My thoughts concerning........PRACTICE !

[Reece Anderson]

I offer the following comments based on decades of teaching, playing, and exploring how the mind manages the art of playing steel guitar.

Life is short, and we each recognize the significance of learning to organize and utilize our time in the most efficient manner, no matter what we are attempting to do. We also each understand our doing so will provide us the best opportunity to reach our intended goals in the shortest amount of time.

Practice is of course important, however practicing without first identifying a logical musical pathway has the potential of ultimately resulting in failure. Misdirected practice without a logical pathway may become boring, discouraging, and frustrating, which unfortunately at times results in some laying their steel guitar aside never to return to the joy of playing.

The same results may occur if one does not have an overall mental perception of how to manage all playing procedures which could allow the mind to perceive the entire process of playing to be doing only one thing…..and that is….. playing!

We all have the ability to achieve the mind set I’m referring too, and one example is that of driving a car. The reality is, we are in control of a machine which weighs thousands of pounds and we are risking our lives as well as others while maneuvering it in traffic without consciously thinking about when to let off the gas pedal, how hard to push the gas pedal, when to turn the steering wheel, when to use turn signals, when to apply the brakes, how hard to apply the brakes, and we certainly don’t have time to visually look for the brake pedal when we need it, although our life can depend on the application.

The subconscious principle of perception provides the ability to accomplish “many different things” at the same time, while having the perception of doing only “one thing”. These same principals may be applied to learning/playing steel guitar.

Remember how easy it was to learn something as complex as driving a car…..that’s because we all had a clear mental perception of the entire control operation BEFORE we starting driving. When a perception and a logical organizational plan is understood, it will greatly accelerate the learning process and allow the player to “maneuver” the steel guitar without worrying about musical traffic.

Not understanding the principals of the physical approach, not having an organizational plan or a perception of the overall mental picture which will allow someone to achieve their goals in the shortest amount of time, is similar to someone buying a 1000 piece picture puzzle and attempting to put it together without first having seen the picture on the front of the box. To do such a thing would be a waste of time, yet it is my experience many do the same while practicing without first having a “mental picture” of what it takes to learn to play steel guitar.

This is not to say what I’m suggesting must be accomplished by anyone who ever hopes to be a proficient player. I do however believe the odds for success are greatly enhanced when considering the principals I am respectfully submitting for consideration.

“Practice does NOT make perfect….“PERFECT” practice makes perfect”. Continually practicing without understanding the principals of involvement both mental and physical can reinforce bad habits and make the learning journey far too long for many.

[Jack Dougherty]

Reece...

Your application applies to many disciplines..
Well put!!

JD

[Les Anderson]

I like your concept Reece. To a point however, I do firmly believe that one “must” practice technique, whether it be scales, fingering technique, or what ever, to gain any proficiency at it. The point of your theory is right on the mark. It is of little use practicing if you are not focusing on a particular aspect of either music or your instrument. A rambling practice session will achieve little.

Tiger Woods put it best during an interview while giving his advise to golfers for practicing. Quote"..........Pick out “one” aspect only and focus your practice on that single aspect of your game..........."

[Jeff Colson]

Reece,
To add a thought to your practice theory. I have played Steel for years, but unfortunately in an area where there aren't too many players. I believe my learning curve has been made more difficult by this as I have had no influence by a "Pro". I will offer 2 examples in my life that I believe have accelerated my learning of a difficult task. In my 20's I spent a great deal of time with a guy who I considered to be a master pool shooter. He had a volume control on his game, as he would only play well enough to beat you no matter how good you were. My billiard skills were accelerated learning from him since I saw a true pro play. In my late 30's I took up Golf and have a friend whom I tee it up with all the time who is a Teaching Pro. I am now a low handicapper. My Steel playing journey has been filled with a lot of learning and a ton of practice, but I believe had I spent some time or been able to spend some time with a "Master" "Pro" or whatever you would like to call him or her Steel player I believe I would be more proficient. I have no problem with my playing and I believe I can hold my own, but being kind of a perfectionist on an instrument that has so many possibilities I would have loved to been closer to true knowledge than guessing as I have done for decades.

Jeff

[Jim Cohen]

Reece, thank you for sharing your perspective on this. The comparison with driving a car is intriguing to me. How did we learn that? Yes, we had a big picture about it before getting into the car, that's true. And, at first, it wasn't 'second nature' and many of us, I suspect, really couldn't concentrate on the driving if we were having a conversation, or listening to the radio (or talking on a cellphone!) But over the years, it became 'second nature' to the point that you'll be talking away with passengers and realize, of course, that you've been driving perfectly well for miles and miles 'without really thinking about it' (except for the occasions when we're so wrapped up in discussion, or the radio, etc. that we miss our exit on the turnpike!)

So, all this makes me wonder how one achieves that level of 'second nature' on a musical instrument. Surely some can achieve it by years and years of practicing various things, with the appropriate mental concept, as you might say. But I also wonder whether there might not be another (possibly faster?) way to get there by deliberately practicing while distracted. I'm referring, for example, to practicing in front of the television, or while having a conversation with someone, or listening to a talk show on the radio, or maybe even singing along (though that would be more of a 'consonant' than 'dissonant' experience, so possibly less effective?) I'm just musing out loud here, not having seriously tried this approach, but I wonder if you, or others here, think it might have merit, or perhaps not?

[Jody Sanders]

Truer words have never been spoken. Jody.

[Sidney Malone]

Reece, when you shared this concept with me the first time I came up it really opened up a new way of thinking for me, knocking down many obstacles we all run into as beginners. I've kept it at the center of my thoughts when practicing and has proven to be priceless!!

I know many others will benefit greatly from this great wisdom! Thanks for sharing!!!!!!

[Charley Wilder]

My experience was a lot like Jeff's. Back in the 60's I was the best steel player in my area at one time. I was the only steel player in my area. On the positive side I developed my own style because I had to. There was very little "how to" material available back then. So of course, I look with a jaundiced eye on "influence" I think there is too much of a tendency to sound like somebody else. We all have heroes but we can't be him or her no matter how much we try. What I'm trying to say is there is a positive side to learning by yourself. I don't mean to argue with Jeff, I just mean there is two ways to look at. Neither way is completely positive or negative.

[Richard Gonzales]

Hi Reece; I don't want to side track your great advice, but here it goes.

When I first started using your materials and taken lessons from you I had an organizational plan of practice and it worked very well. I now have the basics and have a good understanding what the pedal steel is about.

But after a couple of years I asked myself what is it that I am trying to acheive? I want to play for my enjoyment and that means playing melody/songs. I will sit and play songs for 2/3 hours from memory or tab and when I finish, I have a real sense of satisfaction.

Playing all types of genre will give you the many physical and mental challanges to be a good average player.
If my goal was to play in bands,teach,studio and etc. then the organizational plan would be different.

I guess what I am trying to point out is, you can learn technique while enjoying playing songs and my only competition is me!

Would selecting the most difficult songs to play until perfected qualify for an organizational plan?

Does anyone else have this philosophy on practice or only me?

[Mark Wayne]

Excellent advice, Reece.

And good point, Jim. I'm a believer in practicing what might seem the mundane (like forward T,2,T,1 rolls, etc.) during watching tv or anytime, anywhere where it's available to do such a thing

[Doug Earnest]

I would like to know how to clear the mind so it can actually focus on practice. I just can't seem to do it and have not been able to for quite some time. I know I am no more busy or stressed than other people. Do any of you have tips to offer?

[Donny Hinson]

Reece, it sounds almost like you're talking "the Zen of steel guitar"; becoming, as they say, "one with the instrument". Admittedly, I'm no great player, but all too often I see people frustrated with the tiniest details, and overlooking the most obvious. That is - just play the durn thing! Conceptualize what you want to do or hear, and realize that you can do it! Hear yourself doing those scales, licks, songs, chords, or whatever. Stop worrying about all the miniscule aspects and instead concentrate on you making the sound.

Your analogy with driving is perfect. When we first learn to drive, we see ourselves doing it! We don't continually moan about the shape of the brake pedal, the effort required to use a clutch, the size of the steering wheel, or the grip of the tires. In short, we give it a basic study, and then we say, "Okay, I want to do this, I want to get from point "A" to point "B", and this is what it's going to take to do it. This thingy does that, and that thingy does this, and if I just hold the wheel this way, driving might be more comfortable". In short, we focus on the task at hand, but not on the numerous things between us and our goals. We're positive, and matter-of-fact..."Of course, I can drive a car!" We don't waffle about saying..."I've just bought this car, and I'm going to try to learn to drive it."

That's about all I can add to what you've said. Be positive! Hear it in your head, visualize yourself playing it, and then just set yourself to the task at hand.

[Michael Haselman]

That's some truly sage advice from a true master. Thanks, Reece. It kinda relates to my experience with C6, so far. I went through Buddy's basic C6, but not having a true vision of what I wanted to do with the neck, it didn't take me anywhere. Nothing wrong with the course, but I didn't have a feel for what I wanted to do with the neck. So, I'm still pecking away at it and will be there someday. Steven Wright: "In school they told me "practice makes perfect," then they told me "nobody's perfect." So I quit practicing. Couldn't resist.

[Jim Kennedy]

Practice does make perfect, but one must know what to practice. Guitar teacher Jamie Andreas--guitarprinciples.com--really stresses this in his books, and it is applicable to learning any instrument. With the advent of the internet, audio, and video, an instructor is not essential, although IMHO, the best way to go. Quality material Like the Jeff Newman courses are excellent. I have made tremendous progress without an instructor in just Six months. And, unlike an instructor, i can look at my Newman videos any time. There is a wealth of knowledge there just watching. Whatever path you choose, start simply, practice daily, and pay particular attention to right hand technique. This is one of the most overlooked aspects of playing six string as well. So much focus goes into learning chords and right hand technique is ignored.

[Shane Reilly]

Interesting stuff! I think everyone's definition of "practice" is different.For instance at what point have you ceased practice and are "playing".Or should you just practise playing?? I've read several times Pat Metheny describe his loathing of practice and how he would just pick a tune,All The Things You Are ,for example and just "play".Now,that's an over simplification as obviously at some point he said "I need this scale,this chord" but most people only need to run up and down a scale robotically a couple of times and then it's time to play some melodies with it.But Reece' point is important,as metheny's example shows,he had a mental picture of the music he wanted to play concerning All Things You Are and set about doing it.You can't learn to swim on dry land!Best you just jump in,chances are you'll float.

[quote="Jim Cohen"]. But I also wonder whether there might not be another (possibly faster?) way to get there by deliberately practicing while distracted.
A solid concept Jim,that's why I like to practice whilst driving in heavy traffic drinking steaming hot mugs of Latte and carrying on conversations on cell phones.The only problem is when I go for the 4 chord I hit the accelorator and brake at the same time!! :whoa:Gives me A Demolished.
Always thought provoking Reece,Thanks. Shane.

[Reece Anderson]

Les A....I totally agree, one "must" practice technique and etc. to gain proficiency. The important thing to consider is.... if one does not understand the most effective procedures, practicing could in some instances be both detrimental and time consuming.

Jeff C.....I too have known those who had the ability to rise to an occasion relative to the necessity. That is a unique gift.

Jim C....I believe the level of "second nature" is obtained by comprehension/perception of that which one is intending to accomplish.

Playing the same thing over an over is what I refer to as "mental back filling". Repetition can be used very effectively, provided the end result is the ability of the mind to "see" the sounds before they are actually played.

I further believe repetition is a method of storing information with the intent to use memorization for instant recall, whereas storing information with a logical organizational plan minimizes the use of memorization. It has been my experience that the advantage of an organizational plan is superior to that of memorization.

Trying to memorize vast amounts of information is both difficult and time consuming, whereas if the thought first comes from the mind which has been presented a logical organizational plan, the command can then be issued to "let the hands do the playing" while the mind not only monitors and manages all playing procedures, it preplans that which is yet to be played.

I have practiced being distracted by total darkness while attempting to play along with what I considered to be complicated songs played on the radio, many of which I had never heard before. I must admit I learned a lot about myself and my shortcomings. Although I have never tried, I doubt I could play while watching television, and I know I don’t have the ability to play and carry on a conversation.

Richard G....Most all of us started playing because we believed our doing so would be enjoyable and rewarding. If one reaches the goal they have set for themselves, I'm happy for them. As for myself, I have known for many years I will never achieve the proficiency I'm looking for, because the more I learn, the more I realize I don't know.

Selecting a difficult song and playing it until it is perceived to be perfected, was a flawed assumption I had many years ago. That may possibly work for others, but it didn't for me.

Mark E....Thank you for your comment.

Doug E....Having the ability to clear the mind (focus) can be attributed to many things. Positive attitude, motivation, enthusiasm, and being goal oriented are a few which come to mind. Quite possibly you already know and practice these things, and if so, don't be discouraged, for some of us, the search will never end, but the good news is, the joy of playing will always be with us.

Donny H....I believe the goal of becoming "one with the instrument" is the pinnacle of playing. Becoming consistent at achieving that goal is yet another matter, which at times is not within the control of the player, and can be attributed to other circumstances.

I would consider the odds to be remote were someone to reach that high level of proficiency had they not achieved that which we are discussing. It has been my experience, that only when achieving "one with the instrument", one can hear something in their mind and immediately recreate that which they heard.

Michael H…...Thank you for the kind words. I believe it to be very important that each of us enjoy the journey of learning, no matter what our perceived proficiency level may be.

Jim K…...As we all know, Jeff Newman was a master teacher and player who made a positive contribution to steel guitar and had a positive influence on many. I agree with your other comments as well.

Shane R….Thank you for your interesting comments. I have known great players who did not like to practice, I even knew one well known player who didn’t like to play. (or so he said) I have always thought that to be a personal tragedy for him if that was indeed true.

[Jim Sliff]

Donny's comments really ring true to me. especially "just play the damned thing" but more importantly:

Stop worrying about all the miniscule aspects and instead concentrate on you making the sound.

If more players would practice playing "music" instead of worrying about every tiny detail of technique - which are inevitably someone ELSE'S idea of what "technique" is "required" - they'd create a lot more music and a lot less mechanical repetitive motion that happens to make sound.

We read so much about "Newman this" (seemingly most prevalent) or "(fill in another name player) that", with arguments about whether or not a knuckle is 1/18" too low, a pick bent wrong or the wrong brand of coffee next to the guitar - well, not to burst the bubble, but NONE of these guys are right. They can only relate what worked for them, and what *might* work for you.

I've read so many comments that dictate things like "we all know (name some technique item) is the right way - so..." bla bla bla....

Actually, we DON'T know that. Hopefully.

The point being - don't get TOO locked into a technique because one player - or even a large group - says it's "right" and waste time trying to perfect it (sure, you need to practice "technique - but practice what you find works for you and don't get sucked into the idea that you are doing it "wrong" if you can play music doing it your way). "Waste time" instead making music with your guitar...that's what the crazy thing is for, if I recall correctly.

Practice playing music. If playing scales is what works for you, great. If playing just songs works, fine. If you like to sit and jam along with whatever comes on the radio or TV, great.

Just play.

[Barry Blackwood]

Good points, Jim. Thumbs Carlyle came to mind while I was reading them .....

[Reece Anderson]

Jim S....I agree with you concerning the dangers of getting locked into a technique just because it works for someone else. This is why I have stated I believe it best to explore different ways of accomplishing a technique.

Studying and defining techniques, learning from accomplished teachers, and exploring what works best for an individual, all contributes to the art of playing music. Any notion of being successful while circumventing these things is not realistic.

Barry B....Thumbs is a marvelous example of a great player who (according to most) done everything wrong. Had he not followed his dream and listened to the nay-sayers, the world would have been deprived of a great talent.

I was fortunate to know Thumbs, played a couple times with him and admired him while he was playing many times. I can assure you, those who knew him best will say he possessed the mental skills which is being discussed in this thread.

[Dave Mudgett]

Both Reece's and Donny's comments resonate for me. I think you both make important points about inner perception and visualization being important for learning, and I agree.

The question then becomes, for me - how does one achieve an appropriate state of mind where this type of behavior is automatic?

To me, they key is passion. The rote learner expects to be told what to do, and if it doesn't work, gets discouraged, often gives up, and even more often blames the instructor, the equipment, the pain in the leg - geez life is a drag. There is a cycle of dependency.

The truly passionate learner just can't be stopped. A lot of research has shown that the same brain chemicals released during so-called "ecstasy" episodes of one sort or other are also released while involved in truly passionate learning. I think this type of brain chemistry is an essential key to really effective learning. Such a learner may or may not have the right tools, good instruction, lots of free time on their hands, or whatever everybody says is required. But he or she thinks constantly and deeply about how to do things, considers every possible permutation or variation in technique, and when one approach doesn't work, already has alternate strategies mapped out and tries them one by one. Such people are never satisfied and ride themselves until they figure things out. Even with success, they try other approaches just because they love it so much that they want to see where those new roads lead. They are willing to sacrifice other things in life to focus on this. No matter what anybody else says or does to encourage or discourage them, they just transcend it.

I see this type of passion in many fields - but especially the "pure" arts and sciences. I think the reason is that the passion tends to be directed at the specific artistic or scientific goal, and not the external rewards. Of course, external rewards can induce such passion - but IMO, these rewards are often sufficiently disconnected from the "process" that there is more of a "goal-orientation", which often leads to self-satisfaction and redirection when bottom-line goals are reached.

If I could find a way to bottle that kind of passion and instill it in students in some of the more applied sciences, I'd be a much more effective teacher. But I think this kind of passion generally comes from within. As a society, we have often been sold a bottom-line time-management-oriented "just get the job done the quickest way possible, grab the cash, and move on to more profitable ventures" kind of mentality that too often makes this kind of passion seem quaint, antiquated, and irrelevant. Too bad.

All my opinions, of course.

[Ray Montee]

"Passion" is definitely the word........ Not knowning WHEN to QUIT! Wanting MORE and never being able to get enough! A true obsession!

Jerry Byrd, the boy, used to get up at night and play his early Speigel guitar in his closet so his parents wouldn't hear him. He announced his intentions to become a musician and was met with a head-on confrontation with his parents. His dad won! So, Jerry completed high school then LEFT HOME! He knew the price was high........but he chased after his dream and look where it took him!

No tabs! Only Ron Dearth, his mentor. Jerry created his OWN STYLE, his OWN TUNING (C6th). He made it to the top!

YES! PASSION is the word..... You've got to WANT to play, more than anything else in the world. Anything short of that and you're never going to amount to much. Just listen to what is going on around you.........

[Peter Dollard]

I remember seeing Buddy Emmons play at the 1997 Steel Convention but what I really remember was he became part of the guitar: Now I am saying this in a metaphorical manner but what I mean is that he had become part of the guitar in my mind. There were no pedals or amp just this gorgeous wall of sound coming from the stage. Sadly my reverie was interupted by an old drunk who kept yelling "Yes Buddy." I am still mad at that guy. I am sure guitars are now a mere extention of his mind set or perhaps all great players. They take you on a journey and you are no longer worried about the execution and technique. Pete

[Reece Anderson]

Dave M....Your comments are insightful, articulate and dead on target.....as usual. I greatly appreciate you being a part of this conversation and sharing your thoughts.

Ray M....Jerry Byrd defined the essence of passion relative to playing steel guitar. Thank you for sharing the inspiring story.

Peter D....I believe its obvious when someone has the "magic touch" at a given time. Unfortunately even for the great players it does not happen everytime they get on stage. Although they are in control of what they are doing, they don't have control over other circumstances which can negatively influence their thought process.

[Bent Romnes]

I have bookmarked this excellent piece of writings so I can easily find it for review any time.

What more can a guy ask for? All this valuable information from people who know their stuff..headed by Reece himself.

Reece...you go back a very long way. When you tell us that something is so..then we can trust that, without the need for double checking. Thanks for giving so freely of yourself.

This stuff is so valuable for me in particular..When I get my project done, my re-learning curve will be shorter because of the great input from all of you.
With respect,
Bent

[Reece Anderson]

Bent R....Your words are humbling to me, and I most sincerely thank you for your kindness.

There have been those who were willing to give of themselves to help me, guide me, and answer my questions over my entire lifetime, while asking nothing in return.

In memory of those individuals, I decided long ago to spend the rest of my life sharing what little I know to those who are interested. Having the opportunity to share is a blessing and a priviledge.