March 6, 2025 • 16 mins
Embrace a transformation from casual noodling to a structured, effective guitar practice regimen. This episode dives into how creating goals can elevate your playing, enhancing both skills and creativity.
• Discusses the balance between noodling for enjoyment and structured practice
• Highlights the significance of defining personal goals in practice
• Introduces practice buckets: fundamentals, theory, and creativity
If you're looking for any additional help or guidance in all of these sorts of things, we have this thing at Guitar Zoom called the Guitar Zoom Academy, and that's exactly what we do here is craft, you know, custom plans for people and then guidance for an entire year on getting you to the goals that you're looking for.
Links:
Check out the GuitarZoom Academy:
https://academy.guitarzoom.com/
- Steve’s Channel → https://www.youtube.com/user/stinemus...
- GuitarZoom Channel → https://www.youtube.com/user/guitarz0...
- Songs Channel → https://www.youtube.com/user/GuitarSo... .
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Steve (00:00):
Hey, Steve Stine from GuitarZoom here.
Thank you so much for joiningme.
Today we're going to be talkingabout the difference between
noodling on the guitar andactually setting up a practice
regimen.
Okay, so I want to start off byjust telling you that if you do
like to just screw around onthe guitar, noodle, we call it
on the guitar and you'reperfectly happy with that, then
(00:20):
that's fine.
There's nothing wrong with that.
Again, if you're notquestioning what you're doing,
you're just enjoying what you'redoing, I'm the last person to
tell you need to change anything.
But if you're finding that, asa result of just kind of playing
whatever at whenever, timeisn't really getting you the
results that you want, then it'stime to start trying to change
(00:42):
that and start making a plan foryourself of what you're trying
to do, be it on a daily basis oron a weekly basis.
Okay, so everybody's in adifferent place when it comes to
what we're practicing, whatlevel we're at with the things
that we're doing, all of thatkind of stuff.
So I really just want to focuson on a couple of things I think
would be beneficial for you.
Number one is is you want tostart learning how to define
(01:07):
your goals, not just practicinganything and whatever and that
sort of thing.
And again, I'm going to say itIf that's what makes you happy,
there's nothing wrong with that,but if that's not getting you
the results that you want, thenwhat you need to start doing is
you need to start developing aplan.
That plan has to consist ofsome goals, some elements that
you think are pertinent to studyand elevate to get to the place
(01:32):
you want to be.
For instance, if you want tolearn how to play songs, you
need the fundamental componentsto play songs.
You need to learn essentialchords to play the kind of music
that you want to play openchords or bar chords or power
chords or any of these sorts ofthings.
You also need to learn how tostrum to make the music sound
(01:53):
real right, not just a strummingpattern, not just down, down,
down, up down or something likethat, which is fine, but really
learning how to feel, strum,feel the rhythm connected to the
music that you're trying toplay on.
And the third thing is thatyou've got to learn how to
memorize the components or thecompositional elements of that
song.
There's an intro, and it needsme to do this.
(02:14):
There's a verse, and it needsme to do this.
Blah, blah, blah.
And as you keep going you mightstart moving into various
techniques.
I need to develop my alternatepicking.
I need to develop my palmmuting.
I need to you know, develop mysingle note playing.
Whatever it might be okay, butbeing aware of those things and
understanding that some of thesethings require a daily feeding
(02:36):
to either A at the very leastmaintain and B to elevate okay.
If you don't do them on aregular basis and you don't
really have control of them, theproblem is oftentimes they're
going to slip.
So guitar playing isn't like atleast in my experience, it's
not like riding a bike, whereyou just grab a guitar and
(02:58):
everything's still there.
That's not true.
It's almost like being anathlete.
If you're a marathoner and thenyou don't do a marathon for 10
years, you're not just going toget up one day and go well,
today I'm going to run amarathon Like.
Your body needs to stay inshape.
It might not need to be in evenmore shape that's entirely up
to you but at the very least itneeds to maintain to be able to
(03:18):
do the marathon.
So what I think about are what Icall buckets.
When I'm trying to put thistogether is to get people to
think about elements that youneed to decide whether you're
going to work on all of thesethings every day, which in my
world, is impossible.
There's just not enough.
(03:41):
There's certain things that Iwill work on because I find it
very, very, very important, andthen I will scatter other
elements throughout the week tomake sure that I'm hitting
everything without too muchspace in between.
So, for instance, the firstthing I want you to think about
is what we'll call thefundamentals bucket or the
rudimentary bucket, and whatthis is is those essential
(04:04):
skills that you need to play thethings that you want to play,
be it chords and chord changes,be it strumming, be it picking
single note, picking down,picking alternate, picking palm,
muting right Fundamental skillsto do the things that you want.
Maybe you're focusing onsoloing, improvisation, like
(04:28):
that's a big thing.
Multiple parts to this.
You've got the visualization ofyour fretboard.
You've got the understanding ofelements and how they work and
interact on the fretboard.
You've got skill sets, theexecution of things with your
fingers, with said scales right,whatever scale you're working
(04:48):
on, pentatonic, whatever itmight be that you're doing your
ability to be able to see thosethings on an absolute level, not
kind of sort of because, again,kind of sort of means, not kind
of sort of If you kind of knowsomething, you kind of don't
know something.
That's where the problem lies.
So you need to be able todevelop that fretboard whether
it's a little bit or a lot isentirely up to you.
(05:09):
But you need to develop that toan absolute level to be able to
manipulate it and control itand make music with it.
So the second level then is theskill set.
I can see this absolutely, butI cannot play it very well.
Right, I'm using a metronome,I'm trying to dial in my skill
set of being able to do this,but I can see that I still need
more work with that.
(05:29):
Okay, well, that's fine.
And then there's oftentimes athird level to this, which is
the creative level.
If you're learning how toimprovise, for instance, just
because you can see something onyour fretboard and just because
you can move your fingers at acertain's, what you might
appreciate about them, you mightappreciate the technical
prowess of that person, youmight appreciate the musicality
(06:03):
of David Gilmour or somethinglike that.
Again, it's entirely up to you.
I'm just saying do right theclarity, the cleanliness, the
(06:24):
accuracy and then, ultimately,the speed at which I can do
these things.
And speed is is kind of amisunderstood word in guitar
player world because we just uh,you know, we, we think of speed
as being shred, and it could bethat for sure if that's what's
interesting to you, but it maynot be.
Speed is also relative.
We're talking about music andthere's fundamentals about music
(06:46):
, right, speed can also meanhere's a song that I'm going to
be improvising over, and thesong is at 130 beats per minute.
So when I go to startimprovising over the top, I have
to acknowledge the tempo atwhich this song is going to do
things that I'm going to do, beit things that I'm doing at a
quarter note speed, an eighthnote speed, a sixteenth note
(07:09):
speed, right, people forget that, like, they just think, oh,
it's in the key of G.
So as long as I know somethingabout G on the fretboard, I'm
good to go.
Well, that's part of it.
But if you haven't figured outthe speed at which you can do
something, that's where thewhole thing starts breaking down
is you're not able to playalong with whatever this is.
We don't have to play alongwith 128th notes the whole time.
(07:32):
That's not what I'm saying, butthere's.
I always tell people that whenit comes to improvisation, one
of the most important functionalelements is the eighth note,
because if you're going, you'rehere, think about this, let's do
something with a straightgroove.
So if I was doing right there,so here's my, my song's going at
this speed, here's my quarternote.
(07:53):
So my eighth note is going.
My 16th note is going.
16th note's going to be achallenge to try and improvise.
Oftentimes, with 16th notes, wetry and develop licks or
patterns or things like thatthat will play at that speed.
It's something that we've beenworking on.
Again, rudimentally right.
The eighth note is what I'mgoing to improvise with, maybe
(08:14):
go into the little 16th note.
So my skills aren't just basedon what I can see, but it's what
I can execute skillfully.
And speed, tempo is alwayssomething that we have to keep
(08:35):
in mind, so you don't have tojust think well, I don't want to
be a shredder.
The other part of this is it'snot about shredding, it's about
connecting to the music.
So that's the fundamentalsrudimentary bucket you making
choices on what needs to be doneon a daily basis so you can run
a marathon.
Okay, the second bucket we'regoing to talk about is going to
be the theory and fretboardvisualization bucket.
(08:56):
I think this is reallyimportant Learning how to
visualize something andunderstand what it is.
How does it work?
What can I understand aboutthis situation of this bucket is
that you don't necessarily haveto be around your guitar to
work on this bucket.
You might be traveling, youmight be at the office or be at
(09:18):
work or whatever it might be,and you've got some free time to
simply think, to look at apiece of paper, visualize and
think about what it is that youwant to do.
Okay, so for me, that wasalways something I would do,
like in school, when I'd have astudy hall, or something I would
.
I would study my scale fretboards, you know, I would draw
them out in study hall and thenI would, you know, study things
(09:42):
on this, on this piece of paper.
So by the time I got home, Icould start working on the
fundamental, the rudimentary,the execution of the things I
was thinking of when I wassitting in study hall.
So that's the beauty of thatbucket is that it can be done.
Sure, it can be done with yourguitar in your hands, but it
very much can be done when theguitar is not in your hands.
(10:03):
Okay, so we've got ourfundamentals bucket, we've got
our theory bucket.
I always think, you know songsis another good bucket, because
learning other people's songscan be very helpful for you in
deciding what am I supposed tobe doing here.
Like you know, I need some newexperiences.
I need to learn how things youknow connect together.
(10:24):
That might be a really goodthing for me to learn.
Or how can I use this in thereal world?
How does somebody approach this?
You know so people always saythings like well, I get stuck
and I don't.
You know, I don't feel verycreative and I can't come up
with new ideas.
Well, that's what songs do, is?
They oftentimes will feed thesecreative ideas.
You'll be like oh, I neverthought about doing that before,
(10:45):
I've never seen that before.
That's brand new, verymotivational for me to learn
that thing.
That's pretty cool.
That's pretty cool.
So song study is another thingthat I think is really, really
important.
Now, song study might not haveto happen every day Now if
you're joining a band orsomething and you're learning
how to play a set list, and thatset list can consist of 40 or
(11:06):
50 songs that you have to learnin a week and a half from today.
Well, that becomes your primaryfocus for your practice,
obviously, and some of theseother things are going to have
to take a sidestep while youfocus on these.
So your practice routine, yourpractice regimen, is sometimes
kind of organic because itdepends on what's going on in
your life at the time.
It's not always what do I wantto develop.
(11:27):
Yes, I want that and I wish Icould have that every day.
But then there's obligationsthat happen in my life where I
might have to play with thisband and I have to learn their
songs, and so that becomesprecedence, because I don't want
to not do a good job.
If I don't do a good job, theyprobably won't ask me to do it
ever again.
So you know, that becomespriority for me.
(11:48):
While I'm getting ready to dothis show with this band or
whatever it might be, then I'mfocusing on that.
This show with this band orwhatever it might be, then I'm
focusing on that.
So the last thing I want to giveyou is what I refer to as the
creative bucket or the realworld bucket, and oftentimes,
again, this is a bucket that mayor may not be necessary for you
, depending on what your goalsare.
If what you do is play otherpeople's songs and this is not
(12:13):
meant to be offensive at all I'mjust being honest.
If you play in a band orsomething like that, and you
play the same stuff all the time, and you do exactly the same
thing all the time, and you playa lot and you're making money
or you're enjoying yourself, Ithink that's amazing.
Okay, but the truth is isyou're really not having to
worry about the creative aspectof playing in this particular
(12:35):
band, because it's not reallynecessary for you.
You've already Right now youmight be, you know, making up
your own solos or something likethat, and that's the creative
aspect of what you're doing inthis band.
And again, there you go.
There's your creative outlet,and that's that's awesome.
(13:05):
Not just the guitar playerpractice hat, but the
performance hat.
It's learning how to controlyourself to where, when you hear
a musical situation that youare going to interact with
creatively, you're not makingdecisions based on.
Well, I remember learning thatlick and so I should play that,
and then my brother showed methis thing about modes and
mixolydian, so I got to use thattoo, and then yesterday I was
trying to do this thing, so I'mgoing to put that in there.
That isn't what it is.
(13:26):
It's learning how to makeproper choices that sound
musical to the music situationthat you find yourself in.
Now that definition can changefor everybody.
My definition of blues might beway different than your
definition of blues.
That's okay, but I have to workwithin the parameters of what
my definition of blues is.
So if I'm going to jam blueswith somebody, I understand what
(13:50):
.
As soon as I start hearing themusic, I understand what it's
asking of me, and then I need torespond accordingly, whether
it's on a BB King kind of levelor a Joe Bonamassa kind of level
or a Steve Ray Vaughan kind ofthat's whatever I mean.
That's what my guitar journeyis about, and what yours is
about as well is making thosechoices.
(14:10):
I'm just saying just because wecan see things on the fretboard
and just because we practicedoesn't mean we're creative.
Think about it that way.
You've got to learn to bemusical.
You've got to practice learninghow to be musical, how to
connect with the music on amusic level, if that makes sense
.
So that's a great bucket foryou to practice too.
(14:30):
So, anyway, hopefully thathelps you a little bit, gives
you some insight If you'relooking for any additional help
or guidance in all of thesesorts of things.
You know we have this thing atGuitar Zoom called the Guitar
Zoom Academy, and that's exactlywhat we do here is craft, you
know, custom plans for peopleand then guidance for an entire
year on getting you to the goalsthat you're looking for.
(14:53):
So if you're interested, makesure you check out the Guitar
Zoom Academy.
So, take care, stay positiveand I'll talk to you soon, okay,
Hey, Steve Stine from GuitarZoom here.
Thank you so much for joiningme.
Today we're going to be talkingabout the difference between
noodling on the guitar andactually setting up a practice
regimen.
Okay, so I want to start off byjust telling you that if you do
like to just screw around onthe guitar, noodle, we call it
on the guitar and you'reperfectly happy with that, then
(00:20):
that's fine.
There's nothing wrong with that.
Again, if you're notquestioning what you're doing,
you're just enjoying what you'redoing, I'm the last person to
tell you need to change anything.
But if you're finding that, asa result of just kind of playing
whatever at whenever, timeisn't really getting you the
results that you want, then it'stime to start trying to change
(00:42):
that and start making a plan foryourself of what you're trying
to do, be it on a daily basis oron a weekly basis.
Okay, so everybody's in adifferent place when it comes to
what we're practicing, whatlevel we're at with the things
that we're doing, all of thatkind of stuff.
So I really just want to focuson on a couple of things I think
would be beneficial for you.
Number one is is you want tostart learning how to define
(01:07):
your goals, not just practicinganything and whatever and that
sort of thing.
And again, I'm going to say itIf that's what makes you happy,
there's nothing wrong with that,but if that's not getting you
the results that you want, thenwhat you need to start doing is
you need to start developing aplan.
That plan has to consist ofsome goals, some elements that
you think are pertinent to studyand elevate to get to the place
(01:32):
you want to be.
For instance, if you want tolearn how to play songs, you
need the fundamental componentsto play songs.
You need to learn essentialchords to play the kind of music
that you want to play openchords or bar chords or power
chords or any of these sorts ofthings.
You also need to learn how tostrum to make the music sound
(01:53):
real right, not just a strummingpattern, not just down, down,
down, up down or something likethat, which is fine, but really
learning how to feel, strum,feel the rhythm connected to the
music that you're trying toplay on.
And the third thing is thatyou've got to learn how to
memorize the components or thecompositional elements of that
song.
There's an intro, and it needsme to do this.
(02:14):
There's a verse, and it needsme to do this.
Blah, blah, blah.
And as you keep going you mightstart moving into various
techniques.
I need to develop my alternatepicking.
I need to develop my palmmuting.
I need to you know, develop mysingle note playing.
Whatever it might be okay, butbeing aware of those things and
understanding that some of thesethings require a daily feeding
(02:36):
to either A at the very leastmaintain and B to elevate okay.
If you don't do them on aregular basis and you don't
really have control of them, theproblem is oftentimes they're
going to slip.
So guitar playing isn't like atleast in my experience, it's
not like riding a bike, whereyou just grab a guitar and
(02:58):
everything's still there.
That's not true.
It's almost like being anathlete.
If you're a marathoner and thenyou don't do a marathon for 10
years, you're not just going toget up one day and go well,
today I'm going to run amarathon Like.
Your body needs to stay inshape.
It might not need to be in evenmore shape that's entirely up
to you but at the very least itneeds to maintain to be able to
(03:18):
do the marathon.
So what I think about are what Icall buckets.
When I'm trying to put thistogether is to get people to
think about elements that youneed to decide whether you're
going to work on all of thesethings every day, which in my
world, is impossible.
There's just not enough.
(03:41):
There's certain things that Iwill work on because I find it
very, very, very important, andthen I will scatter other
elements throughout the week tomake sure that I'm hitting
everything without too muchspace in between.
So, for instance, the firstthing I want you to think about
is what we'll call thefundamentals bucket or the
rudimentary bucket, and whatthis is is those essential
(04:04):
skills that you need to play thethings that you want to play,
be it chords and chord changes,be it strumming, be it picking
single note, picking down,picking alternate, picking palm,
muting right Fundamental skillsto do the things that you want.
Maybe you're focusing onsoloing, improvisation, like
(04:28):
that's a big thing.
Multiple parts to this.
You've got the visualization ofyour fretboard.
You've got the understanding ofelements and how they work and
interact on the fretboard.
You've got skill sets, theexecution of things with your
fingers, with said scales right,whatever scale you're working
(04:48):
on, pentatonic, whatever itmight be that you're doing your
ability to be able to see thosethings on an absolute level, not
kind of sort of because, again,kind of sort of means, not kind
of sort of If you kind of knowsomething, you kind of don't
know something.
That's where the problem lies.
So you need to be able todevelop that fretboard whether
it's a little bit or a lot isentirely up to you.
(05:09):
But you need to develop that toan absolute level to be able to
manipulate it and control itand make music with it.
So the second level then is theskill set.
I can see this absolutely, butI cannot play it very well.
Right, I'm using a metronome,I'm trying to dial in my skill
set of being able to do this,but I can see that I still need
more work with that.
(05:29):
Okay, well, that's fine.
And then there's oftentimes athird level to this, which is
the creative level.
If you're learning how toimprovise, for instance, just
because you can see something onyour fretboard and just because
you can move your fingers at acertain's, what you might
appreciate about them, you mightappreciate the technical
prowess of that person, youmight appreciate the musicality
(06:03):
of David Gilmour or somethinglike that.
Again, it's entirely up to you.
I'm just saying do right theclarity, the cleanliness, the
(06:24):
accuracy and then, ultimately,the speed at which I can do
these things.
And speed is is kind of amisunderstood word in guitar
player world because we just uh,you know, we, we think of speed
as being shred, and it could bethat for sure if that's what's
interesting to you, but it maynot be.
Speed is also relative.
We're talking about music andthere's fundamentals about music
(06:46):
, right, speed can also meanhere's a song that I'm going to
be improvising over, and thesong is at 130 beats per minute.
So when I go to startimprovising over the top, I have
to acknowledge the tempo atwhich this song is going to do
things that I'm going to do, beit things that I'm doing at a
quarter note speed, an eighthnote speed, a sixteenth note
(07:09):
speed, right, people forget that, like, they just think, oh,
it's in the key of G.
So as long as I know somethingabout G on the fretboard, I'm
good to go.
Well, that's part of it.
But if you haven't figured outthe speed at which you can do
something, that's where thewhole thing starts breaking down
is you're not able to playalong with whatever this is.
We don't have to play alongwith 128th notes the whole time.
(07:32):
That's not what I'm saying, butthere's.
I always tell people that whenit comes to improvisation, one
of the most important functionalelements is the eighth note,
because if you're going, you'rehere, think about this, let's do
something with a straightgroove.
So if I was doing right there,so here's my, my song's going at
this speed, here's my quarternote.
(07:53):
So my eighth note is going.
My 16th note is going.
16th note's going to be achallenge to try and improvise.
Oftentimes, with 16th notes, wetry and develop licks or
patterns or things like thatthat will play at that speed.
It's something that we've beenworking on.
Again, rudimentally right.
The eighth note is what I'mgoing to improvise with, maybe
(08:14):
go into the little 16th note.
So my skills aren't just basedon what I can see, but it's what
I can execute skillfully.
And speed, tempo is alwayssomething that we have to keep
(08:35):
in mind, so you don't have tojust think well, I don't want to
be a shredder.
The other part of this is it'snot about shredding, it's about
connecting to the music.
So that's the fundamentalsrudimentary bucket you making
choices on what needs to be doneon a daily basis so you can run
a marathon.
Okay, the second bucket we'regoing to talk about is going to
be the theory and fretboardvisualization bucket.
(08:56):
I think this is reallyimportant Learning how to
visualize something andunderstand what it is.
How does it work?
What can I understand aboutthis situation of this bucket is
that you don't necessarily haveto be around your guitar to
work on this bucket.
You might be traveling, youmight be at the office or be at
(09:18):
work or whatever it might be,and you've got some free time to
simply think, to look at apiece of paper, visualize and
think about what it is that youwant to do.
Okay, so for me, that wasalways something I would do,
like in school, when I'd have astudy hall, or something I would
.
I would study my scale fretboards, you know, I would draw
them out in study hall and thenI would, you know, study things
(09:42):
on this, on this piece of paper.
So by the time I got home, Icould start working on the
fundamental, the rudimentary,the execution of the things I
was thinking of when I wassitting in study hall.
So that's the beauty of thatbucket is that it can be done.
Sure, it can be done with yourguitar in your hands, but it
very much can be done when theguitar is not in your hands.
(10:03):
Okay, so we've got ourfundamentals bucket, we've got
our theory bucket.
I always think, you know songsis another good bucket, because
learning other people's songscan be very helpful for you in
deciding what am I supposed tobe doing here.
Like you know, I need some newexperiences.
I need to learn how things youknow connect together.
(10:24):
That might be a really goodthing for me to learn.
Or how can I use this in thereal world?
How does somebody approach this?
You know so people always saythings like well, I get stuck
and I don't.
You know, I don't feel verycreative and I can't come up
with new ideas.
Well, that's what songs do, is?
They oftentimes will feed thesecreative ideas.
You'll be like oh, I neverthought about doing that before,
(10:45):
I've never seen that before.
That's brand new, verymotivational for me to learn
that thing.
That's pretty cool.
That's pretty cool.
So song study is another thingthat I think is really, really
important.
Now, song study might not haveto happen every day Now if
you're joining a band orsomething and you're learning
how to play a set list, and thatset list can consist of 40 or
(11:06):
50 songs that you have to learnin a week and a half from today.
Well, that becomes your primaryfocus for your practice,
obviously, and some of theseother things are going to have
to take a sidestep while youfocus on these.
So your practice routine, yourpractice regimen, is sometimes
kind of organic because itdepends on what's going on in
your life at the time.
It's not always what do I wantto develop.
(11:27):
Yes, I want that and I wish Icould have that every day.
But then there's obligationsthat happen in my life where I
might have to play with thisband and I have to learn their
songs, and so that becomesprecedence, because I don't want
to not do a good job.
If I don't do a good job, theyprobably won't ask me to do it
ever again.
So you know, that becomespriority for me.
(11:48):
While I'm getting ready to dothis show with this band or
whatever it might be, then I'mfocusing on that.
This show with this band orwhatever it might be, then I'm
focusing on that.
So the last thing I want to giveyou is what I refer to as the
creative bucket or the realworld bucket, and oftentimes,
again, this is a bucket that mayor may not be necessary for you
, depending on what your goalsare.
If what you do is play otherpeople's songs and this is not
(12:13):
meant to be offensive at all I'mjust being honest.
If you play in a band orsomething like that, and you
play the same stuff all the time, and you do exactly the same
thing all the time, and you playa lot and you're making money
or you're enjoying yourself, Ithink that's amazing.
Okay, but the truth is isyou're really not having to
worry about the creative aspectof playing in this particular
(12:35):
band, because it's not reallynecessary for you.
You've already Right now youmight be, you know, making up
your own solos or something likethat, and that's the creative
aspect of what you're doing inthis band.
And again, there you go.
There's your creative outlet,and that's that's awesome.
(13:05):
Not just the guitar playerpractice hat, but the
performance hat.
It's learning how to controlyourself to where, when you hear
a musical situation that youare going to interact with
creatively, you're not makingdecisions based on.
Well, I remember learning thatlick and so I should play that,
and then my brother showed methis thing about modes and
mixolydian, so I got to use thattoo, and then yesterday I was
trying to do this thing, so I'mgoing to put that in there.
That isn't what it is.
(13:26):
It's learning how to makeproper choices that sound
musical to the music situationthat you find yourself in.
Now that definition can changefor everybody.
My definition of blues might beway different than your
definition of blues.
That's okay, but I have to workwithin the parameters of what
my definition of blues is.
So if I'm going to jam blueswith somebody, I understand what
(13:50):
.
As soon as I start hearing themusic, I understand what it's
asking of me, and then I need torespond accordingly, whether
it's on a BB King kind of levelor a Joe Bonamassa kind of level
or a Steve Ray Vaughan kind ofthat's whatever I mean.
That's what my guitar journeyis about, and what yours is
about as well is making thosechoices.
(14:10):
I'm just saying just because wecan see things on the fretboard
and just because we practicedoesn't mean we're creative.
Think about it that way.
You've got to learn to bemusical.
You've got to practice learninghow to be musical, how to
connect with the music on amusic level, if that makes sense
.
So that's a great bucket foryou to practice too.
(14:30):
So, anyway, hopefully thathelps you a little bit, gives
you some insight If you'relooking for any additional help
or guidance in all of thesesorts of things.
You know we have this thing atGuitar Zoom called the Guitar
Zoom Academy, and that's exactlywhat we do here is craft, you
know, custom plans for peopleand then guidance for an entire
year on getting you to the goalsthat you're looking for.
(14:53):
So if you're interested, makesure you check out the Guitar
Zoom Academy.
So, take care, stay positiveand I'll talk to you soon, okay,
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