develop a set of “fans” or followers, post announcements, and refer your fans to your other sites as updates come available.

Most of your followers will go first to your Facebook page before any of your other sites. Thus, it will be important to post any updates to your other sites on your facebook wall (e.g. Blogger posts, Youtube Videos, etc).

Youtube:

Obviously, Youtube will be the place to upload videos of you performing live. You can also upload studio recordings with an image still in place of video.

You will want to sync your Youtube account to your Facebook page so that each time you upload a video, it will post to your Facebook wall. Your fans can then view your video, “like” your video, post comments etc.

Youtube is also provides a handy means of tracking your total impact through view counts. 

Compared with other sites, Youtube is able to screen out fake views, and thus, Youtube view counts provide a better indicator of your total impact around the globe.

Also, since Youtube is a search engine, your content will gain exposure outside your local area. Thus, it Youtube can help facilitate long run growth, should you decide to tour outside your area and bring your shred chops on the road. 

You can also put a link in your description to itunes downloads in order to expand your revenue stream.

Reverbnation:

Reverbnation now uses the tag line “tools for artists” to describe the services offered by their site. Thus, Reverbnation will fuel your Facebook and Blogger pages with gadgets (e.g. playlists, show schedules).

You probably don’t want people to access your Reverbnation page directly, but you will be able to add a “My Band” gadget to your Facebook account that lets your fans view the tracks you upload to Reverbnation by proxy. This gadget also contains show schedules, so your fans can stay up-to-date on when you are playing live in their area.

Blogger

Finally, Blogger is a tool that is obviously meant for Blogging. While Blogger is currently not popular among aspiring bands and artists, I am convinced that it is a must have, especially now that MySpace is dead.

Since Facebook doesn’t have a “blog” function Blogger will come to some use when you need to communicate a more in-depth message to your fans (e.g., commentary on shows, a tour diary, a recording diary).

Just set your Blogger account to feed your posts into Facebook and your fans can easily click over to your blogger account.

Reverbnation also works well with Blogger and will let your post video and song widgets to your blog page.

Finally, the BEST reason why every band or guitar solo artist should have a blogger account: the prospect of monetizing your blog through Google Adsense and earning additional revenue on your labors as a band or solo artist.

Since band pages often draw a lot of direct, relevant traffic, chances are that you will be able to earn some revenue as your fans access your blogger page.

In any case, whether you see income through Adsense or not, Blogger, in conjunction with Facebook, provides an excellent means of creating a personal connection with your audience.

Grass Roots

Finally, the most important thing: play live shows and play them often.

People will see you live and then look you up on the web. When they stumble across a well-structured network of social media (see above) they are all the more likely to get involved with you and your project.

Another great part about playing shows is that often times local journalists will be around and will automatically write articles on you simply because they need content.

When you get more established, contact small local media outlets for interviews and reviews.

Even later, make an album and a press kit, with nice photos. After you have professional quality audio tracks, it will be time to monetize these by putting them on itunes and other download formats.

MUST READ:

Solo Artistry: A Better Business Model for Guitarists?

How to Become a Solo Artist: Backing Tracks

Becoming a Solo Artist: Lessons Learned

Drum Machines: They are Better than a Metronome