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"Practicing"
by Dominic Miller
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COLLEGES, TUTORING & BOOKS
Q:
What was your experience at the Berklee College of Music like
and what is your opinion on going to study music at a university? - from
Adrien
A:
I think Berklee College of Music is perhaps the best place to
go if you want to be a contemporary musician. They have an incredible
reputation which is well deserved. I would recommend anyone to go there if
they want to be a full time musician. Having said that, I believe
Leeds College of Music (in the north of England) is the best
place to go in Europe. Leeds' reputation is growing stronger every year. If
I were young and living in UK or Europe I would definitely favour Leeds over
Berklee. Studying music at University is another good option, perhaps the
best one because you learn more about other things, not just music. Provided
you can get a good teacher I would say this is a route worth pursuing.
Q:
Do you know a good music school I can go to? I thought maybe
I could go abroad and study music in another country and improve my
knowledge to be a good guitarist. - from Alfredo
A:
My advice to you would be to do a summer course at the
Berklee College of Music in Boston, USA where you can be among musicians
from all over the world who want to do the same as you. You will learn a lot
there and make many connections.
Q:
I am practicing chords, scales, and playing along to music to
incorporate what I have learned, my question is with regard to not falling
into the same groove all the time. I'll go from for example Sting, to Stevie
Ray Vaughn, to Clapton, to jazz, to classical, to try to change my approach,
but while I change my tempo and key, I like to fall into a familiar rhythm
most of the time. Am I following a good course? - from Kevin
A:
What you are doing is only natural. I also wish I could do
or say things but I can't. I think it is good to mix up styles. Try learning
a new style of playing you haven't tried before purely as an exercise. Then
you might discover something you didn't know and might even incorporate it
into what will become your style. Basically the more styles you play the
more unique and distinct you will become.
Q:
I like to fool around with the classical guitar, just as a
hobby. I am using the Frederick Noad Solo Guitar Playing book. I was
wondering if you were familiar with it and if you thought it was any good?
Are there other books you would recommend? I know you recommend Sor and I
got some of his stuff off of the internet. - from Erik
A:
Sor is great for practicing. I am not familiar with the book
you mention but I am sure it's good. Practice slowly!
Q:
My girlfriend is to buy a guitar but doesn’t have the time to
go to a/my teacher so I’m going to try to the teach her the basic stuff. I
will read your advices in the choosing guitar section but now what I’d like
to ask your advices is about teaching. I think I'll explain her the basic
musical and rhythm theory first and I might be wrong but I'm thinking of
starting with some simple country songs just to feel the music and practise
to read, etc. And then we’ll have really got into the music what do you
suggest to learn for a nylon string? - from Andris
A:
I think the best music to practice and learn guitar (or nylon
string guitar) is the music of Fernando Sor. It's simple but really nice. He
was a guitar teacher in his day so this music was designed for learning to
play.
Q:
My training in music has helped to develop my ears, through
which I've been able to gain a fair amount of facility on the instrument.
Bottom line, though, I want to take it to the next level. I've studied from
many method books for saxophone (my first instrument), but do not know of
one for guitar that gives proper fingerings for scale patterns and
technique-building exercises. Would you be able to recommend one to me? I
know that you are big on studying Bach, which I would love to get to, but...
I really want to speed both hands up. - From David
A:
I know of a book by the teacher Hector Quine (who was my
teacher) which is really simple and effective. I think you are going in the
wrong direction if you want to "speed up both hands" (this goes against all
my principles). If you can't do it slowly you will NEVER do it quickly.
Rome wasn't built in a day!
Q:
Do you think it's worth studying different areas of music? I
heard you studied in London at a music school, is that something worth
checking out? I can barely read music (but am prepared to learn), I do
everything by ear. I'm still in high school, I start applying to
universities next year so I'm trying to decide what is priority. Just a
regular university or a specialized one for music. - from Sarah
A:
My advice to you would be to NOT go to music college but to a
normal one and perhaps do music as a major. The reason being that one needs
outside influences other than music to grow even as a musician. It's
important to find a good teacher and learn as much as you can about theory.
Q:
About a decade ago I saw Larry Coryell at a club here in DC
and I met him briefly before the concert. I told him how much I had enjoyed
his recording of the Pavane on his acoustic LP The Restful Mind
and asked him if he would do it that night. He said, "you got it" and
performed it beautifully. A very gracious gesture on his part and certainly
one of the highlights of my concert going life. I recently purchased a
transcription of Antonio Lauro's Natalia with the intention of starting work
on it over the upcoming spring break. Any tips before I start? - from Kirk
A:
You are obviously serious about your music and everything it
seems. That's a great story about Larry Coryell. I would love to learn that
piece and do some kind of arrangement. My advice with the Lauro is to TAKE
IT SLOWLY. I find the best way to learn his (or anyone's) pieces are to
learn a line each day with the emphasis on which is the best fingering to
use, ie most economical but effective. It could (or should) take a couple of
weeks to learn one of these pieces to get it right. Then it's a question of
finding the groove which is definitely there. Kind of like an undercurrent.
I know this may sound boring, but try using a metronome at ridiculously slow
speed. You'd be surprised how accurately you will end up playing it. My
philosophy on practice is to practice without emotion or dynamic. Save that
for the playing. It's a discipline which really works.
Q:
Which Bach transcriptions do you recommend for the classical
guitar? - from Alan
A:
The Bach Cello Suites are really good for the guitar.
FINGERING
Q:
I have rather small hands and relatively short fingers for a lady.
Unfortunately this causes me some problems by playing chords where I need to
stretch fingers. Especially I have some trouble with my fourth finger (the
little one) - it seems it's to weak. Could you recommend me some exercises
in order to have more flexibility with my fingers. Further on I realize that
the more I play barré chords and the more I play with my fourth finger I
have problems with my tendon. If I ask my guitar teacher about some "warming
up" exercises, he can't really tell me how I should warm up. - From Danielle
A:
The size of fingers has nothing to do with it. My teacher had smaller
hands than me yet could make wider stretches. It's a question of how
flexible your fingers are. Playing music is like finger yoga. You get better
at it the more you do it. The three important principles are strength,
balance and flexibility. Playing scales slowly will help you get stronger.
Q:
I'm 21and self-taught and playing classic guitar for about a year I've gotta
bunch of questions for you but this time I just wanted to ask something for
Shape of my heart one of the best tunes so far. Between what frets do you
play the 2nd part of the intro? Do you play it on higher frets as you do in
the beginning part or downstairs? I mean the part which starts with D note
and ends in F#minor? This part is more complex than opening part with the A
note 10 fret and B string. - from Tommy
A:
I am not sure exactly what you mean because both parts end in F sharp minor.
But I believe you mean the second part that has the chords: D, A, C sharp,
D, G sharp, F sharp. If so, the first D chord (D, B, F sharp, A) is fingered
as follows (from the low to high): 2nd finger on 5th fret on A string. 1st
finger on 4th fret on G string, 4th finger on 7th fret on B string and 3rd
finger on 5th fret and E string. I hope this is clear.
Q:
I am getting further in to my study of classical playing & I
am at a point with my right hand m i a where I am wondering whether I should
try to stay with the three fingers on each upper string scenario or just go
with what feels more comfy which is mainly using m i and thumb only, which
is what I believe you play. I am not trying to train myself to be a full on
classical player, though I am serious in my study. Would you recommend
studying the "proper" playing way to train myself, as once bad habits are
made they can be difficult to change. - from John
A:
I think the conventional approach would be a good starting
point for you. It may seem difficult but it's there for a reason so I would
recommend you keep trying it. If this fails and you are frustrated then I
would either suggest trying your own way or employing a teacher. Whichever
way I urge you to do it slowly.
Q:
I was looking for some advice on right hand technique. I have
been playing for many years having dabbled in most styles but continue to
return to more classical/jazzy influences. I can pretty much hold my own so
to speak left hand wise but feel I'm lacking solid right hand technique. -
from Mark
A:
The best way to get a good right hand technique is to try and
keep it as relaxed as possible. And of course practice slowly with some
arpeggios and scales.
Q:
I tend to rest my little finger on my right hand directly
below the sound hole. I find it gives me greater control over my picking,
however it would seem that this is unconventional as I've never seen anyone
else doing it. What are our thoughts? To rest or not to rest that is the
question! - From Gary
A:
Good question
Gary. The reason you use your little finger as support is for
stability. That's fine, but I use my forearm (when playing classical sitting
down) as a pivot point. When standing up, I think the best way to stay
focused is to keep your back relaxed. Alexander Technique is quite useful
for musicians.
Q:
What do you suggest to me to improve this right hand
technique that the flamenco guitarists use when playing nylon strings, I
don't to use picks mostly so I want to improve this right hand technique
where you put the thumb to the bass strings and you play with the index and
middle fingers. Should I practise arpeggios or are there any exercises to
develop this technique? - from Süheyl
A:
I am working on my right hand technique too. It could be a
lot better. My only advice would be to find some simple arpeggios and
practice them really slowly.
Q:
I've been trying to play some tunes with fingers only (it
sounds so much nicer even on steel strings) but once I get playing I seem to
get my fingers/strings mixed up and play the wrong string. I've noticed in
various videos that you tend to keep your thumb on the low E string. Is this
to help provide a reference point for the other fingers/strings? I know it
will take a lot of practice/time to perfect, but are there any tips you can
suggest? - from Andrew
A:
Fingers will always sound better than a pick. Or, flesh is
more expressive than plastic. I use my thumb a lot because it's good for
getting a smooth bass sound.
Q:
I notice that you play the Rodriguez by resting it on your
right leg instead of your left. Doesn't this lower position of the fretboard
put added tension on your left wrist and fingers? - From Brian
A:
I never liked the traditional way of playing classical which
is why I like to play with the fretboard pretty much parallel to the ground.
The left hand position feels comfortable.
Q:
How can I get faster with the left hand (you know this Friday
Night In San Francisco-Speed Thing). What exercises should I practise? -
from Toni
A:
The only way to get the speed you are after is to practice
really slowly. You can't run before you can walk. It's as simple as that.
Your speed will increase once your fluency does.
MODES
Q:
I'm a guitar student at Berklee college of Music in Boston. I
was wondering if you could give me some advice on how to successfully
explore the modes and realise their full potential. As you would imagine
I've received many great tips but I'm interested to hear the way in which
YOU discovered them since I greatly admire your playing and many people have
interesting paths to the same end. - from Doug
A:
You might be surprised to know I went to Berklee (briefly) in
1976. I have never studied modes but recognise their role in almost every
genre of music. In fact any scale is in effect a mode. I have always relied
on my instincts to play around with different modes. Jazz musicians are the
ones who really go deep into this concept. I think the way Joe Zawinul uses
modes is really incredible. He will play a simple phrase that sounds
completely unrelated to the key he is in but still sound beautiful and
meaningful. These are the times I might "study" this concept. I try to work
out the root and then what scale he (or many others, like Herbie Hancock
etc..) are playing in relation to the key. Usually it is a very simple major
scale. But which one! And why! I think the best way to learn more about
modes is to listen to the great jazz musicians and try to get into their way
of thinking. Different players will use different patterns. The beauty of
the position you are in is you can take the elements you like and then put
them into your own package. This is how you will eventually create your own
style and then people will be trying to figure out what you are playing and
why. I hope this is of some use to you.
Q:
After playing rhythm guitar in a few bands, I aspire to
become a lead guitar player. However, I am not very fluent when it comes to
soloing. This has become a frustrating problem because I feel as though I
cannot truly express myself on an instrument I love so much. I have a very
basic knowledge of music theory and have never taken a guitar lesson, so I
learn, play, and write music only by ear (even though I am able to read
music). I wanted to know your thoughts on soloing. Is taking theory and
guitar lessons the key to becoming better at guitar soloing? - from Zach
A:
It is very useful to learn scales on the guitar. The modes
like pentatonic are great for blues. The more modes you learn the easier it
will be to express yourself. It's like learning a different language. You
can't just start speaking Italian without learning the vocabulary. The
scales are the vocabulary. Then you can say what you want.
NAILS vs FLESH
Q:
I am
playing nylon string acoustic & have decided I prefer the sound of flesh so
I am playing without nails. I am also starting to play steel string
acoustic, however it does seem to be easier to play with nails. My question
is how do you play steel string acoustic, do you use your finger tips or
plectrum as I know you don't play with nails, although I prefer nylon string
I am trying to develop styles on the steel string as well. Is it a matter of
compromise i.e. keeping a small amount of nail on the right hand? - from
John
A:
The sound
of flesh on nylon string is the best sound I can get or the sound that suits
me the best. It makes for a smoother attack. But the most surprising thing
is how good no nails sounds on steel string. It will make the guitar sound a
cross between a nylon and a steel. I love it. I am using fingers much more
on the electric which also sounds great. The best no nail finger electric
players are Jeff Beck and Mark Knopfler. They are the masters.
Q:
I know that you like playing without nails, and on Monday
evening I broke the nail on my right hand "m" finger and had to file down my
other nails to the point where for all practical purposes its almost
nail-less. I could have gone for acrylic nails, but I've never been able to
get up the nerve. Its certainly a different sound (warmer) but it still
feels a little weird. I'm practicing like crazy because I figure that the
only way to overcome it is to play through it. Adversity requires
adjustments and with hope, maybe a different perspective. - from Kirk
A:
I totally identify with this problem because I have been
through it a few times. It's not until around 1998 that I finally took the
plunge and committed myself to playing without nails. I am not saying it's
better or the best thing for you. But it suits me and I don't think I will
be turning back. The beauty of this situation is I can't suddenly decide I
want to play with nails because they take a while to grow. But now, if I
were playing with nails and then broke one right before a concert, I would
have the facility to pull it off without. Yes it is a warmer sound and takes
a while to get there (which one never really does) but I believe it's worth
it.
Q:
Your non-nail approach is very sensitive and dynamic. I
didn't realize how expressive one can be without using nails. I, myself, use
a combination of flesh and nail for folk and jazz. Using the nail itself
sounds too harsh for me. In fact, when I play with a pick I hold it in such
a way that the flesh of my thumb strikes along with the pick to give a
certain sound. - from Jonathan
A:
I totally agree with you about nails versus no nails. The
sound is much warmer and has more depth. But truth be known, the reason I
started playing without nails was because they kept breaking while I was
playing electric on tour. I would then be back in my hotel room trying to
play Bach using a right hand with a combination of with and without nails.
This didn't work for me and I found it quite frustrating so I took the
'step' or commitment of re-learning how to play without nails. It's the best
technical decision I have made.
Q:
I'm a classical guitarist, and I have been a huge fan of
yours ever sense I bought your shapes CD. You have amazing tone, especially
for someone who doesn't use nails. I would like to start crossing over into
steel string electric and acoustic playing however I find the flat pick very
clumsy. Do you always flat pick your steel string electrics and use your
fingers for nylon? And what flatpicking exercises do you use? - from Scott
A:
Nowhere does it say you must use a pick to play steel string
guitar. If I were you I would stick to finger picking. The only downside is
your nails may wear away due to the sharpness of the steel strings. To my
ears playing without nails is always better and more expressive. Flesh on
string as opposed to pick or nail is the sound I like.
Q:
How do you think about classical technique (fingernails, the
position of the guitar and the hand...)? - from Toni
A:
Position of the right hand is important with classical
technique but I don't believe you need nails to get a good sound. Your right
hand should be as relaxed as possible and once again, practice some scales
slowly.
PRACTISING
Q:
Do you have any tips/strategies/advice to
achieving a good practice session. I find myself lately losing focus &
moving away from what I set out to practice in to other areas, & can end up
wasting say an hours session by meandering, usually if a bit tired or pre
occupied with other things. Is it a question of focus & clearing your head
of other stuff before a session or just keeping it interesting instead of
rigid practice schedules, have you had any practice ruts in the past? - from
John
A:
I think practice should be
treated purely as a technical exercise, i.e. don't worry about being
musical. The whole point is to achieve better articulation with your notes
and tempo. Nothing more and nothing less. It's similar to a fitness regime.
For instance, like a runner or athlete, you want to start really slowly by
doing simple things and then build up some tempo. There is always a good
point when it is good to have a short break (a cup of tea) and then get back
to it with more conviction. After another break you might want to tackle
whatever piece of music is troubling you and focus on the harder passages.
Personally I like to practice simple Bach pieces at hyper slow speed and
then apply the principles above. I always end up making improvements.
Q:
I was just reading an interview/tutoring
exercise from Martin Taylor, he was saying that he feels there can be too
much science & worrying about names of things & which scale fits over such &
such chord sequence etc etc when really we learn best by listening hard &
playing what comes naturally to us or 'sounds right'. I am spending a great
deal of time playing short exercises from a classical ( 8 bars or so)
tutoring book, telling me which finger goes where left hand , & right hand i
m a sequences , I have been doing this for over a year as part of my
playing. I am starting to wonder really if all the details of which hand
does what really matters, certainly anyone listening or watching doesn't
give a s***, & whether I should stop the exercises & just practice playing
pieces of music instead. I just wondered if you have been down this path
years ago and got to a point where you decided to go your own way. Can I ask
your opinion as to whether to continue with exercises or just do my own
thing, I am not trying to be a "serious" classical player, just get to a
good standard.
A:
I agree with Martin. But I think it
helps to know as much theory as possible. When you are playing, or
improvising I would advise forgetting all the theory you know and play what
comes naturally. Then, after your performance you might amuse yourself by
understanding dissecting why you played what you did and where it came from.
I am not a great believer in doing scales or exercises but there is
certainly no harm in maintaining them. This is after all just technical
practice where you are trying to produce a clean sound with a solid tempo.
Instead of doing scales I like to practice Bach which is mostly scales
anyway. Bach's music is like mathematics with soul. It has an inner beauty
even if you are playing it with no feel at all. I often practice Bach (every
day actually) and play it without emotion mostly. All I am doing is trying
to improve my dexterity as a player. If I wanted to play these pieces in a
musical way I could never do it unless I practiced them slowly and
methodically. I hope this makes sense.
Q:
I just
returned from auditing a Pepe Romero master class (fantastic) and was a bit
surprised that many of the performing guitarists seemed to be trying pieces
above their ability. Have you found this to be common with the master
classes you've given? Many of them were technically proficient enough, and
could have chosen good pieces well within their range, but for some reason
their "reach seemed to surpass their grasp." - from Kirk
A:
I
understand this problem. I would have thought the best way to tackle a
masterclass would be to choose the simplest piece possible and see how a
"master" tackles it. Then the student can apply the same principles with the
more complex tunes in his/her own time. Slowly.
Q:
I am a little older than you (44) and have been playing for over 25 years.
As I get older I find I am not as subtle as I once was. So firstly, do you
have any particular warm up exercises you do before playing, even perhaps
before you even pick up a guitar, that might help? Secondly, have you ever
suffered from cramp in your left hand during a gig and if so, how have you
coped with it? I try and keep well hydrated (I only drink water when I gig)
and after 20+ years playing semi pro, I am not overly tense, but this cramp
thing really freaked me out! - from David
A:
Actually, I am older than you. I was born in 1960. I don't know of any
exercises before playing. I never do any because I believe playing is the
exercise. Especially playing slowly and economically. I have had cramp a few
times from over practicing. This has always been due to an improper position
with either my back or wrists. I have always learnt something from these
pains.
Q:
Do you still practice for electric guitar, any finger
exercises, pentatonics, sequences, or alternate picking picking exercises?
How many hours do you practice if you do? - From Süheyl
A:
I like to practice playing Bach slowly. It's very important
to know how to play slowly because it is harder because there is more room
for error. I love the harmony in Bach which has all the scales anyone could
dream for.
Q:
I am having good days and bad days practicing, on a bad day
(today) I seem to f*** up things I know I shouldn't, which I find very
demotivating, I am learning classical from scratch (with the help of an
excellent player) I am used to playing electrics which I find easier to
play. I just wondered if you have bad days, do you just put it down & walk
away or persevere. - from John
A:
Yes I do have bad days practicing when I sometimes think I am
useless and a fraud guitarist. But after many years I have learnt to learn
from this syndrome and actually find it quite useful because my real
weaknesses are exposed. This means on another, better day I know what to
work on.
Q:
I know that you practice them regularly, I’ve decided to do
the same. I decided to learn the double in the Partita I (B minor) first
because of the uninterrupted eight notes I think it will be a great musical
warm-up. My questions are, how closely you follow the dynamics/articulation
that is written? How long do you spend on finding the correct fingering and
do you try to stay in roughly the same position? Out of my own curiosity do
you play any of these using a pick? - from Dan
A:
I don't use any articulation when I practice them (or
anything else). Practice is about control, not feeling. I think the
articulation or dynamics become evident once you play them enough. Sometimes
I listen to well known violinists’ recordings to get some accent tips. The
fingering takes me ages but is my favourite part of the process. I try to be
as logical or economical as possible while retaining the best tone of the
instrument. I try and stay in the same position as much as it will allow.
Sometimes I adjust. I never use a pick for these pieces. Actually, I don't
even use nails. Flesh sounds better for me. My best tip for the Partitas and
Sonatas is to practice them as slow as you can. If you can play them
accurately and slowly you will have control of all the above.
Q:
Can you please tell me one or two little exercises you
practice on your guitar? - from Chris
A:
It's good to practice chromatic scales on the guitar and
then do them in octaves. I hope you continue to play and remember to
practice slowly. You will be better for it.
Q:
Many times I have seen on your web site a rule saying that,
when learning to play a guitar you should play slowly. How about long pieces
(pieces with scores on many many pages)? Should I (a) try to play the WHOLE
piece slowly at first and then build up the speed or should I (b) break it
in to smaller parts and learn to play each part up-to-speed and then stick
those parts together? - From Artus
A:
I think you should do both. Try and think of it as many
pieces and then join them together. It's sometimes a good idea to pick a
section at random and then work on it instead of always starting at the
beginning.
Q:
I saw your set at the Cynthia Woods Mitchell Pavilion on
Saturday September 18th and you inspired me to learn some classical guitar
pieces. I am 46 years old and picked up the guitar again a few years ago.
What songs do you recommend I start off with? I am patient and I try to
practice at least 2 hours a day. - From David
A:
I am glad to hear you are learning some classical guitar. The
best pieces for you would be Fernando Sor's guitar studies. They work really
well and are very pleasant. Then you can move on to some Bach. remember to
practice slowly.
READING MUSIC
Q:
I just wondered your opinion to the importance of sight
reading now so much music is tabbed, at the grand old age of forty one I am
trying to teach myself, reason being I should like to be out playing again
in a couple of years after a long time out & feel if I can read it might
give me an advantage over non readers if I am looking for work in cabaret
session situations etc... I am finding it very laborious & frustrating, I am
doing 45-60 minutes a day & making slow progress , have you found reading to
be to your advantage? Should I just try & learn the basics to get by or go
the whole way, I would value your advice. - from John
A:
I think reading is an important exercise but not
crucial to your musical development. There are plenty of successful
musicians who don't read. But having some reading capabilities can only make
you more articulate musically. The best thing for you would be to take some
elementary pieces and play them slowly without much pressure. You might find
this very relaxing and ultimately beneficial to your musicality.
STARTING OUT/STARTING OVER
Q.
What is the best way, in your opinion,
for a classical guitarist to learn improvisation? - from Mateusz
A.
I think the key here, is to not consider yourself as a classical player,
but as a musician. Ear training is important. It's a good exercise to learn
pieces by ear as opposed to from sheet music. Then it's a question of
playing what you hear in your head. It's like learning a language and then
thinking in that language. It's always a good thing to study solos by some
of the greats like Herbie Hancock, Kenny Kirkland, John Coltrane, Joe
Zawinul, and many others. Jazz players speak a language. Some of them say
more than others with less notes (or words). Be a detective by trying to
unravel how, and more importantly why they played the notes they did. Learn
those solos by ear, and then you will make a start at creating your own
identity or vocabulary.
Q:
I am planning on picking up a pipa (Chinese lute). I have no idea how to
play this thing, but am completely intrigued by it's sound. Have you ever
tried this instrument..? Would you recommend getting some proper technique
via a few lessons or just working it out for myself. I tend to usually work
it out on my own but thought maybe you may have attempted something like
this in the past. It has 4 strings and I play guitar - how different could
it be? - from Seika
A:
I would definitely recommend having a few lessons on this instrument so
you can get a good start. The teacher can show you how to get the best out
of it. I have never tried this instrument but if I did I would get help.
Maybe there is a special technique a teacher can show you which you might
never realise on your own. I hope you enjoy it!
Q:
I'm the kid who you gave your guitar pick to, at the concert
on May 5, 2005 in Boston. Your one of my favourite musicians in the world.
My name is Jack Doherty. I'm turning 9 on June 2, 2005. Right now on May 7,
2005 I'm listening to one of your albums called Shapes it is very
good. I take piano lessens and just about to start guitar. All I need is to
buy a guitar that fits me and that isn't old and dusty. Do you recommend any
kind of a guitar for a starter? Very, very good concert on Thursday. It was
my first and I went with my Mom and Dad. Thank you for the guitar pick. I
brought it to school to show to my class. - from Jack
A:
Hi Jack. I remember you at the concert. I am glad you enjoyed
it. This is a good time for you to start playing the guitar. I was about
nine when I started. You should ask your parents to take you to a music
store and try out a few guitars. The best way to get started is to get a
Spanish (or nylon string guitar). I think the best one would be a Yamaha.
Don't get a smaller one because one day you will have to play a full size
guitar and then it will become harder. So a normal size one would be best
for you. I think you should ask your parents to find you a guitar teacher to
help get you started. You should see him once a week and he will tell you
what you can practice. I hope you enjoy playing and please let me know how
you get on. Playing guitar is the best feeling in the world!
Q:
I have just started to play again after 15 yrs off, I played
in covers pop bands for my living in my early twenties to a decent standard,
but have decided to play again from scratch. I should like to learn to read,
I have poor knowledge of theory, I am enjoying diddling around at the moment
but want to get some learning structure going, should I seek some tutoring
or just persevere with books of scales chords etc. - from John
A:
Welcome back! It's good to be back because I am sure you will
utilise the time better now. Just start practicing scales slowly and maybe
get a private tutor. Theory is important too but first get your playing
fluency back. Then you can get deeper into it.
Q:
Is there any advice you could give me, a 14 year old girl, on
starting to play the guitar? I am have always wanted to get lessons and last
night at the Sting Concert you really inspired me to go after those lessons.
You, are one of the greatest I have ever heard and I want to be able to play
as great as you! - from Kristin
A:
I am glad you are into the guitar. My advice would be to take
classical lessons as well as whatever lessons you are having. Playing
classical guitar is not only very good for you but highly rewarding on many
levels. It will also make you better than your peers. Also, practice
SLOWLY.
Q:
I have a PRS Santana Se and run it through a Fender Blues Jr
amp, with a Big Muff pedal. What pointers can you give someone that doesn't
understand music theory but has a desire to want to play? - from Mark
A:
My advice to you would be to continue enjoying it by
simplifying your approach. The slower you play or think the quicker you will
become a better player. You will probably never be able to play like some of
the people you admire or aspire to but you can ALWAYS play like yourself
which involves taking aspects of different peoples' playing and then
creating your own style. My golden mantra is PRACTICE SLOWLY.
Q:
My Mom just saw you in concert and she got your autograph for
me. Thank you for the guitar pick. I like your new C.D. Any advice for an 8
year old learning to play guitar? - from Chris
A:
I am glad you are learning to play the guitar. I started the
same age as you. The best way to start is by getting a good teacher to show
you some open chords and then play around with them so as to make them feel
natural or fluent (your mom can explain what I mean). The next thing is to
practice really slowly because if you do this you will end up playing as
fast as you like. Good luck!
Q:
My parents bought me a cheap electric guitar about 2 years
ago, but I've only really started to try to play anything recently and I
spent a long time trying to find somebody with a style I liked. What I'm
wondering is this. You said that you started playing at 15, and I'm 15 now,
and I was wondering a) did you take any lessons or just play around to teach
yourself, and b) how long did it take for you to get to a level good enough
to play live in a band etc? - from Chris
A:
I am glad you have started this journey of playing the
guitar. My sister first taught me to play. Then I took lessons from a
classical guitar teacher. During this time I was also learning musical
theory which is REALLY important. I was always learning by ear as well and
continue to this day. I think you are ready to play in a band as soon as
your timing is adequate. Playing with other people is all about listening.
What you play should make them sound good. If you think this way you will
always sound better and ultimately be in demand. I hope this helps.
Q:
What advice would you give to a guitarist who is looking to
pursue a career in music? I'm now 14 and am currently getting a variety of
experiences i.e. studying music at school, playing in a rock band and also
playing at church. - from Nic
A:
It sounds like you are doing all the right things to be a
guitarist. I think it's important to try many different styles, particularly
classical. It could make you a better player in the style that you want to
play. Practice slowly!
Q:
I have two sons, 2 and 4 years old. I would love to have them
learn guitar similar to the way Rufus did in your family. I think this will
spark a lifelong love of music in their lives. However, as you have said of
your formal studies...the classical pieces are "bloody difficult". I do not
want to discourage them and scare them off. With that in mind, do you think
classical lessons are a good idea or simply torture for them? And what age
is a good age to start? - From Brian
A:
I think eight years old is a good time to start playing
guitar. The best way to start is by learning open chords with the emphasis
on timing. Once this is conquered it could be a good time to progress to
simple classical pieces and exercises. It is crucial to have a teacher who
makes it fun. I hope this helps, and thanks for you kind words.
TIME KEEPING
Q:
As someone who took drumming lessons for a few years when I
was younger, I'm interested to know what your thoughts are with respect to
keeping time. Some of the time signatures of Sting's songs, for example, are
quite exotic (5, 7, 9, etc), and I wonder whether you tend to count these as
you play or just kind of go with the flow? I find this even more puzzling in
jazz because the bar lines tend to 'disappear' and it's easy to get lost.
Any tips? - from Graham
A:
I find the best way to approach weird time signatures
(although they are not weird to us because we have all listened to Weather
Report, Mahavishnu Orchestra etc for years) is to think of everything as if
it were in 2. For example, divide the bar with one backbeat somewhere that
feels comfortable to you and then don't think about it. This backbeat could
just be in your head but there nevertheless. The other way is to count (but
would you be counting if you were in 4/4?). It's just a question of
familiarising yourself with these rhythms until they become second nature.
Try practicing variations in 7 while you are driving or on a bus. Same with
5, 9, 11 etc. I hope this helps!
Q:
I have question about how to use the metronome. I understand
the basics that if you have a song in 4/4 it means that each measure has
four beats. So if you play a whole note it lasts four beats, a half note two
beats and a quarter note one beat. But how about when it comes to any of the
other notes like an eight note, a sixteenth note or a dotted quarter note,
how do you play these notes with a metronome as a lot of them naturally
appears in between the beats. How do you know if you've played a note that
doesn't start on a beat at the right time not to mention for the right
amount of time, when the metronome only plays quarter beats? - from
Christoffer
A:
This is a good point. To play an 8th note with a quarter note
metronome you need to place the note EXACTLY in between the metronome beats.
This is what playing with a metronome is all about. It's like mathematics.
Then it gets even more involved when you get a dotted quarter note (or
crotchet). The metronome is there to guide you, but you must play with it.
If for example you come in too early in between the beats it will sound as
if the metronome is coming in too late for the next entry. Of course this is
wrong and makes what you played an error of judgement. Then you will see how
hard it is to find that sweet spot. The longer the gap between metronome
beats (or the slower it is moving) the more room for error and the harder it
is. This is why I think it is crucial to practice slowly which will
ultimately make you a better musician and more reliable with timing.
TIPS ON PLAYING
Q:
How important do you feel the usage of vibrato
is in your expression of ideas when playing classical or electric guitar ?
Are there any guitarists whose vibrato technique you admired or emulated in
your development as a player? - from Chad
A:
I have never thought too much about vibrato. I
am not a huge fan because I like notes to be pure. If your intonation is
really good you don't need vibrato. One of the reasons I love Sting's voice
so much is because he doesn't use vibrato much at all. I am sure I use it
but not consciously.
Q:
What is
improvisation for you? Are you thinking in terms of scales and modes that
you learned? Why don't you sing on your CDs as with Sting? You often overdub
the melody over a second guitar, could you sing those melodies? - from
Fabien
A:
I don't
have much improvising on my albums because I believe improvisation works
better in a live setting. Composing and recording are a more structured
discipline to me. But there is about 25% improvisation in the way I play
some of these melodies. I like to make short stories with my tunes, like
songs. When we perform my tunes live I like to stretch them out by trying
variations. This is fun. I like singing with Sting but I don't want to on my
albums. Partly because if I do people will talk more about the singing
(which isn't as good as the guitar playing). I can say what I want to say
without words. Notes are my preferred language. Chords are the adjectives.
Q:
I am 31 years old, originally from Brazil, and for about 12
years I've been playing the guitar. My focus has always been - from day one
- on writing my own songs and expressing my ideas through music. Music is my
deepest passion. But since I have always been interested in finding my own
sounds, as opposed to spending the necessary amount of time working on
technique and exercises, I find that my playing is much less refined than it
should have been for someone who has been playing for as long as I have. To
be quite honest, I consider myself a relatively weak player. To make matters
worse, I am left-handed but I play regular right-handed guitars... just
"upside down". In other words, my low E is at the bottom and my high E at
the top. Now, I find it somewhat difficult to evolve, mainly because I can't
find anyone to teach me in the way I play. So my dilemma is do I keep going
as it is now or do I buy a normal left-handed guitar and start from zero
again? - from Marcelo
A:
Definitely don't change the technique of playing upside
down. Look at it as an asset, not a hindrance. I know of two fantastic
guitarists who play the same way as you. One is Gus Isidore who has recorded
albums with Seal and the other is my old band mate Karl Wallinger from World
Party. I have always been fascinated with their approaches. Gus is one of
the best guitarists in the world and I am glad to say a good friend. Playing
upside down gives the instrument a unique quality. Use it. Don't think of it
as a problem anymore. I urge you. Sit down with the bass and make yourself
learn some tunes and practice them slowly until it feels comfortable. Try
using your ears to work things out. Ear training is very important because
those who play by ear always have the edge, especially paired with reading.
Please let me know how you get on and bon voyage!
Q:
I'm a guitarist of 20+ years and have a few students off and
on at times. Whenever I get questioned about how to incorporate the guitar
into group settings, I always tell them my best advice is to "listen to
Dominic Miller with Sting." At one point in the show it looked like you were
tapping out odd and even harmonics or something (close to the 12th fret of
your electric). You had used one of your fingers to sort of "bar" across one
of the frets either your left hand and used another finger on that hand to
percussively tap something behind it, and with your right hand you were
tapping what looked like other harmonics in front of the finger you had
barred across the fretboard. What were you doing? I've played a Chapman
Stick for 10 years, and use a lot of that same technique on guitar as well,
but what you were doing sounded fascinating. - From K
A:
You may think I am the example to your students in the role
of guitarist in a band but I have always aspired to Lindsay Buckingham's
(Fleetwood Mac) playing. I think his parts always complement the song in the
best, tastiest and classiest way. In a nutshell, playing ensemble is about
making the people around you shine. The tapping technique you refer to
("Never coming Home" off the "Sacred Love" album) is exactly how you
described it. I am tapping harmonics. The left second finger on the seventh
fret and the right index finger on the twelfth. The third finger on the
right hand is just making a dead percussive sound. I have been doing this
for years and haven't come across it with other guitarists. However I think
it is similar to the Stick technique. On my "Second Nature" album I do the
same on a track called "Truco". It can get fun with different tunings.
Q:
I've been having trouble playing a F# and F#m I was wondering
if you can give me some tips on how to improve to play these type of notes.
- from Carlo
A:
Try playing these chords open E and B strings (for the
F#minor use your thumb on the bass).
Q:
I've been trying (perhaps stupidly) to play Every Breath You
Take on my cheap steel string acoustic guitar the way I've seen you play it
on an electric. However I'm finding it impossible to stretch and fret the
chords the way you do. I don't know whether to buy a new guitar with smaller
frets (but which one?), have my hands surgically replaced or just give up.
What would you advise? I'm a bit worried about developing bad technique
and/or early arthritis. - from Graham
A:
It is a stretch but doable even with small hands. It's all
down to the thumb being strictly positioned directly behind the neck and not
over it (like many players do). Its almost a classical position. It is also
important to have your arm in a good position to allow you to make the
stretch. Try making the stretch just with your hands and without a guitar
and see where your arm is. Then do the same with the guitar. If this doesn't
work take up gardening... Either way please let me know if this helps!
Q:
Dominic, have you used strings with polished or semi polished
E,A,D on your P-Project or Guild Paloma? If not, what do you do to reduce
finger noise on the wound classical strings? - from Garry
A:
I only wash my hands AFTER playing. This helps. In my
opinion, natural sweat and general grime from the fingers is the best squeak
deterrent. Also, I don't change the strings on the nylon until they are dead
which can take months. Don't be fooled into buying silly products that claim
to have the answer. In the end it's only Pledge with different packaging.
Finally, the difference between professionals and amateurs is that amateurs
always feel the need to complicate matters when in fact the solution is more
often than not quite simple. I hope this helps.
Q:
I find it very difficult to play and sing at the same time
and it's especially hard in a rhythm part. Should I try to learn singing and
playing separately or I should try to practice both of it same time? - from
Swanse
A:
I am sure you can do this provided you use patience. Try just
looking at the first line of the song and just work on that for as long as
it takes which might even be a whole day. Then take it from there. When I am
learning a new piece of Bach I look at perhaps two bars of music a day
(equivalent of about 6 to 10 seconds of music). After two or three weeks I
know the whole thing and am very connected to every note. Look at EVERY
syllable and note and analyse their relationship. By doing this really
slowly you will get there quicker.
Q:
What do you think it is most important playing guitar (or
playing another instrument) the feeling or the technique? What is most
important for you? - from Xaloc
A:
I believe that with a good technique you can achieve more
feeling. I always prefer feeling over technique but they work together.
TURNING PRO
Q:
Last night, my boyfriend and I went to see you open for Sting
here in Atlanta. It was an incredible show! On the way home we were
discussing how a great guitarist gets his big break. My boyfriend is an
awesome guitarist. The problem is that he just turned 40 and feels like his
big break should have come in his 20s. He gets depressed thinking that he
will never fulfil his dreams. He just wants to make great music and needs to
meet someone who can help him do just that. Do you have any advice that you
could give him? - From Erica
A:
I know hundreds of guitarists who are in a similar position
who would like to get the 'break'. Think of how many guitarists out there
who listen to me and think 'I can do it better'. There are literally
thousands of players who want my job. The trouble is they don't know what it
really entails. For example, let's say I am playing something jazzy and
there's a jazz guitarist in the audience, he would say 'I can do it better'
therefore I should be there instead if him. Same with Rock, Country, Heavy
Metal, Folk, Spanish, Classical, Bossa Nova, Bluegrass, Funk, etc etc. This
job and any job that can bring on a 'break' is about being able to adapt to
ANY style at the drop of hat or at the artist's whim. I may not like
country, but I can play it sufficiently to make it convincing to the person
I am working with or to the audience. Just not a country guitarist. Same
with all the other styles. Before anyone says I can do it better that 'him'
he or she needs to ask themselves if they are adaptable, not just
musically/stylistically but emotionally as well.
All breaks I have had have been of my own making. It takes a lot of
determination and open mindedness to create opportunities for oneself. For
example, if someone asks your boyfriend to play a session for an artist he
thinks is not worth it, he might not realise that the tape op or
receptionist in the studio is the one who will remember him thus passing on
his number to whoever. That's the way it worked for me. My biggest 'break'
came working with Phil Collins. But the way it happened is so unrelated to
his world. It was through meeting a percussionist at a session for a girl
singer I didn't want to particularly work with who knew someone who knew
someone else who knew Hugh Padgham (Phil and Sting's producer) who
eventually recommended me for Phil.
Finally, getting a break or a good job is one thing. Holding it down is
another. I have to keep the standards up on a daily basis or else I know
someone will take my place. I hope you find this useful. I wish someone had
told me stuff like this when I was in my twenties.
Q:
Do you think its to late for me to become a professional
musician, and if I have the passion for it to happen do you think it could
happen? It’s just that I actually got to play with Chris Botti behind stage
before one of his performances and it really changed my outlook on that
possibility. I mean you don't every day get to play with a professional
trumpet played, let alone my idol Chris. I just would like to know what you
think I should do. - from Manny
A:
I don't think it is too late to become a professional
musician as long as you are prepared do be disappointed on a regular basis.
There's a big difference between being an accomplished amateur and a pro.
Once you "come out" as a pro people will start to judge you which is not for
the faint hearted. No one judges an amateur. There are many ups and downs
involved, mostly downs so again, if you are willing to put up with it I
would say go for it.
Q:
What I wanted was a little advice on how you think I should
market my music in an unfortunate time where boy bands and pop idols have a
major influence in the charts. I am constantly writing till the early hours
because that's when I get my mind going. - from Demitri
A:
It's always a good time to get into songwriting and
recording. Don't be put off by boy bands etc. It's only temporary in the
grand scheme of things. Artists like Nora Jones are not like that at all and
are selling millions. Do your own thing. I find the best time to write music
is early in the morning because your mind is fresh and you are still in
touch with your subconscious mind. A lot of authors get up at 5am!
Q:
I not only want to be a great guitarist, I want to be a great
musician - what does it take, in your opinion? - from Alan
A:
I don't think you can one can ever call one self a great
musician. I think if you are prepared to always study and listen well you
can become something like that. Learning about theory can improve you as an
instrumentalist.
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