by Mike Overly
A few months ago I asked my students to list ten questions they had about playing music and the guitar. I thought that the vast majority of questions would overlap and I could make a simple top ten list. But guess what? Nobody asked exactly the same question.
What I learned from this random sample of guitar players of all ages, levels and styles is that like snowflakes, no two musicians playing the guitar are alike, each one is unique!
Here are a few of their questions:
Why is there a nut?
How do I make a solo sound interesting?
How do I tune by ear?
What are some common blues turnarounds?
What does modulation mean?
What is a triad and how many are there?
Which is easier to play, electric or acoustic?
What are inversions?
What is alternate tuning?
What does a whammy bar do?
Why are there two dots on fret 12?
Is learning to read music important?
How much should I practice each day?
How do I know what key I’m in?
How do I overcome nervousness when performing?
What is a power chord?
What is the definition of enharmonic?
What is a moderately slow shuffle?
What are flat wound strings?
And finally, how can you play lots of songs on the guitar if there are only six strings? This last question reminds us that there are no stupid questions - only stupid answers!
Now, even though these students didn't ask the same questions, the questions they did ask fell into three broad categories which are sometimes hard to separate: music theory, guitar theory and the musician.
Simply stated, theory is what and how we think about music and the guitar, and technique is skill or, how well we play. In other words, we play what we think and we think what we've learned. Now, if playing is the result of learning, and learning is the result of questions answered, then how exactly do we learn? The easy answer is: slowly at the speed of thought, transforming understanding into knowledge, in order to practice. Practice is simply the repetition of what we’ve learned until we can play what we’ve practiced at a steady performance tempo. Tempo is the rate of speed of the steady beat. Said a different way, we learn, then practice, and then play.
So, what are we going to learn?
Basically, we learn three important concepts:
1. What to play: scales, arpeggios and chords, and how to apply them,
2. When to play what we've learned: time as rhythm, and
3. How to play what we've learned: dynamics and techniques, such as bend, slide, etc..
Future lessons will go into greater detail about the "what, when and how" of music and the guitar, but for now, let's answer one of the student's questions: What is the definition of enharmonic?
Enharmonic is "the same pitch" but not the same letter or scale degree tone number. For example, sharp G (#G) sounds the same as flat A (bA), however, in the key of C major, #G is tone sharp 5 (#5), whereas bA is flat six (b6). As you can see, the letter and scale degree tone number of any pitch is determined by the key you're in, but that’s another question.
So 'til next time, I invite all of you to send me your questions, or answers, which in turn will generate even more questions and answers. This is our dialogue. And this is the process of learning.
Globally-renowned guitar and bass instructor, Mike Overly easily combines the worlds of deeply-rooted academic study with a well-textured performance resume. His pathbreaking 12 Tone Music Publishing products provide valuable insights into simplifying the playing process with such ideas as: How to Play Like a Genius Without Really Being One, or, Awesome Licks, Riffs, Hooks and Fills made Easy!
Join Mike at www.12tonemusic.com to explore and expand your knowledge of these two iconic instruments through a variety of interviews and reviews, tips and tricks and free lessons, all presented in a family-friendly forum. Plus, as an added bonus, you get to follow Mr. Pick as he
introduces you to fun fretboard games, jokes, riddles, quotes and more. Be sure to read the 12 Tone Music Blog where Mike offers a behind-the scenes look at the development of his unique approach to music, guitar and bass.
Mike Overly's unmatched perspective on fretboard education has something for everyone -- from the amateur hobbyist to the serious professional player -- as well as any music enthusiast who wants to come along for the ride.
A few months ago I asked my students to list ten questions they had about playing music and the guitar. I thought that the vast majority of questions would overlap and I could make a simple top ten list. But guess what? Nobody asked exactly the same question.
What I learned from this random sample of guitar players of all ages, levels and styles is that like snowflakes, no two musicians playing the guitar are alike, each one is unique!
Here are a few of their questions:
Why is there a nut?
How do I make a solo sound interesting?
How do I tune by ear?
What are some common blues turnarounds?
What does modulation mean?
What is a triad and how many are there?
Which is easier to play, electric or acoustic?
What are inversions?
What is alternate tuning?
What does a whammy bar do?
Why are there two dots on fret 12?
Is learning to read music important?
How much should I practice each day?
How do I know what key I’m in?
How do I overcome nervousness when performing?
What is a power chord?
What is the definition of enharmonic?
What is a moderately slow shuffle?
What are flat wound strings?
And finally, how can you play lots of songs on the guitar if there are only six strings? This last question reminds us that there are no stupid questions - only stupid answers!
Now, even though these students didn't ask the same questions, the questions they did ask fell into three broad categories which are sometimes hard to separate: music theory, guitar theory and the musician.
Simply stated, theory is what and how we think about music and the guitar, and technique is skill or, how well we play. In other words, we play what we think and we think what we've learned. Now, if playing is the result of learning, and learning is the result of questions answered, then how exactly do we learn? The easy answer is: slowly at the speed of thought, transforming understanding into knowledge, in order to practice. Practice is simply the repetition of what we’ve learned until we can play what we’ve practiced at a steady performance tempo. Tempo is the rate of speed of the steady beat. Said a different way, we learn, then practice, and then play.
So, what are we going to learn?
Basically, we learn three important concepts:
1. What to play: scales, arpeggios and chords, and how to apply them,
2. When to play what we've learned: time as rhythm, and
3. How to play what we've learned: dynamics and techniques, such as bend, slide, etc..
Future lessons will go into greater detail about the "what, when and how" of music and the guitar, but for now, let's answer one of the student's questions: What is the definition of enharmonic?
Enharmonic is "the same pitch" but not the same letter or scale degree tone number. For example, sharp G (#G) sounds the same as flat A (bA), however, in the key of C major, #G is tone sharp 5 (#5), whereas bA is flat six (b6). As you can see, the letter and scale degree tone number of any pitch is determined by the key you're in, but that’s another question.
So 'til next time, I invite all of you to send me your questions, or answers, which in turn will generate even more questions and answers. This is our dialogue. And this is the process of learning.
Globally-renowned guitar and bass instructor, Mike Overly easily combines the worlds of deeply-rooted academic study with a well-textured performance resume. His pathbreaking 12 Tone Music Publishing products provide valuable insights into simplifying the playing process with such ideas as: How to Play Like a Genius Without Really Being One, or, Awesome Licks, Riffs, Hooks and Fills made Easy!
Join Mike at www.12tonemusic.com to explore and expand your knowledge of these two iconic instruments through a variety of interviews and reviews, tips and tricks and free lessons, all presented in a family-friendly forum. Plus, as an added bonus, you get to follow Mr. Pick as he
introduces you to fun fretboard games, jokes, riddles, quotes and more. Be sure to read the 12 Tone Music Blog where Mike offers a behind-the scenes look at the development of his unique approach to music, guitar and bass.
Mike Overly's unmatched perspective on fretboard education has something for everyone -- from the amateur hobbyist to the serious professional player -- as well as any music enthusiast who wants to come along for the ride.
