Let’s be honest: We’ve all purchased a new guitar in hopes that it will serve to magically transform our playing to new heights of expression.

No doubt the exciting colors and sensual curves we love so much about our instruments can inspire new approaches, songs, and even an elevated sense of performance. And indeed, improvements in your technique may occur through sonic nirvana, extended hours of practice on the new axe, or simply because your latest guitar plays better than your old one.

But what happens when the initial rush of euphoria wears off? Do we find ourselves wandering aimlessly around a plateau of fretboard possibilities that lead us nowhere, endlessly searching for the Stairway to guitar-playing Heaven?

It’s my job as an educator to ascertain blockages, stagnation and/or lack of progress in my students. After all, it usually takes an outside perspective to reveal the quicksand.

The good news is that there are steps you can take to shift a low-gear malaise into high-octane territory. Here are three tips that will expand your guitar technique, musicality and chops within 30 days. This does mean you’ll have to do some work, though, so strap in and commit to upward, forward motion.

1. Improve Your Left/Right Hand Coordination

One of the main reasons guitar players don’t improve is that their picking hand isn’t in sync with their fretting hand.

This often occurs with single-note passages because downstrokes are naturally stronger than upstrokes, just as ascending fretting hand movements tend to be stronger and more fluid than those going from the pinky to the first finger. This can cause timing discrepancies between the picking hand and the finger placements on the fretboard.

A great way to address this imbalance is to employ an exercise using only upstrokes. Here’s how: Take the following chromatic passage of four notes on the low E-string: A-A#-B-C. Using only upstrokes, play the four notes, using each of your four fretting-hand fingers (one finger per fret). Repeat the sequence for about a minute, playing consistent eighth notes. Take a break, and then repeat the exercise, this time playing the notes from high to low: C-B-A#-A.

Repeat this sequence several times, then move on to the next string. You’ll notice that the string gauges will affect your precision; that’s why you’ll need to work across all six strings. Do this for 30 days and you’ll see massive improvement.

Note: Don’t employ this technique when performing; just use your regular alternate picking as usual.

2. Learn to Visualize

Visualizing chord shapes, scales and even song lyrics can help you achieve and retain muscle-memory proficiency without even touching your guitar.

When we visualize motor skills, we are actually creating the associated neural impulses and sending those mind messages to the fingers … even if we’re simply playing “air guitar.”

For example, play the A minor pentatonic scale at the fifth fret. As you do so, say each of the notes from low to high out loud (A-C-D-E-G-A-C-D-E-G-A-C), then play the scale back from high to low, once again saying each note out loud as you do so.

Now visualize fingering each of those notes, and name each note as you see them in your mind’s eye. Seeing your fingers play the scale shape and making the note name associations will solidify the scale architecture, the pitch intervals and the building blocks that create melodic sounds.

Repeat this exercise for 30 days, and each day, move the scale shape to a new fret location until you’ve done it in all 12 keys.

3. Supercharge Your Phrasing

Believe it or not, you can transform your lead guitar playing chops dramatically by simply shifting the start point of your licks across the beats in a bar.

Most guitar players have a tendency to start each phrase on the first downbeat of each bar (the “one”). But when you move the phrase to the second downbeat of the bar (the “two”), a whole new melodic and rhythmic world opens up.

Try it for yourself: Find your favorite jam track and count the beats. Take one note from an appropriate scale shape and play it on the downbeat of one. Now play the same note on the downbeat of two. Repeat until you’re comfortable playing that one note on each of the four beats in the bar, then take your favorite phrase and practice starting that lick on the downbeat of each beat in the measure.

After practicing this for 15 days, it’s time to turn up the heat. Take one note and play it on the upbeat of one (the “and”). Do this until you are comfortable, then move on to the upbeat of two, and so on.

Don’t try playing full phrases on the different upbeats until you can identify and perform this exercise using a single note on all four upbeats. The hardest part of this application for most players is identifying the beat and its subdivisions. Once you can do that, you’ll be able to place your licks at any point within the bar.

Trust me, this is the cool factor you’ve been looking for. However, you’ll need to stay focused and work on it for a while before it begins to become part of your natural playing.

The Video

In this video, I demonstrate a couple of ways to elevate your melodic chops and phrasing prowess, with plenty of room at the end for you to jam over my chordal structure.

In the first eight measures, I use an E minor pentatonic scale, and I’m starting each of the four two-bar phrases on the downbeat of three. The space this leaves at the beginning of each two-bar section allows me to take a relaxed approach to the melodic lines. In addition, I’m starting each new lick on the last note of the previous phrase in order to add melodic motion.

To increase the challenge, the key modulates up a minor third to G (G minor pentatonic scale) for the next eight measures, though I stay in the same fretboard position. This helps to reinforce scale shape recognition, so try to do the same thing when it’s your turn to jam.

The Guitar

The guitar I’m playing in the video is a Yamaha Revstar Element RSE20 with a Neon Yellow finish. (I’ve named it “Neon Leon.”) Like all second-generation Revstar guitars, it has an acoustically-tuned chambered mahogany body for enhanced resonance, sustain and musicality. In addition, the jumbo frets on its 13″ radius rosewood fretboard keep the notes flowing and the intonation spot-on from the lowest to the highest notes.

The two Alnico V humbucking pickups on the RSE20 capture every nuance and translate them faithfully to your amplifier. The tones available from the three-way selector switch on the guitar can be further expanded by pulling up on the tone control. This “dry switch” feature effectively reduces the bass response of the pickups for a brighter sound.

The Wrap-Up

I know we’ve all hit the wall at times and found ourselves stuck in a wasteland of the same musical information. It’s a loop that leads nowhere.

And then there’s the maze of development options that may or may not lead to our next level of proficiency. The question is, which path of study do we choose to find our way out?

I always think the best approach is to determine what you are trying to achieve. Focus on the big picture  and then take small steps towards that mountain. If you’re not sure what that big picture is yet, work on solid techniques, positive reinforcement of the skills you have, and above all, be proactive and prepared to put in some hard work. With that in mind, you can get where you want to go … and possibly a lot faster than you might think. In fact, you might be amazed at what you can achieve in just 30 days.

PHOTOGRAPHS COURTESY OF THE AUTHOR

Check out Robbie’s other postings.

I’ve always been an advocate of creating a job, rather than finding one. This gives you control over both the employment details and the job description, along with the ability to adjust each parameter to personal taste.

I know this entrepreneurial approach isn’t for everyone — especially those who aren’t self-starters — but it’s served me well for many decades.

Of course, there are multiple ways to earn a living within the music industry: anything from executive positions within major corporations to retail store sales positions, content creation, teaching, and of course, live performance. In this posting, however, I’d like to cover one specific area of the music industry and share five surprising ways to find (or create) a gig as a guitar player.

I’ll assume you are at a reasonably proficient level of ability, have good gear and a list of songs that you can perform at a moment’s notice. Repertoire will be essential if you are a solo performer, jazz musician or cover band musician: You’ll need a shortlist of standout tunes you can use for auditions, as well as a more extended list for when you land the job. Most live performance engagements last for three hours, typically broken up into three 45-minute sets, though sometimes the first set needs to be an hour long to get the audience “hooked” and excited.

Here are five tips for landing a gig as a guitar player:

1. Subbing

The first thing I did when I moved to Nashville (and later to Kona, Hawaii) was to go out and meet the local players who already had established gigs. Making friends with these musicians will allow you to tell them who you are, what you do, and offer your services should they ever need a last-minute stand-in (a “sub”) for their regular gig.

I’ve literally been called or texted an hour before a gig to fill in for a booked artist. These positions can turn into a regular engagement if the artist moves on to a better time slot or venue, or leaves town altogether. For me, many of these initial substitute gigs turned into lucrative long-term resort residencies.

Think about it this way: Helping a fellow musician out of a tight spot builds good faith, shows willing professionalism, and allows you to showcase your talents to the venue management. Win-win!

2. Become a Sideman

In the major music hubs like New York, London, Los Angeles and Nashville, there are long lists of musicians that are available to play one gig, a weekend run of dates, or a world tour. These players aren’t necessarily looking to join a band, but are instead sidemen that work for hire to back up an artist. These gigs can become regular engagements, and even sometimes turn into band positions, though management, artists and labels often prefer to offer a short-term contracts to session players instead.

Sideman opportunities may arise through friends, your listing in a session agency or the Musicians Union, or simply because you’re well known in the industry as a reliable asset to any performance situation.

If you’re extremely professional, proficient in multiple styles of music, have a cool vibe, learn fast, get on well with people and are available for travel on short notice, this might be the ideal gig for you. Just remember that when these kinds of jobs come to a close, so do the revenue streams that are associated with them. Generally speaking, sidemen get paid for the performance day, not the travel days. This may mean being on the road for five days but only getting paid for three — something you might want to consider (or negotiate) before accepting the gig.

3. Worship Gigs

If you attend a church that features weekly live music, you’ll notice just how amazing some of those players are. That’s because many of them are professional musicians during the week, and support their faith through performance in church on Sunday.

Many musicians take these kinds of jobs just to network with the talent on those stages. The worship industry is huge, and that simple “church gig” could well turn into a major placement as a session player, bandmember or as an artist in your own right.

You’ll often find multiple guitar players onstage at worship gigs. If you hope to join them, make sure both your electric and acoustic skills are up to par. As a bonus, if you sing or play bass, keyboards or percussion, you’ll become known as a multi-instrumentalist, and your financial value will increase dramatically.

4. Jam Nights

Many clubs host a weekly jam session, and playing at them is a great way to showcase your skills. Quite often, these venues will have a house band that you’ll jam with. These players are likely to be working with many other musicians on the local music scene. Impress those guys, and your name will be whispered through the ranks of other well-respected players in town. Never underestimate the power of impressing people at a low-key event!

Performance jam sessions are also a great way to work out new material and/or conquer any stage fright issues that may be holding you back. You may also meet other participants or attendees that simply need a back-up guitar player for a gig or recording session.

5. Songwriter Rounds and Open Mic Nights

Songwriter rounds and open-mic nights are another great way to showcase your skills (and your songs, if you write). More often than not, other writers or attendees will jam with you, or you with them, by playing fills, singing harmony or taking solos. I did this a lot when I lived in Nashville, and I can’t tell you how many times I was asked to play a gig, record a session or collaborate on a project after a show.

If you’re in a music hub like Nashville, you’ll get to hear the newbies working out the kinks in their performances, but you’ll also witness the master musicians that turn heads with every note they play or sing. But even in off-the-beaten-path places like Hawaii, these kinds of events can provide great networking opportunities. One evening I was playing at the “First Fridays” art walk in Holualoa. I was there to support a local art gallery, playing for tips, and I met a couple of very influential people that were very impressed by my performance. That “free” gig led to some of the most lucrative resident gigs and private events I’ve ever played.

The Video

One of my favorite gigs is representing Yamaha guitars at trade show events. In this video, I’m playing to a group of NAMM attendees that are enjoying the tones of a Yamaha SA2200 semi-hollow body electric guitar played through a Line 6 Helix processor and a Yamaha STAGEPAS 1K (now replaced by the STAGEPAS 1K MkII) PA system.

After this performance, the guitar player and keyboardist for a mega-star artist asked me if I’d be interested in playing guitar in the band for the next tour. It’s these kinds of opportunities that arise when you are active within your industry.

The Guitar

The handmade Japanese-crafted sunburst SA2200 semi-hollow guitar is my favorite instrument in the Yamaha guitar range. The tone, playability and cool vibe it offers resonate perfectly with my stylistic approach — and I hear the same positive comments from every musician who has ever played one. It’s just one of those guitars that works well in so many genres of music.

The Wrap-Up

I’m a huge believer that we, as humans, are transmitting thoughts, desires and all sorts of communications into the ether.

But it’s a two-way street: You also need to have your antenna “open” and tuned in to receiving messages of guidance. We can wait for divine inspiration, a sign, or the muse to appear, or we can choose to be proactive and manifest the reality we want, and the jobs we desire most.

Activity breeds activity, and we have the ability to create the realm we live in: that’s what consciousness is, after all. So go out and manifest that amazing gig you’ve always dreamed of!

Photographs courtesy of the author.

Check out Robbie’s other postings.

I can’t tell you how many times I’ve heard people say that learning music theory will ruin your “feel.”

Not true! In fact, learning music theory will only enhance it. That’s because it expands your knowledge, provides more options for composition, and improves your ability to translate ideas to other musicians.

I know phenomenal musicians who have zero formal training and play strictly by ear. I also know some players who have a master’s degree in music but struggle to improvise, or even get through the simplest song without sheet music. I think the best approach is to have a well-rounded ability in every aspect of your craft.

But how do you go about it? Sure, there are some amazing guitar tutorials online. Great players break down the parts to your favorite songs, and some even give you the theory and analysis behind the notes. Unfortunately, this method of learning is a one-way street. You can’t ask the teacher questions or receive feedback on posture, fingering or technique.

That’s why I suggest you instead consider taking real, in-person guitar lessons from a qualified instructor (your local music retailer can suggest someone in your area), as opposed to just learning nuggets of wisdom from a friend or a few riffs from some songs on YouTube.

Here are five reasons why.

1. Fresh Fingers

Learning anything from a book or video may give you the necessary tools to accomplish a certain task, but an instructor can guide you and add the elements of finesse that a one-way platform just can’t do.

As much as I love using Google search or YouTube for musical resources, the fact of the matter is that not everything on the internet is accurate. (Shock, horror!) Without the discerning eye and ear of a professional to give you instant feedback, you may end up learning techniques that will ultimately impair your abilities down the line. Sadly, I’ve seen this all too many times … and breaking muscle memory is way harder than learning something with fresh fingers.

2. Logical Progression

I’d say that most of us learn how to play the guitar “somewhere in the middle.” We can play a few chord progressions and a handful of riffs and Pentatonic licks … but without knowing the “how and why” it all works together.

As an educator, I’ve always been an advocate of logical progression. Start with the basics. Learn the correct fingerings for chords and scales, a few simple rhythmic values and the theory behind the notes, then gradually add techniques and musical expression to play songs with musicality. I also believe that you can develop musical sensibilities and feel by practicing stylistic grooves and developing your phrasing chops with melodic and rhythmic displacement techniques.

So look for a guitar teacher that builds you up from the beginning, or fills in the gaps to what you already know. With a solid foundation in all aspects of music, you can build a house in which creativity can flourish. A good instructor will push you to build a mansion, or help you renovate your existing structures into a beautiful new home.

3. The Inquisitive Mind

When I learn something, I want to know both the “how” and the “why.” If you don’t have a naturally inquisitive mind, you need to develop one in order to expedite your musical journey. For that reason, be sure to ask lots of questions of your instructor, so you can gather a full understanding of any topic.

Sometimes the answers require further questioning … and that’s just how it should be. Sometimes the information needs to be delivered in multiple ways in order for the concept to “stick.” Again, this is perfectly normal.

A good teacher will recognize whether or not the student fully comprehends the information being conveyed. I always confirm this with my students by asking them questions until I am sure they understand every aspect of the material we’re working on.

4. Setting Sail

Embarking on a journey of discovery often requires a road map. Structured courses that are curated by a professional educator often keep you on track.

If you know what your big picture goals are, you can take small steps towards that destination. For example, learning how the seven major scale modes work, one mode at a time. Adding a deadline is often a good idea too. Nothing motivates me better than a deadline. It’s the procrastinators’ kryptonite.

5. The Jam Factor

When you learn from a real-life instructor, you have the opportunity to hear how they play, and how they integrate the same information you’re working on.

So many professional guitar players cite their instructor as the driving force behind the musical storm they finally became, and there’s a good reason why. Jamming with your mentor will give you a growth perspective. You’ll be able to actually hear how well you’re doing through comparison, then make small corrections and implement their suggestions in real time.

Virtual Learning

If you can’t find a good local instructor, you may be able to work with a qualified guitar teacher via video chat online. However, I suggest you take some time to determine what you’re trying to achieve in advance of taking those kinds of lessons. Audio quality is improving radically on online platforms such as Zoom, but latency and bandwidth compression often negate the ability to jam online.

So make a list, and work through the list by asking lots of questions. You can always record your video lessons, enabling you to watch them again for reference. Maximize your time and get your instructor to demonstrate ideas, concepts and examples while you’re online with them.

As you are probably aware, guitar courses are also available for subscription, streaming or download. This is where my personal legacy as an instructor primarily resides.

These courses are a great way to work with your favorite players and discover specifically what they have to offer you. Just make sure you find someone who fills in any gaps in your knowledge and nurtures your creativity through real-world musical examples.

The Video

The harmonic structure of the progression I’m playing in this video takes you through three different keys within the context of a four-bar phrase. Having the knowledge to analyze, play and improvise over this kind of progression generally comes from having some kind of formal training, so I thought this would provide a good example of what it might take to handle this kind of musical challenge without the guidance of an instructor.

I’m using a Yamaha CSF-TA TransAcoustic guitar and layering its tones into the mix with a subtle strumming part. I’ve double-tracked this guitar part, adding small amounts of the onboard reverb and chorus, panning the two hard-left and hard-right for extra width. The arpeggiated overdub defines the harmonic structure of this progression by following the upper voices in the strummed guitar part.

The melodic phrases are being played on a Yamaha SA2200 semi-hollow body electric through a Line 6 Helix processor. I’m targeting chord tones of the five chords to establish their tonality within the framework, but I’m also making sure you can hear the characteristic tones you’ll find in some of those tasty chord voicings too!

The Guitars

The CSF-TA is the parlor-sized powerhouse in the TransAcoustic range. Like all TA guitars, it features two onboard reverb types (Room/Hall) as well as chorus, all without the need for external amplification. All effects can be dialed in to taste with a sweepable mix control.

TransAcoustics also feature an excellent undersaddle piezo pickup and a preamp that works beautifully for recording directly to DAWs or for plugging into the mixing console at a live gig. These versatile acoustic-electric guitars are excellent for young beginners due to their short scale length and small body size, and the solid Sitka spruce top will only get better with age.

The SA2200 semi-acoustic guitar may be one of the best sounding electrics on the market. These amazing guitars resonate like a piano, play like a dream, sit beautifully in the mix, and look like a million bucks on camera.

The Wrap-Up

When we take intentional steps towards our goals, we get closer to them.

Working with a professional guitar teacher can guide your steps around the pitfalls, keep you moving towards your destination, and perhaps most importantly, inspire you to reach the same high level of proficiency. Lofty goals indeed, but the right instructor can help you achieve them!

PHOTOGRAPHS COURTESY OF THE AUTHOR.

Check out Robbie’s other postings.

I wish I’d paid more attention in school.

Much of my time in the classroom was spent staring out the window, drawing cartoons in my notebook instead of taking notes — the whole time wishing I could be anywhere but there. The music lessons I received as a young child consisted of basic notation, rhythms, singing nursery rhymes and playing instruments such as wooden blocks, tambourines, cowbells, and recorders … most of them broken. Even the instructor’s piano was out of tune.

Given that I was listening to classic rock music at the time and had designs on playing the guitar, those moments didn’t exactly get my heart pumping and my head banging, and I think that many of my fellow students felt the same way.

Despite my personal experience, I actually think music education is one of the most powerful tools we have in our school systems. In fact, I’m extremely passionate about the subject and have spent a great deal of personal time and money working on curricula to support guitar instruction at school.

There are many ways students can benefit from an artistic pursuit like learning music, which also supports and enhances other core academic studies. Let’s look at a few of them.

Music is a Language

As I noted in a previous blog posting, music is a language. And like any language, it allows you to share information. Let’s compare — and make a few analogies between — the English language and musical linguistics.

Just like other languages, music is neatly organized in measures or bars of sound, the same way that a sentence is constructed from the placement of individual words. Larger sections of music, or movements, are placed within brackets that we could consider harmonic paragraphs.

The Western musical alphabet consists of seven “letters” that are further expanded with sharps and flats to give us 12 tones with which to compose our melodic literature. We string together specific tones in specific orders to create melodies, motifs and themes as the focal point of a topic. Chords are combinations of tones that resonate harmonically as “words.” Rhythms deliver musical phrases in particular ways, enhanced by silence and dynamics, to set the overall pace, tempo and delivery — the same as in any other spoken and written language.

Like great literature or art, music contains emotional content too. A ballad in D minor may evoke feelings of immense sadness, much like a movie about a breakup, while the uptempo groove and major tonality of a pop song can motivate us to reach greater heights, much like that of a memoir or a self-help paperback.

Subliminally, everyone interprets the language of music as sounds that they either like or dislike — something known as “taste.” (And we certainly all have particular musical tastes!) But a deeper understanding and study of the musical language lets us appreciate it even further, and that’s a big part of why musical studies are so important to core academia.

Physical Coordination

Playing a musical instrument requires the use of both hands. For instance, when playing guitar, the fretting hand creates the harmonic and melodic phrases, and the picking and strumming hand makes those tones sound out with rhythm and dynamic content.

Learning to play an instrument trains us to coordinate tasks between both hands with precision and feel — and even if you don’t end up being a professional musician, these are important skills to have regardless of your chosen avocation.

Ear Training

Learning to play music also sharpens your listening skills — something that can only add to your aesthetic enjoyment of life in general. Every instrument offers a huge variety of sounds. For example, a guitar can be acoustic or electric, hollow-body or solid-body, classical or steel-string … and then, of course, there’s a universe of effects that can be added. Learning to coax those different sounds out of your chosen instrument will help train your ears so you can better appreciate the sounds that are all around us, from the crescendo of a mighty orchestra to the whisper of a soft breeze.

Eye/Hand Coordination

Learning music also helps to train your eyes to recognize notes, rhythms and chord shapes on the written page, and, in the case of a stringed instrument like guitar or violin, on the fretboard or fingerboard. Smaller shapes reside within larger shapes. It’s musical geometry and resonant architecture, from foundation to spire.

You then need to interpret those shapes into the musical sounds you create. This kind of eye/hand coordination is another important skill in all aspects of life. For example, the work of an artist is to take colors from a palette, then mix them to taste on a canvas to form consonant, recognizable horizons or abstract imagery, the same way that a composer crafts soundscapes or a novelist creates an alternate universe.

Inverting the sequences and adding or subtracting colors offers an almost infinite number of possibilities … whether it comes to creating a painting or writing a technical report.

Team Building and Communication Skills

When it comes to both language and music, speaking the lingo bridges the gap between misunderstandings and understanding, regardless of nationality and region.

Music can be used as the tool of a soloist or ensemble player; either way, it gives us the opportunity to share our ideas with other musicians, and ultimately, an audience. Learning the individual parts of a musical arrangement in the classroom, for example, builds a comprehension of how important all the elements are to the big picture. Playing an arpeggio while bandmates play the chords and melody — and then swapping parts — builds two kinds of stronger relationships … one between the musicians and another between the notes. And every aspect of music theory and performance directly relates to every musical instrument. That means learning the language of music on one instrument gives us the ability to understand other instruments too.

The Video

This piece of music not only demonstrates how versatile a Yamaha Red Label FSX3 acoustic-electric guitar is when plugged into a Line 6 Helix modeler, but also represents what I mean by emotional content, mood and feel.

I think we could all agree that the blend of sultry slide guitar melodies, played in a minor key and coupled with a shuffle rhythm, evokes a feeling of sadness and melancholy. I’m sure there are many other terms we could use to describe this piece of music, and those would be personal to each listener.

I’d love to hear your description of the mood this creates for you. Please let me know in the comments section on YouTube.

The Guitar

My chosen instrument, the guitar, is one of the most versatile of all instruments. It adapts well to multiple styles and genres, and allows for exceptional expressivity. That said, learning music on guitar should not limit your creativity or prevent further study into other instruments, composition, or arranging for band and orchestra.

The Yamaha FSX3 I used in the video above is, in my opinion, an excellent choice for both intermediate and advanced students. Dimensionally, it fits well with many body types and sits perfectly on the leg while seated.

In addition, its solid Sitka spruce top is treated with the proprietary Yamaha A.R.E. (Accelerated Resonance Enhancement) process. This effectively ages the wood to sound “played-in” and closer to a vintage instrument from the get-go. The FSX3 top is also paired well with a mahogany back, sides and neck, with tuning that’s extremely stable and intonation that’s perfect along the entire length of the fretboard.

The piece de resistance, however, is the unique built-in Atmosfeel three-way pickup system that combines a body sensor, piezo and microphone to deliver incredible acoustic tones. I have used the FSX3 for literally hundreds of instructional videos, and it has proven to be the perfect educational partner.

The Wrap-Up

Music is global, universal, and speaks louder than the notes being produced. It’s sound, it’s silence, it’s a feeling, it’s resonance … and it’s emotionally compelling to all who hear it.

But it’s when a student goes beyond merely listening to music to actually learning to play an instrument that the real magic happens: the self-expression it affords the developing mind.

Photographs courtesy of the author.

Check out Robbie’s other postings.