Guitar Aerobics

Airmiles

Hi, has anyone experience with this to share ?

Troy Nelson Guitar Aerobics (Book & Online Audio) (Book): A 52-Week, One-Lick-Per-Day Workout Program for Developing, Improving & Maintaining Guitar Technique https://amzn.eu/d/hvka3kj

My teacher occasionally lobs me random  individual exercises which are fine, but since later weeks seem to build on previous ones I'm wondering if I shouldn't just work through the whole thing.


My hesitation is that it's structured around a new exercise each day with a slightly more complex version each week for 52 weeks - and so far I've found I need several days to nail each one. Not that there's anything wrong with looking forward a couple of years, mind.

Thoughts?

Thanks
Miles 

icu81b4

i have it, I got disheartend when I couldn't achieve some of the targets quick enough, Mostly around speed  which I've never been great at. 
it's repetitive exercises which are just boring. 
I decided to use Paul Davids stuff. 
I guess it's a case of 'what do I want to achieve'  - Playing exercises fast, or trying to construct nice melodic phrases that I can use in composing.  

Airmiles

That's a fair point - what I'd really like is something that works on technique, melody and theory simultaneously. 

Any suggestions?

bobacco

Airmiles said:

That's a fair point - what I'd really like is something that works on technique, melody and theory simultaneously. 

Any suggestions?

Desi Serna’s ‘Fretboard Theory’ books might be good for you. 

I think - some 20-odd years too late - that the best way to approach technique is when you ‘need’ it. Go for songs you would like to play - and when it gets to a tricky bit that’s beyond your current level - attack it from both ends. Meaning play it deathly slow to understand the content and context of the phrase - but also, try and then play it as fast as you can. Focus on how it feels, playing more notes than you can give your attention to. Bursts - hit three beats, rest for one (as an example; add as much rest as you need but you’ll surprise yourself with how much stamina your hands have if you play halfway regularly). As well as bursts, chunking - break a tricky phrase down into bars / beats and get each microcosmic bit perfect, then the next beat - then both together. Do as little or as large pieces as you like - whatever is more effective.

With technique, there’s no ‘right’ way to do things - but there are countless ‘wrong’ ways. And the signifier is discomfort. If anything even slightly ‘twinges’, shake your hands out and go again. Remove the tension - it’s the enemy! Bursts help with this, as when you rest for a beat, say, you’re relaxed - there should be little difference between this rested state and how your hand feels picking / fretting. Everything should be loose and flowing. 

As regards the theory, the book suggestion contextualises theoretical stuff with relevant examples you’ll know. It’s a good way to learn, by associating it with things you know already (even superficially) and then bolstering it with a tweak; playing in a different key or halftime or something. There are countless communities where you can ask why something works and get a decent answer. But it’s also good to try and approach everything you do with an analytical mind. Practicing scales? Say the notes out loud as you play them. This will become second nature, and then go for the interval approach - root, third, etc. do the same with chords. Repetition legitimises, to quote Adam Neely!

Hope this helps. I’ve had a couple of drinks, so apologies if it’s a bit meandering ha. 

Airmiles

Ha ha - hey it's all good thanks  
That all resonates, and is sort of what I've been doing though not that analytically. I'm definitely a believer in "bursts" - they've really been good for me.
I can see the value of having a foundation outside of songs as well, e.g. already knowing certain arpeggios or funk strumming variations gives a head start when you encounter them in the wild.
But overall that's good advice thanks- especially the part about saying notes/intervals out loud - it's things like learning  "that's the seventh AND a leading note to the IV chord", not just the fingering, that I'm missing. Cheers!

bobacco

I think a lot of the ‘eureka’ moments happen when you put a name on something you already know. Like you’ll have heard an example of a particular tidbit in a song, and then relate it to its theoretical explanation. The Serna books are good with that. 

allen

bobacco said:

Desi Serna’s ‘Fretboard Theory’ books might be good for you. 

I think - some 20-odd years too late - that the best way to approach technique is when you ‘need’ it. Go for songs you would like to play - and when it gets to a tricky bit that’s beyond your current level - attack it from both ends. Meaning play it deathly slow to understand the content and context of the phrase - but also, try and then play it as fast as you can. Focus on how it feels, playing more notes than you can give your attention to. Bursts - hit three beats, rest for one (as an example; add as much rest as you need but you’ll surprise yourself with how much stamina your hands have if you play halfway regularly). As well as bursts, chunking - break a tricky phrase down into bars / beats and get each microcosmic bit perfect, then the next beat - then both together. Do as little or as large pieces as you like - whatever is more effective.

this rested state and how your hand feels picking…

I have read and watched a LOT of material on this stuff and I agree with a huge amount of this. Excellent advice. 

Desi Serna is very firm about learning songs and I think he’s probably right. The only thing I disagree with him about is his explanation of modes. Otherwise he’s probably the best theory resource out there for guitar players.