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I just tell him to not be afraid to play., even if the earlier results are bad or indifferent.
You've got to get all the bad out before you get the good.
As usual, there's a trick to it. You don't have to know everything you are going to play beforehand. It's more like reacting to what you have just played and are in the process of playing - and how it sounds in relation to the song and what the rest of the band is playing - in the moment and note to note. In other words, it's knowing what you are going to play just a fraction of a second before you play it, and going from there all over again. Course you gotta have the chops
A trick to playing melodic lines is to focus on your breathing ... stop every time you inhale... you'll get lines like a saxophonist.
"Firstly let me see I hear what you're saying 110% it's the normality of it's entirety that differentiates the interface of the beginning ... from the end while the middle is heretofore not to be confused with the thing that it is easy to confuse that thing with in it's least complex form as Huegens indicated in 1928 using the paradox isolation principle of soma"
First off if there's 7 notes that are "right" there's a pentatonic scale that's "wrong" -- Victor Wooten is a great one for killing that myth, playing a solo of the wrong notes and tearing it up - there are no wrong notes just an inability for some to know how to use them.
I'd love to show the youtube footage for that solo - it kills all this debate about which Scale Grimoire to buy stone dead!
I seem to recall the theory being you can expect the top 10% of your playing skills to desert you, even when you're used to playing on stage.
The trick to playing on stage is smiling, connecting with the audience and relaxing... but you'll still lose the top 10% so accept it
Improvising is not about learning... that means when you come to improvise you know the licks you're going to fuse (the results may be a little surprise but not too great) unlike when learning there's no space for "will this work?" it's going to sound fantastic even if it's crazy... hammer it a few times, grin and move on if it won't fit in.
@Fusionista - do you remember at IGF where Dario got one of the younger shredders who'd taken the jazz course to learn how to "shred outside" and made him slow the hell down... it kinda went like this:
"Wow that was amazing it was like... I wasn't playing patterns... I figured out the sound I wanted and my fingers found it ... sometimes right away!!"
"Ya, that's what we call improvising!"
I don't think there's anything wrong with playing from a comfort zone, certainly not in a performance... but in practise that comfort zone should be being stretched - maybe you simply omitted that from what you've said.
Seriously: If you value it, take/fetch it yourself
if I feel insecure:
I hunch over (so my breathing shortens)
my posture goes to pieces (and my back will soon ache)
my feet turn in a little (putting stress on my knees)
my hand goes to my face (signalling negativity to others)
my head sinks down (making the least of my already limited looks)
my eyes look down (reducing eye contact that helps me understand others and connect to them)
the words I use become shortened (when really the things I'm feeling are harder to express)
in this state I can't make original jokes because I lack the abilities to see beyond my immediate situation
my abilities for creative thought are massively reduced
my abilities for physical exertion are decreased - increased cortisol, reduced oxygen
at that point people will avoid talking to me... put a guitar on me and people will not be entertained.
I've found that what I play has very very little to do with theory or undigested techniques, it has to be stuff I've immediate access to and the more confident I am the deeper that pool is and the more I'll risk because the worst that can happen is not too bad... the trick of confidence CANNOT come from knowing theory or techniques (that's conditional okayness and it goes at the slightest hint of doubt) so it's got to come from feelings and strategies to create those feelings.
I'd really recommend getting into stuff like The Music Lesson - By Victor Wooten, The Groove Workshop by Victor Wooten, Zen Guitar - By Phillip Toshio Sudo,(and eventually) Effortless Mastery by Kenny Werner.
Every great musician has demons, what sets them apart is they overcame them (you can tell this because they understand them intimately)
"I used to live in a room full of mirrors, all I could see was me - I took my spirit and I broke those mirrors and now the whole world is there for me to see." - Hendrix
"The more vulnerable and the more confused the song is, the equal and opposite effect is how I feel after having written it and the deeper I go admitting fear, admitting the confusion, the clearer I usually feel. I don't really feel vulnerable; I feel empowered by it." Alanis Morrisette
“Our doubts are traitors, and make us lose the good we oft might win, by fearing to attempt.” Shakespear
“If you hear a voice within you say you cannot paint, then by all means paint and that voice will be silenced.” - Van Gogh
I think giving your doubt an utter shit-kicking is the most important warm up to playing the guitar
sorry.... back on topic!