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Any professional blues guitarist will tell you this: Discipline is very important when it comes to practicing the guitar. Learning to play guitar is one of the most satisfying things I ever done in my life, but it was also one of the most difficult. The reason is that I was proficient with my instrument is simple. I practiced! Not only did I practice, I practiced a lot; every day in my bedroom.
I have almost all my time practicing the fundamentals first. Things like walking up and down scales, switching between chords and try to improve My repertoire of songs. Sometimes it was easy to make time to practice because I was in a good mood and I really wanted to play. At those moments I could spend hours just listening at how cool it sounded when I shifted from the agreement until the agreement D G.
But on other days, when my mood was not so good, it was my discipline and the will to play and to improve my practice and development as a blues guitarist. There are two important factors when it comes to discipline in practice. They regularly practice, practice and good. Both are important issues.
Practicing regularly is the most obvious and easy to do. Basically you play guitar every day. This need not be huge, three hours long sessions, 20 minutes will generally do very well if you aim at that time. Doing regular, small amounts of practice during the week is much better than make one or two long sessions. A great way to keep the passion for guitar practice is the use of blues guitar backing tracks. Professional blues backing tracks keep you entertained and makes the practice so much fun. Companies like 50Blues Studios offer an excellent set of blues jam tracks.
I know that in a busy life can be difficult to make time to practice, but to be honest, 30 minutes per day is accompli hable for everyone. There is no fixed time that is best for practice, but I choose to do in the evening only but because I think that playing the guitar is a great and relaxing way to unwind after a long and busy days.
Said, is a good practice much harder to do and there are many reasons why this is the case. Poor practice habits affects even the most experienced players, but it can be overcome with some help. Develop appropriate techniques and keep focusing on good foundations.
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Rock n' Blues Harmonica: A World of Harp Knowledge, Songs, Stories, Lessons, Riffs, Techniques and Audio Index for a New Generation of Harp Players $13.99 NOT AN INSTANT HARMONICA BOOK! Jon Gindick's method is one of the most complete harmonica books ever. Rock n' Blues Harmonica uses fact, fiction, illustration and notation to teach Music Theory 101, chord progressions, puckering, tongueblocking, octaves, tongue-slaps, headshakes, vibrato, bends, overblows, secrets of great tone, and much more.... |
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Country & Blues Harmonica for the Musically Hopeless with Cassette(s) and Other (Klutz S.) $5.00 There is no other book on harmonica playing that comes even close to this one in number of sales. Packaged with an instructional cassette and a harmonica manufactured by Hohner, the world's largest maker, this book is a musical first-aid kit that picks up where your third-grade piano teacher quit.... |
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How to Play Country & Western Harmonica: A Complete Guide for Beginning, Intermediate, and Advanced Players $3.44 This book covers it all, from the easiest beginner's cowboy songs to the most advanced country lead bending techniques.... |
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Country Riffs for Piano/Keyboards $24.95 By Andrew D. Gordon. For Piano. Saddle stitch. Country/Piano Instruction. Beginner/Advanced. Book & CD. 73 pages. Duration 70 minutes. Published by ADG Productions |
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Lee Oskar Major Diatonic Harmonica A $37.99 Well-suited for blues, rock, country, folk, and jazz. They're more airtight, easier to bend, and better sounding than many harps. Modular design.Built in Japan to his exacting standards and incorporating new techniques and materials, it was in 1983 that Lee Oskar introduced his new harmonica. The radically different harp design grew out of Lee's frustration with the lack of quality and consistency in the mouth harps of the day. The design also benefited from Oskar's insights as a seasoned recording and touring pro. The Dane's DesignCentral to Oskar's design is a smooth plastic comb that doesn't swell like traditional wood combs. Aside from being easier to keep clean, the plastic comb is impervious to the swelling of conventional harmonica wood combs that can tear up the player's lips. By making affordable replacement reed plates available, Oskar's harps can be easily refurbished. You no longer need to toss out a harmonica because a reed or two has gone south. Replacement reed plates are available for every model in the Lee Oskar harmonica lineup and installation is easy since they mount to the comb with just three self-tapping screws. The reed plates have wide chambers and narrow dividers for faster, easier playing. A precision-molded, recessed bed holds the reed plate securely to prevent air leakage and project a bigger sound. The corrosion-proof, stainless steel cover plates are also engineered for excellent projection and tone. (Replacement cover plates are also available.) Lee Oskar harmonicas are tuned to 441-plus hertz for a brighter sound. With equal tuning by octaves, Lee Oskar harps have excellent intonation for blowing highly articulate, single-note leads.More Keys and ModesLee's innovation didn't stop with a better-designed harp. Recognizing the need for harmonicas tuned in other than the major and natural minor diatonic scales, he introduced the Melody Maker and Harmonic Minor series that make it easier to play melodies difficult if not impossible to play with a standard diatonic harmonica. Another indication of Oskar's hard-won knowledge as a touring pro: Each harp is clearly marked in bright white on both ends with its first- and second-position (straight and cross-harp) keys. Each harmonica box is color-coded according to its series and also displays its key prominently. If you've ever struggled to find the right harp on a darkened stage, you will appreciate this simple yet essential touch. About Lee OskarEven if you don't recognize Lee Oskar by name, if you've listened to pop radio much, you've probably heard his highly personal mouth harp style on War hits like "The Cisco Kid," "Low Rider," and "Why Can't We Be Friends." Oskar's staccato phrasing and uncanny toneput to great use blowing horn-like unison riffs with saxman Charles Millergave War's funky stew of Latino, Caribbean, African, jazz, rock, and R&B elements a distinctive lead voice. This was especially true after the departure of vocalist Eric Burdon. The former An |