1) “Don’t Just Copy The Licks, Use The Concept.” -Roger MckinleyAgain, Roger-Roger would carry a lick, say a Pat Martino phrase, and upon memorising it, amplify it, play them from all conceivable diatonic step, in whatever position, change the modes, etc. Do you like the way Albert Collins holds and sustains the fifth and accompanies it with a cascading flurry concerning descending notes? Try learning it, practising it, then re-write it from the flatted third, or the fourth or seventh. This is a good practice. Begin in a position you’ve never actually played in before, substitute in the major pentatonic, or applying open strings or associate it to the one starting on the fifth up an octave. Incidentally, Roger also schooled me to “..connect, connect, connect”2) “Master All The Tempos”-Phineas Newborn, Jr. This join of advice from the brilliant jazz pianist ever stuck with me. I believe this is genuinely a central to dominating music. Let’s say my intention is to imperious playing at rapid tempos. I work for 3 weeks on a tune at 152mm. I’m starting to get it. One night I go to a nightspot and discover some players playing a fast jam. Wow! What tempo is that? I haven’t got my metronome with me nevertheless the ariose phrase and tempo I can’t get out of my head. I get home and discover that the tune is somewhere in the confines of 176mm to 184mm. Well, that’s a whole new glob about wax! It calls for a completely new approach. I ain’t gonna raken competent to pull off all those ingenious sixteenth note runs, (maybe a couple of them..) let’s see, it’s back to the drawing board. And so, I get down to get the nail off that tempo, und so weiter the peculiar colorful style of phrasing it would require to sound genuinely good.- Or, I have gotten pretty adept at a “quick” slow blues at 63mm. But I learn somebody just kill at a super slow 40mm. It’s a completely new world! I’ve got my work cut out for me. This pointer truly keeps one expanding and developing, et sequens out of those same old ruts! Sire time and you can rule the world!3) “Free Your Right Hand”I didn’t make this one up, I just never heard it said. It’s like a well-kept mystery that I had to discover the challenging way. I’m astounded when, as a instructor, a new pupil will tell me that his previous teacher had told him to always anchor his right hand. On a superficial terrace this creates a safeguard way to find the proper strings easily. I force the student to play with the right hand free and begin alternating the pick direction cooccurring with the down or upbeat. This is frequently met with contraposition and creates confusion. I even had a student after one lesson go to a gig and as he tried this advice exterior on the stage, he wound up cussing me and of course went back to anchoring his right hand after the first set. I personally carpe diem this method because you begin to genuinely use the guitar percussively, because a drummer would disport the drums. The term “attack” gains a whole new meaning. As one masters the free right hand, one compensates for string noise by muffling unpicked strings for the left hand, or just nearby learning to be deadly precise. Combined else alternating lead and rhythm, can be brought up to a completely raw art form, not to mention while sustaining a note, different can reach for a beer, cigarette, or hand signal the girl in the 3rd row. (All habits I have given up, by the way.) Pete Townsend at one continuum said “Don’t allow your technique procurement in the policy of your stage show.” How else to do those “windmills”, simply with a free fitting hand?4) “Emotion, First” -my operatic coach, Joe PaleseWhen I was studying acting, multitudinous concerning us would set in at the beginners mistake concerning memorising our lines first then tacking on the emotion past the fact. This makes for bad acting! We were adjusted and trained to try the much more dangerous (and messy!) approach of creating genuine and honest emotion in the context of the character reference and the scene we were playing, and then learn the lines in an honest fashion, always connecting to the emotion. This made for acting that was genuinely motivating. It is the equivalent for playing guitar et alii improvisation. How many times have we practiced a lick again also again, pull it off flawlessly at a gig or public setting, and have the demonstrative that folks are not that impressed? Or, do the reverse- you are watching someone else, and although you are impressed, something is lacking and you’re not sure what? This goes absolutely along the “Free Your Right Hand” tip. This is where we go first, or at any rate in the process, arrive at a priority. This is where we develop feel, color, audio, nuance, individual articulation like characters, speed that really backpacks a wallop, melody, domination of phrasing that comes in the circumstance about hysterical communication. This also involves intimacy, and true self-expression, exposing ones self. Giving all that one has, as contrary to the ego trip or impressing others. This is the stock in trade of the true artist. Clapton, Wes Montgomery, Duane Allman, Bill Evans, and Miles Davis come to mind.5) “If You Desiderata To Treffen a Better Musician, Become a Better Person.”-John ColtraneO.K., too what does that mean? Perhaps it entails tell the truth, be real moreover authentic. Treffen happy..contribute to other people and the worldbe faithful yourself, be legitimacy to your ideals and valuesbe caring, be loving. Be a leader and learn to communicate effectively. Do unto others as you would have them do unto you. Be a teacher. Do things that they should be done. Do alone of the work. Do what you said you would. Afsluiting gracious. Make and nurture clone relationships. Forgive. Make the world a better place. It truly is a good deal easier than being a dork. It gives you power.