Emerson Teacher Recommendation: Fill & Download for Free

Self-Reiliance By Ralph Waldo Emerson: Full of great life lessons as well as with great words of wisdom from the great Emerson teacher.20,000 Days and Counting By Robert D. Smith: This helps you achieve whatever is that you want to get out of your life!Tuesdays With Morrie By Mitch Albom: A great book that makes you think about your life, great words of wisdoms and great lessons about life as well..MUST READ!

The Stoic philosopher Seneca wrote, “Do not invest your time preparing for life.”*You don’t need to memorize anything before playing the guitar you can learn as you go.For example, you don’t need to read music, know music theory, know all notes on the fretboard as prerequisites to actually practicing or playing songs you enjoy.Memorizing the fretboard may mean something like having this in your mind:FromBut rote memorization of these note positions on paper could not substitute for developing the tacit knowledge of the fretboard, or knowledge through experience, gained through practice on the actual fretboard.Fretboard memorization is more about familiarity with patterns on the fretboard which correspond to particular notes of a given scale as opposed to memorizing the fretboard as a mental image similar to the above.Once you know the note of one fret you can figure out the others.The image represents all the notes, or the chromatic scale. It could be more useful to have that image on the wall as a poster than it would be to memorize it. Doing so may be useful as a quick reference. For example F stands out as red, D stands out as purple and so you can quickly find the position of a note.Patterns on the fretboard, such as scale shapes, are more relevant for the relationships between notes, the intervals. If you’re soloing to a major scale, then Scales are built on formulas regarding intervals and will determine if a scale is in a major or minor key.Once you know the pattern of a scale, such as C major, you can play that (pattern) scale in [almost] all keys by shifting the position of the arm up and down the fretboard. (Almost because E major scale on the guitar uses the lowest note, open E as the tonic or root.)Shifting and playing the pattern two frets up makes it a D major chord, for exampleOnce you know the pattern of a scale, such as a major scale, you know the major scale pattern for the other keys. This goes for minor scales, pentatonic scales, jazz scales, blues scales, …If you know C maj, then sliding up the fretboard, you know: C# maj, D maj, D# maj, E maj…If you know C minor, then sliding up one fret at a time, you know: C#min, Dmin, D# min, E min,There is a difference between being able to write out scales like in music theory class, using formulas for say a major scale in C and learning the positions of notes as physical sensations of the muscles, arm position, and of the fingertips, how all feel when they play the notes.This sort of musical knowledge is more encyclopedic knowledge than tacit knowledge which is knowledge through experience.For example, IMO the best way to learn the fretboard is through sight reading music for guitar in standard notation and sight reading methods, however not everyone will learn or care to learn standard musical notation. Sight reading on the classical guitar requires one to know the positions of all the notes at all points on the fretboard, or learn them. This is a process that takes timeBecoming very intimate with every note on the fretboard at any position (fret) is something that requires time as there is a learning curve. I guess that is to say, that memorization of the fretboard is an ongoing process of familiarity (more is better) than a box in a checklist because there are so many positions.Progress on the guitarKnowing the positions of all the notes and also knowing the patterns on the fretboard is arguably gained through actual practice and repetition which reinforces all that information.Even when you know the position of each note on the fretboard at a glance, guitar playing amounts to skill that is developed with practice, repetition, over time.If you think of all the movements a guitarist makes while performing a piece, or the skill acquired over long periods of practice, or skill used at any moment during performance, these skills could be viewed as a compilation or a multitude of individual, smaller fundamental movements.For example, downward pressure on a fret by one fingertip can be performed on one string at one fret, or performed on all strings and all frets. The basic ability to apply downward pressure as a finger performs a hammer-on is the same general ability at one site or a different one on the guitar. The fundamental movement of the pull-off is a single skill among many individual skills used together as one plays.The view of playing guitar as being the product or aggregate of a number of fundamental skills or small elementary movements is then a principle of playing any instrument. Practice should therefore focus on fundamental movements, an argument that has become popular within guitar pedagogy, emphasizing progress as muscular development of the hands. For example there are books with names such as Guitar Aerobics or Pumping Nylon by Scott Tennant.One approach to progressing on the guitar with results in mind is to focus on developing these skills by asking what one hopes to achieve, setting goals, then practicing through a structured program.Learning guitar could be viewed as learning singular guitar movements.One of the first and most popular of these “technical workout manual” books was written by renowned Professor of Guitar, Ricardo Iznaola, called Kitharalogus: The Path to Virtuosity.Kitharologus: The Path to Virtuosity by Ricardo Iznaola – This book is organized progressively from beginner to extreme advanced. It’s excellent, amazing technique exercises and the progressive sections are a great idea to help organize students. It covers a wide array of technique exercises and also a significant amount of fingerboard knowledge. Beware however, although the book starts out super easy (with playing simple open strings), it gets very difficult fairly fast. This is not a criticism but you should know that you will not just zoom through the book. I have difficulty with many sections of this book so students should go slowly through the book thoroughly accomplishing one section before moving on to the next. The best thing about this book is that it gives students very clear goals and students can practice the appropriate section as part of their practice routine.I recommend Pumping Nylon, as it contains great technical exercises for classical guitarists. Kitharologus is more structured and linear but is challenging enough to be considered a classical guitarist book (most who know about the book are classical guitarists despite the subtitle). The book is about fundamental guitar movements regardless of the string material or genre of music.Also, getting help or feedback from a teacher can be invaluable if one is looking to maximize progress. If you’re using Kitharologus or another guitar method, (some classical teachers use this book), a guitar instructor may help one stay focused and making continual progress with tips for deliberate practice such as setting a consistent and regular practice time, use of a metronome, (to make it a habit), providing inspiration, etc. Good luckThanks for reading

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