In the past I have talked about ‘Why having a teacher is better than self-teaching' but this of course is really no good if we do not find the right tutor. Often when looking for a tutor to teach us how to sing or play a musical instrument we go for the quickest, closest and cheapest option but, by doing so we might really be short changing ourselves in terms our our learning, development and enjoyment of the instrument. So in this weeks blog I will be looking at helping you to find the right tutor.
1)The right tutor v the best tutor
Now there are certainly good tutors and bad tutors out there and the experience and ability of a tutor is certainly important however, what is arguably more important is finding the right tutor for you. But what do I mean by the right tutor? We all, having been through school, may remember an occasion where we loved a teacher that our peers did not or where our peers loved a teacher that we were not huge fans of ourselves. This happens not because either our peers or ourselves are wrong in our opinion of the teacher’s ability but because as individuals we all respond and connect differently to different kinds of people, teaching styles and teaching materials. It is therefore worth considering a number of things to be able to find the right tutor. These are: What do you need? Cost, Specialisms, Experience and Locality.
2)Work out what you need
The first key consideration to finding the right tutor is working out your needs. By working out your needs it is much easier to find a tutor that fits you best. So what are you needs? Well there are three key things that I would definitely consider when it comes to your needs and they are as follows…
First is your ability. If you are a beginner, then finding a tutor who specialises in beginner instrumentalists. If you are an intermediate or advanced player, then you will need someone who is higher than your current ability and is used to teaching higher ability players.
The next area to consider are your aspirations. The importance of this can vary depending on your ability, a beginner might not need to worry as much about having a tutor who specialises in the area they aspire to develop in but for intermediate and advanced players having a specialist is vital. For example, if you want to become a free flowing jazz trumpet player, then it is no use having a trumpet tutor who specialises in classical music. So work out what your goals and aspirations are as a musician and look out for tutors who can help you attain those goals and aspirations.
Age and Gender
Most tutors are used to teaching a wide range of age and gender groups however, that is not to say this is not worth considering especially for those who are parents of teenagers and children. You may want to consider if the tutor has a full DBS (Criminal Record Check), Safeguarding training and experience teaching children at the age of your child. For women as well it can help bring peace of mind to be taught by another woman so it is something that is worth considering.
Admittedly in an ideal world this would not be a factor and for some lucky folks out there it is not however, for many of us budgets can be a huge constraining factor that has to be considered. Now it maybe tempting to go out and find the cheapest tutor that your money can buy, after all the costs of a tutor can add up very quickly and it can be very tempting to aim to keep those costs down. However, it is worth considering that finding a good tutor will always be worth more than any single piece of gear you will ever buy. After all, an instrument is no good if it does not have a player to play it and as a player it is important that you get the most out of yourself and to do that you need a good tutor and good tutors often require a considerable investment.
The first thing I will say is try to stretch out your budget and pay as much as you possibly can, the next thing to consider is other plausible ways to help stretch and increase your budget further. Maybe you would benefit more from shorter lessons that are about half an hour in length, or maybe instead of having one lesson a week think of having a lesson once every 2 weeks. I myself do this by having only one highly intense guitar lesson a month and one vocal lesson every two weeks so that I can afford more expensive lessons from more specialist tutors. By using these tips, you can limit the effect of this somewhat annoying constraining factor in paying for decent tuition.
Different tutors will specialise in different areas and it is definitely key to make sure their specialism meet up with your personal aspirations. So in your research and discussions with tutors find out if the tutor can meet your personal goals and needs and do not limit the specialism to solely genre’s and musical styles; also consider what you want to do with the instrument, would you like to play live, do you want to learn how to read music, how to improvise, write songs, record and produce music, maybe you want to even go as far as learning multiple instruments, all these are specialisms that are worth considering and looking out for in prospective tutors.
The experience of a tutor is not to be undervalued. There are two areas of experience to consider: firstly, their experience with the instrument itself: Have they played what you want to play? if you want to write have they written music? have they played shows? How long have they played for and what is their professional experience? These areas will allow you to see if the tutor matches your current ability and your aspirations. The next area of experience to consider is their teaching experience. Teaching experience is arguably more important than instrumental experience. Many say that ‘those who cannot do, teach’; What makes this saying completely inaccurate is that teaching in and of itself is a specialist skill. It is all well and good that a tutor has played all the styles under the sun, has written hundreds of tunes and has toured the world, these aspects cannot be underestimated, but teaching is a completely different skill that requires a lot of time, dedication and trial and error to develop. A tutor’s ability to adapt to, create materials for and to troubleshoot the problems for each pupil is largely down to the teaching experience of the tutor itself.
Locality of the tutor is also important. Firstly, consider whether you want to learn with a tutor in person or whether you are willing to learn over the internet via video chats such as skype. There are benefits to learning in person that just cannot be replicated over a skype such as having the ability for a tutor physical move around in 3D space to show you different things or to analyse your playing. However, learning in person can have its problems to, namely travel. Sometime it is a case of weighing up the other factors over their locality. If you can find someone who you can meet in person that meets your other needs, then that is great but sometimes the better option is skyping with a specialist simply because they are the only ones available to offer the knowledge you need.
Now that you worked out what your needs, the next step is finding that holy grail: the right tutor. It is well worth taking the time to dig deep and research properly. Sometimes the right tutor may not be on the first page of google and sometimes exploring other sites can turn up better options. So when researching search everywhere. Look up your local tutors on Google and do not just look at the first page, dig a little deep and see what options turn up on page 2, 3, 4 and maybe even 5. Find websites geared towards tutors; in the UK sites like First Tutors, Music Teachers, Gumtree, Music Singing Lessons, tutorful, superprof and Yell can turn out a number of options that you may not have come across with an initial google search. Also go and visit your local music shop and see what they have to offer; many music shops have their own in house tutors that are worth looking into. Ask your friends and family both in person and on social media to see if word of mouth can turn out any suggestions. And finally do not be afraid to email, message, text or call prospective tutors to see what information they can offer you. By spending a little extra time gaining as much information as possible and whittling down your options to one or a few possible tutors you stand a much better chance of finding the right tutor.
6)Don’t be afraid to try a few tutors
Finally, do you not feel that because you have had one lesson you will have to stick with them. If the tutor does not meet your standards or seem to click with you are after a few lessons, then try another. Maybe, if you have a few different tutors that have stood out to you from your research then give them all a go and see which one stands out to you. After all, research can certainly help you find possible tutors, but nothing is like an actual lesson to find out if the tutor is right for you. Now it is worth considering that one lesson on its own might not be enough to evaluate a tutor, after all it takes a little time for a tutor to get to know you to and adjust their teaching style accordingly so be willing to accept that it might take a few a lessons for you to find out that tutor really is not for you, but I would say the key thing is to trust your gut.
Hopefully by considering all the thoughts, ideas and steps in this guide you can find the tutor that is the perfect fit for you and even if you cannot quite find the right fit you can manage to find a tutor that is much better equipped to fit your needs and goals than if you just picked the first tutor you found on google. By taking a little bit of extra time and following the steps laid out I am sure you will find the perfect tutor to help you either begin or guide you in the next steps of your musical journey.
For many normal people, art is seen as a leisure activity. Whether it is taking photographs on the weekend or playing a musical instrument in the evenings, artistic pursuits are seen as something people do for fun and this is broadly true. A huge problem with this viewpoint comes when it is applied those who work in artistic fields. People boldly assume that the job they do must be fun all the time and with this assumption comes the idea that the work of professional artists must easy and yet nothing could be further from the truth. Of course, full-time artists usually love their work and of course many of them do their work because they find it fun and because they receive huge amounts of joy from their work. But to assume that this means that they find their work fun for every second of every minute of every day would be wildly inaccurate and to then assume that this work is easy ranges even further into the realms of fantasy.
The first key difference to distinguish is between the joy that someone gets from their work and from the fun people have doing their work. I can tell you from my own experience that I have spent hours working hard whilst bored out of my mind trying to achieve a task. But just because I am not having fun does not mean I am not receiving joy from the work I am doing. Some might ask: ‘how can this be the case?’. Well imagine a musician spending hours going over the same few notes, trying to nail the timing, pitch, rhythm and articulation of a particular musical phrase, or a photographer spending hours with the same photograph trying to get the right balance of colour to make the photo pop the way they picture it in their head. Such tasks can become boring and monotonous very quickly and can honestly drive you crazy: the complete opposite of fun, but when the musician finally nails that musical phrase or the photographer gets the photo to look just the right way, the joy one receives is one of the most complete feelings of satisfaction that one will ever feel.
What many do not realise about art is that it is a struggle and a compulsion; even artists who create art for leisure know this. Art it is not always fun, in fact for the most part it is a challenge and a compulsive itch that needs to be scratched. As described before artists may spend hours trying the get the details of their work just right and many may wonder why people would do this to themselves, what drives them to spend hours of their life splitting hairs over extremely small details to the point where the task at hand becomes blindingly boring. Well many artists including myself will talk about how we do not do these things is search of excitement, we do not do it simply for the potential joy that comes when we achieve the set task, we do it because not doing it bothers us, because something deep inside us drives us mad with the thought of not achieving what we set out to do, we do it to feed a compulsion.
Of course another aspect that differs professional artists from those of artists who peruse their work solely for leisure is that professional artists have little choice about how and when they can do their work. If we wish to ensure that we can pay our bills, cover our costs, gain a reputation of someone who meets deadlines set by clients and survive then we need to work even when we do not feel like it. Compare this to those who do art solely for leisure. If they are not feeling like sitting down and painting, or do not want to go out and take photographs or are no mood to practice today then they there is nothing to force them to do so; they have no other commitments except to themselves. With such a stark contrast you can begin to see why the work of a professional artist is not always fun and how sometimes it can be a grind like any other job.
Now do not get me wrong, I am not complaining about the struggles and strife’s that we have face as artists. At the end of the day I would not have it any other way, I love my work, I realise how lucky I am to be able to do it and I would not change a thing about it. I only raise these struggles and hardships to point out to others that being a professional artist is not all fun and games, that our work faces hardships and struggles like any other job and that working in the arts is not as easy as it might seem.
Last week I laid out a guide for those who wish to teach themselves guitar, laying out the steps required to master all the necessary fundamentals of the instrument. As someone who was for many years a self-taught guitar player, I understand the value of having a path to follow to help guide you through your playing as I myself struggled for many years without one. I also understand the importance of having a teacher to help guide you through the learning process. Of course music tuition is expensive and for many is out of reach; however, if you can afford it, it is worth every penny and in this weeks blog I will layout the reasons why.
Now, before I begin it is worth understanding the value of having the right tutor. What is the right tutor you may ask? This topic alone could be the subject of entire blog post, however, I will cover two key aspects that should be considered. One, is the tutor any good? Like any profession there are tutors who are excellent at their job, some who are mediocre and others who are terrible. To ensure you find a good tutor it is worth asking around amongst friends about their tutors, reading up on reviews and maybe even trying a few different tutors to see who fits your needs best. Two, does the tutor specialise in what you want to learn? If you want to learn classical, it is no use having a tutor who only plays rock, if you wish to learn rock, it is no use having a tutor who only plays Jazz; Find a tutor who shares the expertise in your desired field. Though price may be part of your consideration, a good tutor is worth the investment. Do not skimp out on a tutor if you feel they are the best fit for you.
Now that you understand the importance of the right tutor we can ask: Why should we have a tutor in the first place? The first is the simple fact that a tutor will be able to act as your guide. Learning a musical instrument is a journey that can follow a lot of different roads and paths, some of those paths can prove fruitful in your development, whilst others will result in you going round in circles with little to no progress. A good tutor has already walked these; they may have got lost in some of those circles themselves while others may have had their own guide to show them the way. The important thing is that you have someone who can guide you step by step through the trials and tribulations of playing, someone who can ensure that every detail of your playing is worked through and developed effectively, with little to no time spent getting lost.
The next thing a tutor can do is to help identify and correct your mistakes. Mistakes are nothing to be ashamed of, they are part of the journey of learning, however, it is important to have them pointed out and corrected before they become habits. When teaching yourself, while you will be able to notice some mistakes, you are unlikely to spot them all. A tutor can spot every mistake, likely because they or other students they have taught have made them, and they will be able to give advice and encouragement to help address and correct your mistakes.
Not only can tutors identify your mistakes but they will help you correct those mistakes by giving you a wide range of exercises and techniques tailor made to you. Imagine two people who are ill, one person attempts to identify their illness online and tries to treat it themselves whilst the other goes to a doctor who prescribes a suitable treatment. The person who researches the illness themselves may well find a suitable treatment, but they are more likely to make a mistake than a doctor who possess the necessary expertise to prescribe the correct treatment. Now take into account that there are numerous types of illnesses and ailments, each requires a different course of treatment which can again vary depending on if the person suffering the illness is a man or a woman, old or young, healthy or unhealthy. Like different patients require different treatments for different illnesses no two players are alike and whilst one player will require one set of exercises and practice routines to address their problems another player will require completely different set. A good tutor, like a doctor, possesses the necessary knowledge and expertise to prescribe the correct exercises and practice routines depending on the player.
The next biggest advantage of having a tutor is the companionship they can offer. Though many accept and know that learning a musical instrument is hard and requires a lot of time and dedication, no one can know the experience like a person who has gone through it themselves. There will be times when learning can be a real struggle, when you will hate your instrument, where you feel like you fighting the instrument, sometimes there will be times where you have spent so long trying to learn something you will wonder if you will ever manage to play it. A tutor knows exactly what that experience is like, they themselves will have gone through those feelings on many occasions and they will know how to get through that experience and out the other side. Sometimes just knowing that can be enough to help you through the struggle, sometimes they can offer advice to guide you through the struggle and sometimes they will just remind you that if you keep at it, you will achieve what you set out for.
In short, whilst teaching yourself a musical instrument is perfectly possible, investing in a good tutor can help guide you through the process, shape your learning to your specific needs and can ensure that you will develop much quicker than if you go it alone. Whilst for some, like myself in my early days of playing, will have no choice but to go it alone, it is always better to have a tutor to guide you. If you can invest in them, they can do more for your sound than any single piece of gear could.
Teaching yourself guitar can be a daunting task, without someone to guide you through the instruments necessary skills and techniques it is very easy to get lost. The easiest way to avoid this is by getting a guitar tutor; you will not only get guidance on what to learn next but will have someone to point out your mistakes and help you in correcting those mistakes. However, guitar tuition is not cheap and being one of those people who could not afford lessons I had to circumnavigate the world of guitar with little more than a variety of different online learning materials and books. What I wish I had then was a simple guide to point towards which basics I should have learnt to become a guitar player instead of two years of experimentation and mistakes. So this week I have done just that, what follows are the essential steps required to pick up the basics of guitar. Some of the steps will take little more than a few minutes to learn, some will take weeks to accomplish but, these steps can serve as a good guide through the basics of playing guitar.
1: Learn the parts of the guitar
A simple and easy step but none the less important. By learning the different parts of the guitar you can become familiar with how it works and can therefore understand how to play it. A guitar has three sections…
-Headstock: The is the top of the guitar where you will find the tuning pegs and nut
-Neck: This is the part the guitar which right handed players hold with there left hand
-Body: This is the part of the guitar which on an electric houses the pick ups and controls and on the acoustic allows the sound from the strings to resonate.
Each section of the guitar has different parts that do different jobs…
-Strings: You will find the thickest and lowest pitched string at the top of the guitar and the thinnest and highest pitched strings on the bottom of the guitar. Going from the top string to the bottom the strings are the following notes.
E A D G B E
This can remembered using the following Acronym…
Eat All Day Get Big Easy
-Tuning Pegs: Here is where you tighten or loosen the guitar so each string can achieve the correct pitch. To increase the pitch of the string turn the tuning peg anti-clockwise, to lower the pitch of the string turn the tuning peg clockwise. To help you do this properly use a guitar tuner, you will find many are available on your phone’s app store.
-Nut: This is where the strings rest over at the headstock and helps keep the strings at the correct height.
-Frets: These are the metal bars you will find running across the top of the neck. By pushing the string down onto these you will change the pitch of the string.
-Sound hole: This allows the sound produced from a vibrating string to enter, resonate, amplify and escape the body of an acoustic guitar.
-Pickups: Found on an electric guitar, they turn the vibration of the strings into an electric signal which can travel down a cable and be amplified.
-Bridge: This is where the strings rest over the body and helps keep the strings at the correct height.
-Volume and Tone Controls: From here you can change the tone or loudness of the electric signal by turning the knobs.
-Pickup Selector: This is a switch on electric guitars where you can pick which pickup or combination of pickups you are going to use to get slightly different tones and timbre’s from your instrument.
2: How to hold a plectrum and guitar
To many this would seem like the simplest step and in many ways it is however, not learning and mastering this step correctly can have serious consequences for your playing and can result in injury in the long run. To get a basic guide on how to hold the guitar follow this link. Despite this step being simple many people still do it incorrectly. This is probably due to their being multiple ways to hold the instrument however, there are some very clear things that you should avoid when learning how to hold a guitar…
1. Do not grip the neck of a guitar like you would a sword. You want to hold the neck lightly, just enough to support its weight, with you thumb in the middle of the neck.
2. You do not want to bend the wrist of the hand that is on the neck too much. This can result in a lot of tension and potentially cause injury.
3. You will want to hold the plectrum between you thumb and index finger, firmly enough that you are unlikely to drop it but lightly enough that it gives slightly when you hit a string or strum.
4.You want to be very relaxed when holding the instrument. If you feel any tension or you are having to strain to achieve something you are either need to relax or you are holding the instrument incorrectly. If you feel any pain, stop playing immediately; I repeat…
IF YOU FEEL ANY PAIN STOP PLAYING IMMEDIATELY…
Stop, do some research and diagnose what you are doing wrong so you can correct your mistakes.
3: Learn how to read tab and practice tabs
Learning tab can serve as a useful tool for learning riffs, solos, unusual chord patterns and are great for beginners as they will allow you to become familiar with the sound and layout of the guitar. Tabs are made up of 6 lines. The lowest line is the thickest string at the top of the Guitar, the low E string, the line next to that is the A string and so on until we reach the top line representing the thinnest string on the bottom of the Guitar, the high E.
We read the tab from left to right and whenever we see a number on one of the lines we play that number fret on that string on the guitar, 0 represents open strings. So if we saw a 3 on the third line from the top we would know that the tab is telling us to push down on the third fret of the G string and to pluck it.
Tab does not depict rhythm so you will have to make sure you pick tablature that is representing songs that you can find recordings of. For further information on how to read tab follow this link. And for some easy tabs to get you started click here.
4: Learn the notes of the chromatic scale and apply it to the fretboard
This is the first step in understanding the underlying theory that forms music. By knowing the notes of the chromatic scale you will know all the notes and you will be able to communicate more easily with other musicians should you choose to perform with other players. The chromatic scale is made up of 12 notes in a given octave (what is an octave? read on, you will find out). The Chromatic Scale is read like so…
C C#/D♭ D D#/E♭ E F F#/G♭ G G#/A♭ A A#/B♭ B C
As you can see the scale goes from C to C. After it has reached the next C the scale repeats itself, however when you hear the scale repeat you will hear that the notes are much higher in pitch; this is because you are playing the same notes but an octave above. As you can see some of the notes have either # or ♭ symbol next to them. # represents sharp notes and can be found on the note above a normal letter, for example the note above C is C#. ♭ represent flat notes can be found on the note below a normal letter, for example the note below D is D♭. Now it is worth noting that the notes between the normal letters are exactly the same, we just happen to have two names for it, for example the note between C and D could be called C# or D♭. You will find these sharps and flats between all the notes except for B and C, and E and F.
So how do these notes apply to the fretboard of the guitar. Well every time we climb up one note on the Chromatic scale we go up the scale by what is known as a semitone. Every fret you climb on the guitar also climbs a semitone. Knowing this, we can start with the notes of the open strings and with every fret ascend up the neck, we climb one note (or one semitone) up the chromatic scale.
5: Learn G, Em, C and D chords and song using these chords
Chords are when you play three or more strings on the guitar at the same time. By learning chords you can begin to play songs. You may have heard that most songs in popular music rely on 4 simple chords. By learning these chords, you will be able to play a large range of songs. The chords are…
G, Em, C and D.
You can find a guide to these chords here. These chords are known as open chords; they are known as such because the chords have open strings in them. Now the key to learning and getting good at changing these chords is patience, chords will seem very hard at first but if you practice them everyday making sure that each note rings out nicely and then you can practice changing between chords.
You will find that some songs are in a different to these chords despite instructions saying that these are the chords you use. This is likely because the same chords are being used however, they are being played in a different key. This is where a Capo comes in. A Capo essentially acts as a moveable nut raising the tuning of your guitar by a set amount depending on what fret you place it on. You should see an instruction telling you which fret to place the Capo on and then you treat where the Capo is as an open string, the fret one up from the Capo as the 1st fret as so on.
6: Learn Am, A, E Dm and songs using these chords
So now that you have learnt these basic open chords it is time to learn the other basic major and minor open chords. By learning these you will have opened a number of other songs that use these. Again like the previous chords you can change their key by using a Capo. Once again these will be challenging and will require patience and dedication. Here are the shapes of these chords and here is a long list of songs that use these chords.
7: Learn sus chords and songs using these chords
Sus stands for Suspension. These can be used to help spice up your chord progressions by adding a small amount of tension to a simple Minor or Major chord. So for example if you are playing A you could play an Asus4 before moving to the A. You will find many basic songs will use Sus chords in this way. So what Sus chords should you learn…
Csus4, Dsus4, Dsus2, Esus4, Esus2, Gsus4, Asus4, Asus2
You can find a link to the shapes of these chords here.
8: 7th chords
The final set of open chords you should open your eyes to are 7th chords. These are slightly different to the previous chords you have learnt so far. Where as the previous chords only use 3 notes, 7th chords use 4. This add a little extra spice and timbre to the ordinary chord. The three 7th chord types that you should learn as a beginner are the Major 7th chord, the Minor 7th Chord and the Dominant 7th chord. The Major and Minor 7th chords are very similar to their smaller brothers the Major and Minor chord however they sound a little lusher, bright and full. The Dominant 7th is a very different beast. The Dominant 7 chord is at its heart a Major chord however, the new note added to creates a feeling of tension, this makes the new chord great for adding tension to chord progressions.
-For a link to open Major 7 chords click here
-For a link to open Minor 7 chords click here
-For a link to open Dominant 7 chords click here
9: The Major, Minor and Pentatonic Scales
Now that you can play a few tabs and are familiar with all the basic chords it is time to learn some scales. Scales are the building blocks from which we base music, create melodies and makes chords, believe it not you are probably already familiar with one already. The major scale is often sung like so…
Do, Ray, Me, Fa, So, La, Ti, Do
By learning these scales, you can begin to see how some of the tabs you have played were formed and can start to come up with your own melodies and play your own solos. Start by learning the scale shapes and then try finding different ways to practice these scales: Try singing the scales as you play them to ingrain them into your mind, try ascending the scales in sets of threes, fours, try ascending by skipping notes, there are endless way to practice them. By doing this you will ingrain the scale and its sound into your brain and this is very useful for later in your playing.
-To learn basic scales click here
-For different ways to practice these scales click here
10: Learn barre chords
This for many beginners is a mark of their move onto intermediate playing techniques. By learning barre chords you begin to open up the entire fretboard for your playing, you will be able to play the basic chords to the vast majority of songs in popular music and you will have mastered a technique used in across a lot of different playing styles. A barre essentially allows you to play some basic open chord shapes across such as E, Em, A and Am anywhere on the fretboard. By placing one finger across all the strings you can essentially create a moveable nut and change root of the said chord. It will also open up the ability to play a bunch chords which may have seemed elusive up until now such as F, Gm, B, and Bmin. So how do you learn to play these chords. They essentially require two stages, the first is learning to barre across all the strings. You will want to practice barring the all the strings from the high E to the low E across any fret of choice and have every note ring out. Once you have mastered this you can try mastering the E barre chord shape at the first fret for an F chord and the A barre chord shape at the second fret for a B chord. Again like chords this will require a lot patience, dedication and diligent practice but with that you can master these shapes. To learn these shapes click here.
Most professional artists whether they be musicians, graphic designers, videographers or one of the many other artistic professionals have faced some clients or friends expecting the fruits of our labour for free or for a discount either because they believe our work is not worth the investment or they believe that they can offer something of non-financial value in exchange. I am sure to most individuals, the fact that people like this exist can seem unbelievable but they do, in fact it is common enough that the idea of clients asking for work in exchange for ‘exposure’ has become a meme amongst working artists. So why does this attitude exist and for the few of you who wonder what artists are complaining about, why is our work valuable?
The first problem is down to how we view work in society. Work is seen as something that we would not do in our spare time. Sure some people enjoy their work and find it fulfilling but our society holds onto the idea that jobs should not be seen as a hobby. For many, work is seen as a dull necessity; we work for 8 hours before coming home and trying our best to forget how miserable we are from the hours dealing with customers, filling in spreadsheets or making phone calls. In short work is somewhere to sacrifice our time and energy in exchange for money. The problem with this view of work is that activities that are seen as hobbies like creating a piece of art or music do not fit this idea of work. People believe that work is not meant to be fun, it is meant to be a sacrifice, how can someone who does their hobby for work make any sacrifices?
This idea is rooted in the major misunderstanding that creativity is fun and work should not be. The first major misunderstanding here is the idea that working in the creative arts is always fun, if you ask any creative professional if they love their work 99% will say yes, if you ask any creative professional if they always find their work fun then you will probably find 1% giving the same answer. Yes, we love our work, yes sometimes it is fun, but the two are not one and the same. Musicians have to learn songs they hate, graphic designers have to make designs they detest, photographers have to stand around for hours waiting for the right moment for the perfect shot. The second misunderstanding is that work and fun are polar opposites. In my experience this anything but the case, plenty of people find their work fun and there is nothing wrong with that.
Another problem is the capitalistic view of work. The idea that work fits within the structure of supply and demand. Lots of people play musical instruments so why should someone pay for a band when your next door neighbour has a cover band that played at your barbeque last year. This demonstrates the huge misunderstanding of what it means to be a professional artist. Sure there nothing stopping you from using your next door neighbours band for your event, it will definitely save you money, there is no doubt about that; but if you want a band with tried and tested experience, a large set list of 100+ songs, who are perfectly in synch with one another, sound amazing and know how to whip up the crowd then you are going to want professionals with the skills, knowledge and equipment to do it.
There is a big misunderstanding about what goes on behind the scenes and the time it takes to produce an artistic work. People see what is often many hours of work and assume it took a lot less time. Photography is the perfect example of this. Many assume that a photograph is made in second with a click of a button but this is far from the case. A photographer will often have to scout the location they are shooting to get an idea of the best places from which to take photos. On the day of the shoot they will have to run and direct others involved to get the shots required and after the shoot they will have go through and organise all the shots before picking and editing a number of the photos. This mismatch between people’s perception of the work involved and the actual amount of work involved does not only apply to photography but to some extent applies to all creative arts.
People tend to forget that artists usually do not work for companies but are freelancers who run and operate as a sole trading business. When you pay an artist you are not just paying for their time, you are paying for all the other overhead costs associated with their work. The equipment, software, studio space, travel costs, association membership, insurance, professional development and venue costs are all overheads that have to be taken into account when running any business. So before scoffing at the price offered by a professional artist bare this in mind.
Many also forget to take into account the skill involved in creative arts. We think that what these people do is a lot easier than it actually is. To get to a level where you are doing a creative art professionally requires thousands of hours of practice and study, many creative professionals possess university degrees and there are a considerable number who also possess a post-graduate education. They have spent hours toiling over their craft, rarely make mistakes because they have made them all and have learnt from them, they have had other masters of the art form show them the advanced skills and have worked on countless projects. Remember, when you pay a professional you are paying someone for their unique skillset, a skillset that cannot be attained within the space of an afternoon.
In short, yes many of the skills that professional artists have are hobbies, yes we love our art form, yes if you really wanted you could get a friend to do it for free. But realise if you want someone who has the expertise, the experience, the skills and the equipment to do work for you then do not expect that work to be free, you pay a good price and in return you will get a good product.
The album, for decades, was the cornerstone of recorded music. Often when people talk about great music, they will often talk about it in the context of the album. Think of the likes of Sgt. Peppers Lonely Club Hearts Band, the Darkside of the Moon, Rumours and Rio. We not only appreciate the artistry of each individual song on those albums but the artistry and harmoniousness of the album as a whole. However, with the drop in music sales over the years and more and more people consuming single tracks through streaming playlists the question is beginning to be asked: Is the Album Dead and what does this mean for Artists?
If you ask most people what an album is, they are likely to reply with an answer something to akin to, ‘a CD, Vinyl or Cassette containing around 50-60 minutes or 8-12 songs of music’ but how did this become the standard length of an album. The album came to be in 1948 when Columbia Records began producing 12-inch vinyl discs referred to as LPs (for Long Play). Each side could hold 23 minutes of music. This gave artists and labels the chance to sell multiple songs, or songs of much longer length than before all on one disc. Artists used to only be able to record songs up to 3 minutes in length as this was roughly the amount of time available on one side of the 10-inch discs that pre-dated the LP. It was the length of the LP that resulted in the album as we know it.
Artists sold albums for the second half of the 20th century, its use evolved over time with some artists using them as a way to collate a number of singles, whilst some used it to record performances too long to fit on a single and others even began to tie the music together with a core concept giving rise to the concept album. The album played a huge roll with the growth of the music industry in the 20th century with consistent growth in album based sales from $1.3 billion in 1973 to the all time high of $13.9 billion in 2000 (1). However, that is where the strength of the album began to wane, sales of albums have since fallen to $1.6 billion in 2018 (1), some may argue that focusing on such figures does not tell the whole story and they would not be wrong after all singles on traditional formats like Vinyl, Cassette and CD have also seen a huge drop in revenue from their peak of $441.8 million in 1997 to $5.5 million in 2018 (1); however this ignores the huge growth of singles when you take into account downloads which peaked in 2012 at $1.6 billion (1) and the movement of consumers towards streaming services with streaming accounting for 74.9% of industry revenue in 2018 (1) and most consumers who stream, stream playlists and singles as shown in a 2016 Music Biz consumer report that found that 77% of listeners preferred to listen to playlists or singles (3).
So is the Album dead? I certainly would not say so, it is much more like an old person who despite everyone expecting their demise some time in the near future simply clings on to life and that may not be all that surprising, albums are still a great way for artists to assemble a collection of songs and the album in itself has become a unique creative artform which I do not think will ever fully disappear. There is also growth in the sales of more traditional formats such Vinyl and Cassettes with Vinyl Sales up by 12% in 2018 and Cassettes growing by 19% in the same year (4) (5) suggesting that these formats are becoming valued collectors items. However, we do have to accept that albums will unlikely hold the same place they once did in our everyday lives.
For many, myself included, the fact that the Album is not as important as it once was may be disappointing. This is the case both as musicians and consumers. As musicians, we have grown up with the Album as a mark and milestone of success and though in many ways the Album still represents this, its lack of effectiveness in promoting us as artists means creating a single album for release can in the end be a very large waste of time and money with an album unlikely to create that much more buzz around an artist than a single would. So instead of creating that buzz for one album only for interest to wane after a short period, take each song on the album and release a song a month. As a result, the buzz of each song can build on the buzz of the previous releases helping to create momentum for you as an artist. You can then even re-release the songs on an album after the release of all your songs.
As consumers, there is something nice and tangible about owning a physical album. Having music in your hands can give you a connection with an artist, sitting with a CD, Cassette or Vinyl, listening to the music whilst scanning over every feature in the artwork can be a highly unique experience that does seem to be going to way of the dodo. Add onto this what an album can add musically that a single cannot and you can really begin to understand the disappointment of some consumers that the album is not what it once was. However, it is not all doom and gloom. The album may no longer be the bastion of the music industry but physical formats are still available and there are bands out there still making music with the album in mind. King Gizzard and The Lizard Wizard are a perfect example having created numerous albums that utilize the strength of the format as well as Kevin Parker of Tame Impala who has evolved his sound uniquely for each album.
So the album may not be what it once was and that is ok, it does not have to be and just because it is not what is once was, does not mean it will disappear fully or that it will not continue to evolve, you will just have to hunt a little harder to find them.
There is no doubt that learning to play and continually developing new skills on a musical instrument is hard. It requires hours of dedication and diligent practice, however despite this many musicians, including myself, have fallen into the trap of practicing in a very ineffective way. In this weeks blog I try and address those ineffective methods and provide useful tips that I personal wish I had heard a lot earlier.
One of the biggest mistakes that musicians make when it comes to practicing is practicing without purpose. They decide to practice whatever they feel like in the moment, they learn half a song one day and then try developing technique the next. This approach will lead to little development and will result in the player having a large number of half learnt skills. This is why it is important to have specific goals in mind to inform your practice routines. It is well worth using the acronym SMART to help inform your goal setting.
Create a Structured Practice Routine
Setting yourself goals is certainly important when it comes to developing effective practice, however setting goals is no good if you then practice aimlessly. It is therefore important that you come up with a set number of tasks and exercises that you will do in your practice session that will work you towards your goal.
For example, if one of your goals is to play a certain lick or sequence faster you would create an exercise such as playing the sequence to a metronome at a very slow speed and over a number of practice sessions you will gradually increase the speed of the metronome. You will come up with a number of these for each of your goals. Some goals may only require one exercise whilst others may require a few different exercises. Once you have laid out your exercises you can then look at how long you would like to practice for each day and then divide the practice session into set periods to tackle each area. So if you had a 1-hour practice session and 4 different exercises, you would divide up the practice session into 15 minute chunks. The key now is to stick to that plan until you have achieved your desired goal.
A common mistake many musicians make when it comes to practice is not practicing regularly enough. Some aspiring musicians will believe that if they do one marathon 4-hour practice session a week that they will improve quickly. This is far from the case. We learn new skills through our brain’s ability to create neural pathways, once a neural pathway is created it can be fired to allow the quick and unconscious execution of the skill. These pathways develop much quicker from more regular shorter practice sessions. Doing a marathon practice session only once a week may result in you seeing gains within the practice session but by the next practice session the skills you will have learnt will likely be forgotten. It is much better to practice every day for 10 minutes than to do long irregular sessions, so if you have not already, start building the habit with a regular short practice session; If you want to do longer practice sessions, slowly increase the length of your practice session over time to help maintain the habit.
Practicing music can be a very intensive task that requires high levels of concentration for long periods. However, our ability to focus on tasks can diminish over a period of time and can therefore effect our ability to make sufficient gains in our playing. This is due to to an effect called Vigilance Decrement where over time the brain dedicates less cerebral resources to a particular task (more information here). This effect is particularly true for those who are doing very long practice sessions that are well over an hour in length. Taking breaks can help offset Vigilance Decrement whilst allowing our brains to absorb the information from the exercises you have been working on. After a short break you can start practicing again fully refreshed with your full attention.
When we play we often find that we a focussing on a lot of things, the movement of our bodies, what we are about to play, what is going on with the music, staying in time and many more. With that in mind it is not surprising that some of the finer details of the sound and technique of our playing might go unnoticed.
So what is the best way to get around this problem? Record yourself playing. Buy doing this you will be able to hear any problems with pitch, rhythm and tone without the distractions that comes with playing. It is even better if you can record yourself with a video as being able to see you’re the elements you use to play your instrument such your hands, arms, feet and face can help you to diagnose problems with your technique that might be holding you back.
Once you have identified problems with your playing you can then make adjustments to your goals and practice to help address these problems.
Use a Metronome
For a tool that many proficient musicians see as vital to one’s ability to play well it surprising just how often some musicians completely forget to use of even avoid the use of a metronome. Some musicians hold the false belief that metronomes will result in a lack of feel, and though a metronome has a boring, lifeless and a somewhat annoying sound this could not be further from the truth. Music relies the musicians being in synch with one another whilst playing with a regular time and a consistent groove and as simple as it is, a metronome is the best way to develop this skill. Metronomes are also a vital tool for helping instrumentalists develop speed. It is important to use a metronome wherever possible; there are of course occasions where using a metronome is not important, say for example you are playing to a backing track or you are trying to nail the fingering to a particular piece without having to be tied to a rhythm, but for the most part a metronome is your best friend and an amazing tool.
Degrees are a qualification held highly by society. Often seen as the ticket to a good life with a good salary, a degree requires a lot of hard work and dedication creating a qualification with a lot of respect and prestige. However, in recent years a number of elements have lead many to ask ‘Is a degree really worth it’. This question is even more prevalent in creative fields such as music. With large increases in tuition fees and the increased availability of other education tools through the internet it is easy to see why such a question is being posed now more than ever.
The main argument that comes up against degrees is due to their increased cost. In the UK degrees used to be free with living costs being supported through grants. This meant that degrees used to present little to no financial risk but those days are now long gone. In 1998 the Labour Government introduced tuition fees charging £1000 per year for tuition; this has since increased under the Conservatives in 2012 to £9000 and later £9250. Across the pond, in the USA, the story is even grimmer with the top Universities charging as much $59,000 in tuition. With such high costs with what is often seen as little return, it is easy to see why many would see degrees as overpriced and not worth the financial risk. Add this in with the fact that the Music Industry itself rarely requires, looks at or even bothers worrying about a person’s level of formal education then the costs begin to look even more exorbitant.
The Music industry looks at number of key aspects when it comes to the employability of an individual, for example: can the person play/perform/produce/mix to the standard required, is the person reliable and does the person have equipment needed. Other factors that play a role in someone getting a gig include the people the person knows and other areas of value that the person can bring to the gig, for example if the individual owns a PA system that a band can use for their shows. Very quickly you begin to see that access into the music industry has very little to do with the piece of paper a degree offers and more to do with who you know, what you know and the other areas of value an individual can bring to the gig. The only area within the music industry where this does not apply is within education where a degree can be useful, however, even then it is not required for all teaching work.
Another main problem is simply due to the fact that in the modern day we do not require a university to learn a lot of the skills required to become a professional musician. Universities once used to offer fairly exclusive centres of learning. If you wanted to learn the broad range of knowledge and skills required to work in the music industry you either needed access to high level one on one tutor and a rich and varied music scene or a University. This is no longer the case; we now have access to wealth of music to transcribe as well numerous tutorials, lessons and learning tools all through the tap of a keyboard and a touch of a button. If we want to learn from a teacher on top of what we learn from online resources then we are no longer restricted to the best teacher in our local area, we can get lessons from which ever master we wish to learn from through the power of Skype. With such availability of tools then why pay large sums of money to learn the same things when you could use that money for arguably more effective online lessons?
With all this in mind is there really any point in bothering with a University education? I honestly believe there is, but what they can offer does not fit what we traditionally value from degrees and the unique advantages they have may not be obvious to those looking from the outside. Before contemporary music degrees became common place, getting into the industry relied very heavily on who you know and as a result you either got into the music industry through a teacher/tutor, a band member or from getting know people at local jam nights. Now in many ways very little has changed. Getting into the music industry still relies very heavily on who you know, however, what Universities have done is expand the space for us to network and opened up other gates of entry for future musicians. The people who you learn and play with, as well the teachers who teach you at University can be the people that will get you the paid gigs that you are after in the future.
University also offer the chance for someone to completely immerse themselves in music. From classes, to the social interactions, having people exposing each other to music they otherwise would have never have heard of, getting the chance to play a variety of styles and genres, to having living costs covered freeing up time for practice, jamming, attending gigs, to the chance to experiment and try new ideas and concepts. It is an opportunity and experience you will not get anywhere else quite as easily as you can get it at University.
A side of University that cannot be underestimated is the social opportunities it offers. Music is for the most part a social art form, it often relies on collaboration for its production and learning the skills required to interact and collaborate with other musicians and artists is not something that can be taught on an online forum. They are skills crafted through hours in practice rooms with others. There are also plenty of opportunities to learn through the social connections formed with a Universities faculty, it is only really in places of higher education that you can end up having a good conversation with your tutors outside of class on a whole range of topics and in those conversations you sometimes learn a lot more than you do in the class room.
University will also introduce you to many new ideas, concepts, approaches, artists and musical styles that you otherwise would not have tried. Before I personally went to University I was only really interested in Rock and Metal, I only played Guitar and I only wrote the music to songs, by the time I had completed my degree I had developed a passion for Blues, Jazz and Funk as well as a taste for Soul and R&B, I was writing both music and lyrics, I had become a fairly well developed producer and I was even experimenting with vocals, keys and bass. I had also become familiar with many other musical genres, tried my hand at percussion and even composed a few pieces for a variety of ensembles. In my years of study, I learnt and tried so much more than I ever could have done on my own, in my bedroom, taking a guitar lesson once a week.
It is also worth noting that there are some weaknesses from learning and developing solely from one on one tuition and online materials. As already covered these include the social elements, the exposure to other genres, musical ideas and approaches and the exposure to other areas of music making. Typically, when learning from a single tutor we are only able to be exposed to the ideas of that particular tutor. Even if the tutor is a highly proficient musician, this is still only one set of ideas about how to approach music. Within a University, you will be exposed to many highly proficient tutors, across a number of disciplines, all with different areas of expertise and all with different ideas on how to approach music. Many of the most important lessons I learnt came from tutors who played instruments different from mine. This is something you are unlikely to come across outside of centres of formal education such as University.
Though the power of the piece of paper that is a music degree is arguably severely diminished when compared to other more formal degrees, it still holds power. It can be used to get the all important teaching job that can pay the bills for you as a musician and can open up options for you to explore other career paths. You can use them to gain access to higher level roles in other industries, jobs in the music business at labels, publishing houses, promoters, management companies and booking agents, you can qualify as a school teacher, go into post graduate education and develop a career in academia or even requalify at Masters level in a different field all together, the options are endless. A degree can still open many doors, but maybe not the ones you would expect.
In short, you do not need the piece of paper a degree is written on to become a successful musician, writer or producer in the industry, and at no point in time was a degree ever needed. But that does not mean that they are worthless, the value of any degree is not in piece of paper at the end, it is the skills, abilities, ideas, concepts and acquaintances you make along the way. Now that does not mean choosing to do a degree is a decision to be taken lightly: for many a degree is not the right choice, maybe you already have the insights, values, ideas, concepts, skills and connections required to craft a successful career in the music industry without it; however, do not assume that it is worthless and weigh up the decision of doing a degree on the strengths and weaknesses it offers you as an individual.
Creativity: it is something some people believe they do not possess and could never do; to others it is something that they are so full of they can barely contain it within the bounds of there own bodies, to them creativity is something that shines constantly and brightly within them. We all have different experiences with creativity but I feel that we too often look at creativity in completely the wrong way. We often look on it as skill that someone simply possesses, they either have it or they do not. Some will even argue that those who do possess such talent, for the most part, are only able to apply this skill to one or two areas in which they are gifted. I personally do not believe this to be the case. I believe that creativity is a muscle and to get good at it, it is a muscle that requires exercising and it is a muscle that anyone and everyone can develop.
So why do people believe they are unable to create? I believe this mainly down to individuals having unrealistic expectations around what they can do and what they should be able to do. What we often forget is those who have become talented creative individuals, whether they are artists, writers, film makers, actors or musicians, have often been creating for many years whether entirely in their chosen discipline or even across others. We forget that they may well have started that spark as children or young adolescents. These people were not simply just formed that way. They would have spent many years creating bad pieces of art to get where they are and yet I feel too often, people who do not see themselves as creative often expect themselves to suddenly be able to create great pieces of work. With such unrealistic expectations you can see why people may find themselves unable to create.
Childhood is a time of endless creativity: Colouring books, arts and crafts, inventing games, playing, drawing and painting, creativity is everywhere in a child’s life and yet we forget that compared the work of creative professionals the creative results often made by Children are objectively awful in comparison. Why do we forget that? Because we do not hold children to the same rigorous standards of adults and yet we hold adults who may have not created anything since childhood to the same standards when in reality we should be freeing those people of judgement and be encouraging through a period of experimentation and self-discovery whilst making sure that we let them know not to hold themselves to such standards. Only true freedom and experimentation can give rise to the development of taste and by doing so the creative muscle can be exercised.
Another problem that people face when it comes to creativity is around pre-conceived notions that some forms of creativity are more legitimate than others. It is in many ways unsurprising that we have these notions, after all we hold the masters of certain creative forms such as musicians, songwriters, authors, poets, painters and sculptors, among others, up as people to admire and of high social status. But there are loads of ways to be creative outside of that, dressmaking, tailoring, patchwork, knitting, house crafts, carpentry, gardening, just to name a few, just because you find joy in developing your creativity outside of the usual art forms does not make your form of creativity inferior. One of the most important aspects of creativity is finding the creative form that you identify with most and through which you feel you can express yourself. Try not get tied up in more traditional art-forms simply because you think that is what you have to be to be creative when in reality you may prefer and enjoy something unconventional much more.
Another notion I wish to challenge is the idea that we are only able develop our creativity within one or two art forms. Now this idea may hold true if you wish to actually become a master of one art form, after all time is precious and to become highly exceptional in one form of art takes hundreds, if not thousands of hours of work and practice. However, most people who take part in a creative art are not looking to become masters, so why restrict yourself to one skill if you want to learn a number of them. Each art form will develop different skills and ways of thinking that can compliment the other forms. I personally spend most of my time crafting my skills in my primary creative area which is music, however, I do not limit myself solely to this. Part of the reason I write this Blog is to help develop my writing, I have recently started to explore film making and in the past I have drawn, painted and written poetry and short stories. I do not expect to become as good at writing and film making as I am at playing guitar, song writing and music production but I enjoy it and am learning numerous new ways of approaching art and thinking that I have already seen have an impact in how I approach problems both in my music and my life.
So why am I placing so much emphasis of developing one’s creativity? Well the ability to think and approach life creatively is a skill that is vitally important to so many roles and yet it is one of the most undervalued skills. Albert Einstein once said ‘The true sign of intelligence is not knowledge but imagination’. Knowledge can only tell what is already known, it is imagination and creative thinking that helps us find and discover the new. Art has many roles in society but it can be argued that one of its most important is to act as the Gym in which we develop our creativity. So do not undervalue Creativity and do not leave it as an un-flexed muscle. Your ability to think creatively and outside the box will stand you in good stead in all other areas of your life.
So many people when they start playing guitar approach it believing a number of ideas that are simply not true. They may have heard these rumours from friends or family who have never played guitar before, or they may have heard these ideas from people who have played guitar for years, they may have even just assumed some of these myths were the case. Myths however can be damaging; they can put new players in a position that makes the guitar less exciting, enjoyable and engaging. They can be discouraging or act as unsubstantiated excuses when the learning gets tough and at their worst they can threaten to cause injury. That is why in this weeks blog I am challenging the ‘Common Myths Beginner Guitarists Believe’ and in its place I am offering the best advice I can give.
Myth 1: You must start on an Acoustic Guitar
There are number of reasons why people buy into this idea. Some believe that you need the higher tension strings to help build up strength whilst others believe that you master the skills needed for all Guitar playing on Acoustic before transferring it to an electric. This could not be more false; in fact, I will often advise pupils to start on an Electric or Classical guitar.
Though you can certainly start learning on an Acoustic there is one key problem it causes many new players: the increased likelihood of injury. Imagine if you went to the gym to start lifting weights, you would not start on the heaviest weights possible, you would find it really difficult to lift them with good form and if you could lift them at all you would be putting yourself at risk of injury. Instead you would start with a light weight and over time and number of training sessions build yourself up to the heavier weights. Guitar is very similar and though a beginner guitarist could start on an Acoustic, if they have the correct instruction to ensure they maintain good form, it is not always the best approach.
Another problem is due to the simple fact that you cannot learn all the techniques to master all kinds of guitar playing on a single type instrument. You cannot learn techniques used on electric guitars such as bending and vibrato on an acoustic and likewise you cannot use percussion techniques on an electric.
So what is my advice for beginner guitarist? Start on the type of guitar that inspired you to play. If your heroes include the likes of Jimi Hendrix, Slash, John Petrucci or Kurt Cobain start on an Electric. If you are more into Ed Sheeran, Mike Dawes or Bob Dylan then start on Acoustic or if you possess weaker fingers maybe a classical. By doing this you not only ensure that you decrease the chance of injury but you also gain the added motivation from being able to play what you wanted to play all along, after all there will be times that you are going to need that motivation.
Myth 2: I’m not Talented enough to Play
In a way I addressed this myth in my Blog: ‘I’m not talented, I just work hard’ but I think the point needs to be reiterated: Playing guitar is hard work and only a small amount can be owed to talent if any! Why am I reiterating this point? Well I have often come across people who try guitar for a few weeks and give up early because they could not play the chords to an entire song in that amount of time or pupils who have only tried the instrument for a few weeks and were somehow expecting to play like Ed Sheeren in that time. What were these people’s response to their predicament? “I’m not talented enough to play guitar”. I can tell you these people could not be more wrong.
Since the article, I have come up with a new theory as why people say such a statement. I believe it is statement that helps to protect an individual’s Ego; it is much easier for them suggest that their inability to play is down to some innate thing that they cannot change and not down to lack of hard work. So let me say this once and for all, Playing guitar is hard, it takes time and consistent, diligent practice; if you find out that you do not want to spend your time and effort learning guitar, that is fine, I have no problem with that, you do you the best you can, but do not blame your unwillingness to learn on lack of talent when in reality it is lack of time practiced.
Myth 3: The amount of time you have been playing dictates your skill level
This in many ways links back to my previous point that somehow the time someone has spent playing directly correlates with a player’s skill level. Now there is a grain of truth to this, sure if you are practicing regularly the more time you spend playing the better you will be however it is far from a direct correlation. There are some people who have played guitar for two years that are much better than those who have played for five and there are people who have played for five years that better than those who have played for fifteen years and vice versa. At the end of the day, it comes down to how often and how dedicated you are to practice that will dictate your progress, not the amount of time you have been playing.
Myth 4: You should start on a cheap guitar
To a certain extent there is some sound logic behind this thinking. After all, if you want to see if the guitar is for you but you are not yet one hundred percent dedicated to playing, why invest a large amount of money if you are only going to end giving up the instrument a little further down the line. The problem is, is that most very cheap guitars come in a state that makes them very difficult to play and you will either need to shell out money for a good set-up or risk being put off playing guitar by the instrument itself and not necessarily your actual interest.
Now of course there are ways to get around the investment risk. First, ask a friend if you can borrow their guitar while you try a few lessons, or ask a tutor if you can take lessons using one of their guitars. Most tutors will happily let you use their instruments whilst they teach you and many close friends will happily let you borrow a spare instrument for practice. Doing this means you can get a feel for the guitar and decide if learning to play is something you want to dedicate you time a money to and when you do you can spend a bit more money on a decent lower-mid priced instrument.
The second option is to spend more money on a higher grade instrument. As a general rule, the more you spend on an instrument, the less value it looses over time, in fact vintage and limited edition Gibson and Fender guitars will often show an increase in worth over time. Of course the problem with this is that it requires a much larger upfront investment that may not be available to everyone and therefore makes this a limited option.
In short starting on a cheap guitar will result in you investing in an instrument that is going to be difficult to play and will not last you very long if you choose to continue to play as at some point you will want to invest in a more playable instrument.
Myth 5: You must have an Amplifier to play Electric guitar
This is a myth I used to personally buy into as a younger player, the idea being that if you want to know if you sounded any good you had to hear yourself through an amplifier and if you wanted to play through distortion you definitely had to play through an amplifier. The truth however, is that many new players play for a long period of time before they play through an amp. You can still hear yourself clearly whilst unplugged and in fact in some ways you can hear yourself more clearly.
Sure playing through an amp has a different feel and requires some adaption like making sure you are not hitting the strings too hard as well as changes to your technique to reduce unwanted noise from distorted amplifiers, but playing unplugged has benefits to. Distortion can often cover up the mistakes in your playing, whilst developing techniques such as legato and use of hammer-ons and pull-offs can often be helped by playing unplugged rather than through a clean amplifier. So can an amp be useful? Yes, but it can also be a hindrance, you do not have to have one to begin to play and if it is something you cannot afford at the moment, be happy in the knowledge that it is an investment that you can pass further down the road and even when you do possess one know it is a good habit to play unplugged once in a while.
Myth 6: Your Fingers are too big/too small to play guitar
This statement is often made in response to person’s inability to play something as quickly as they would like to. Now there is certainly truth is saying that an individual’s fingers are too big or too for a certain guitar, those with big fingers may find themselves unable to hold a single string without touching the strings next to it on guitars with a small neck whilst those with small fingers and hands may never be able to play an 8 string. However, this is down to the guitar and guitars like people come in many shapes and sizes. Your ability to play comes down these three things ranked from least importance to most importance…
As you can see though you can make choices informed by your finger and hand size to help aid your playing but your finger size, big or small, does not determine whether you are able to play guitar. You only need to look at players like Jimi Hendrix who had giant hands or on the opposite end of the spectrum Randy Rhoades who had small hands to see that hand size does not and never will determine your ability to play guitar.
Myth 7: You must learn Classical/Jazz to be a good Guitar Player
This comes from the idea that Classical and Jazz are superior musical styles and by learning these styles you will somehow be able to master all musical styles in the process. This is far from true, each and every musical genre has their own challenges. Yes, Classical music may be great for learning how to sight-read guitar as it is a skill core to Classical music and Jazz music may be great for becoming a master of improvisation, however, every genre has its own unique challenges, Metal emphasises highly technical playing, whilst funk emphasises Groove, many people will say that Blues has a much higher emphasis on feel, whilst Country emphasises twang. The simple truth is there is no single style able to make you a well rounded guitar player. So if you want to become a well-rounded guitar player take the time to learn as many styles as possible, or if you are not interested in learning all those styles, you do not have to; Learn the styles you love and enjoy yourself; there are many guitar players who are masters of just one style and nothing else and that is ok. Play what makes you love guitar and do not just play something because that is what people expect, you should be playing and loving guitar for you, not for others.
Myth 8: If you don’t start young there is no point in starting at all
There is this idea that to become a great musician you have to start young. Well this many ways depends on what you define as great, is great becoming famous? In which case Slash and Eric Clapton some of the most famous Guitarists of all time started playing the instrument comparatively late to many at the age of 15, maybe you are referring to virtuosic talent in which case Wes Montgomery, one of the most revered Jazz Guitarists of all time only picked up the instrument at 20. Either way there are examples of people who started playing the guitar later than the usually expected 5-13 age that you expect great players to start. However, there is one huge screaming problem with this view point, the assumption being is that people who learn the guitar should learn it with the aspiration of becoming great. That honestly is complete rubbish and I can guarantee that most of the greats would agree with that sentiment; People should learn the guitar for one key reason, to bring joy into the lives of themselves and others, or in a less pretentious way of saying it, too have fun.
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