What I want to know is there anything I should add or subtract? Is there a set amount of time I should practice each aspect of playing? Such as number of times to play a lick through ect ect..because as I said, I am getting better but I would hate it if in some way I was screwing myself over.
A spaz and his practice regimen...
Okay on average throughout the night (as I do not sleep) I practice every single night for about 6 hours a night (including large breaks in between of course) my practice regimen includes :warmups (about an hour both fretting and picking hands) speed training, lead practice (modes, scales, ect ect) rythm work (palm muting, different rythmic patterns) I pick certain rythms from songs I like and practice them, as well as a slew of other techniques...these days I have sacrificed music theory time to work on my overall playing. Now a large portion of that practice time is me making up riffs and generally screwing around, as I'm sure most you do as well. My problem is, I have massive ADD, so although I can make myself sit and practice, my regimen is all over the place. I do afformentioned methods at verying times in no specific order..so I'm pretty much all over the place. I generally seem to slowly be getting better in all aspects, but I don't want to short change myself. I make sure to rest as the brain and hands are muscles, I utilize the metronome and I allow myself to have (way to much) improv/creative time..without setting any goals in particular.
What I want to know is there anything I should add or subtract? Is there a set amount of time I should practice each aspect of playing? Such as number of times to play a lick through ect ect..because as I said, I am getting better but I would hate it if in some way I was screwing myself over.
What I want to know is there anything I should add or subtract? Is there a set amount of time I should practice each aspect of playing? Such as number of times to play a lick through ect ect..because as I said, I am getting better but I would hate it if in some way I was screwing myself over.
# 1
I've always found the best way to improve is to write your own music. It's one thing playing scales and set runs but a totally different thing to put them into something coherant with direction and theme. I would seriously advise you to head on down to the listening forum and download this months backing track - it's a very user friendly one for players at any level.
When you start getting into composing you'll find yourself spending less time doing repetitive scales and you will start improving faster - you'll still be using those scales of course but within the context of a piece of music.
I would advise you to add two more BIG area to your practice time.
1) Jam over a backing track (free ones here in the listening forum!) - this will help you to train your ear so you can hear the differences in modes and scales etc and more importantly you will learn to feel your way around the fretboard. WHen you jam try not to think too much about what you are doing - concentrate more on the 'feel'.
2) Practice composing structured solos over a backing track. Listen to the backing a few times so you know it well then imagine how a good solo would sound over a certain section. Then play the solo over a few times in your head - then start to work it out on the fretboard note for note. Practicing this type of structured solo is one of the best ways of learning because you imagine the solo in your head first (without even holding your guitar), then when you pick up your guitar and work the solo out you will find you are using new patterns and shapes you have never played before.
Imagination vs repetition = how you develop your own unique style.
You'll find that the combination of the above two regimes will bring everything you have been practicing together and you will start to make serious headway as a player.
The more composing you do the more you find you learn about musical structure - you can either use your ear or a theory book, whatever works for you. I can't get my head around theory so I use my ear, other guys think in theoretical terms and it works very well for them too. Don't get too hung up on it, just go with whatever allows you to play more freely without losing 'feel'.
One last thing, record everything you do - if it suck you can delete it but sometimes you capture something magical from a jam that you would never be able to reproduce without the recording as a memory aid.
Recording also makes you focus on being more accurate because sometimes you don't realise how sloppy you might untill you listen back - this helps motivate you to tidy up the finer details which ultimately makes for a well rounded player.
Hope that helps!
When you start getting into composing you'll find yourself spending less time doing repetitive scales and you will start improving faster - you'll still be using those scales of course but within the context of a piece of music.
I would advise you to add two more BIG area to your practice time.
1) Jam over a backing track (free ones here in the listening forum!) - this will help you to train your ear so you can hear the differences in modes and scales etc and more importantly you will learn to feel your way around the fretboard. WHen you jam try not to think too much about what you are doing - concentrate more on the 'feel'.
2) Practice composing structured solos over a backing track. Listen to the backing a few times so you know it well then imagine how a good solo would sound over a certain section. Then play the solo over a few times in your head - then start to work it out on the fretboard note for note. Practicing this type of structured solo is one of the best ways of learning because you imagine the solo in your head first (without even holding your guitar), then when you pick up your guitar and work the solo out you will find you are using new patterns and shapes you have never played before.
Imagination vs repetition = how you develop your own unique style.
You'll find that the combination of the above two regimes will bring everything you have been practicing together and you will start to make serious headway as a player.
The more composing you do the more you find you learn about musical structure - you can either use your ear or a theory book, whatever works for you. I can't get my head around theory so I use my ear, other guys think in theoretical terms and it works very well for them too. Don't get too hung up on it, just go with whatever allows you to play more freely without losing 'feel'.
One last thing, record everything you do - if it suck you can delete it but sometimes you capture something magical from a jam that you would never be able to reproduce without the recording as a memory aid.
Recording also makes you focus on being more accurate because sometimes you don't realise how sloppy you might untill you listen back - this helps motivate you to tidy up the finer details which ultimately makes for a well rounded player.
Hope that helps!
# 2
Without knowing your exact situation and goals, it would be difficult to give you advice on what to add or subtract. However, I think that warm-ups should only last about ten to fifteen minutes (including some chromatic dexterity excerises) just enough to get your hands limbered up and ready for the real work. I would definitely recommend that you add theory back into your routine (it keeps the "knowledge" of what you are doing fresh in your mind).
I do agree with most Superhuman's post, especially on composing structured solo's. I would add working on one or two songs from your repertoire for at least a half an hour and change up the songs on daily basis.
As far as number of times to play a lick through... until you get it at a slow enough speed to play it perfectly without mistakes. Then, continue to up the tempo until you got it dead on the proper speed.
I do agree with most Superhuman's post, especially on composing structured solo's. I would add working on one or two songs from your repertoire for at least a half an hour and change up the songs on daily basis.
As far as number of times to play a lick through... until you get it at a slow enough speed to play it perfectly without mistakes. Then, continue to up the tempo until you got it dead on the proper speed.
# 3
