
A how-to on the mental and physical side of practicing.
Intermediate
Beginner
- Develop an internal sense of rhythm and learn to sync your hands.
- Understand how to subdivide.
- Focus on your mental state while practicing.
Guitar is an unusual instrument, yet somehow we human beings invented it and refined it, both technologically and artistically. There are some days when everything flows, while other days it feels like we’re complete beginners again. This is totally normal. If we really considered how much information our bodies are processing just to be alive in our version of the world, perhaps we’d be a bit kinder to ourselves about our off days and humbler about our good days! I want to share a few perspectives on the core technical aspects of playing that can be helpful to work on and remind ourselves of regularly. Let’s dive in!
Muting
The guitar can be a sensitive instrument. The slightest movements can cause sounds that are both wanted and unwanted to come out. Some of these sounds are natural and part of the character of guitar. However, even though we can’t be perfect we can aim to be as clean as possible in our playing with a few simple maneuvers.
Ensuring the picking hand is covering the strings without bearing down on them too hard keeps the lower strings in check. Depending on your picking-hand style, you can also use the 3rd and 4th fingers to lightly mute the upper three strings.
The fretting hand’s index finger takes control over a lot as well. The fingertip can fret a note on the 5th string and tuck under the 6th string at the same time. The flat side of the index finger from the knuckle area towards the hand can also mute higher strings.
It’s important to consider the type of sound we’re using as well. The more gain or compression we use, the more unwanted noise can come flying out of the guitar. Even with the muting techniques above, if we’re too “hard” with them they can start to create noise themselves. So, keep this in mind.
Less gain gives a more dynamic tone, which is harder to play with, but much easier to control dynamically and keep clean. This isn’t to say it’s better or worse, it’s a stylistic choice. But it’s worth considering how much gain we really do need. Noise gates can help, but they can’t fix or hide poor muting and out of sync hands. (More on keeping sync later in this column.
Keep these muting considerations in mind as we go over the areas of technique to address.
Confidence and Subdivisions
Our fretting hand does a lot of work. Picking synchronization is very important. We’ll look at this next. However, I’ve got some working considerations for the fretting hand.
There are many exercises we can do, but ensuring that you’re not pressing down too hard on the fretboard is the first step. We don’t have to press hard unless we have unreasonably high action. If your action is high and it’s slowing you down, I’d suggest going up a string gauge and lowering the action if you want to keep the “resistance” feel. When we lighten up our touch with the fretting hand, we find that our fingers generally stay closer to the fretboard, which helps with economy of movement.
The next thing to consider is timing. Timing is everything no matter what technique you’re using. If the pistons in the engine aren’t firing at the right time, they’ll go out of sync, all fire at once, and boom, there’s an explosion. I don’t know anything about cars, but it’s an analogy that might make sense. Being aware of the subdivisions you’re playing and where the downbeat is ensures that both hands are confidently making those maneuvers.Here's an experiment you can try: Take a simple two-octave scale pattern of your choosing. In Ex. 1 I picked a simple D minor scale. The idea is to change subdivisions in each measure. Here, I started with a measure of eighth-notes then went to triplets, back to eighth-notes, 16th-notes, eighth-notes again, and then I wrapped with quarter-notes. No matter where the “1” of the next measure starts within the scale position, we keep the hands synced up. We can make this more complicated by using a sequence of thirds or triads and doing a similar thing. The goal here isn’t to master every position, sequence, and sub-division. It’s to keep testing different areas out, iron out the errors, and keep it fresh. It’s a great warm up when done slow and bound to get you in sync.
Picking Sequences
We also need to do similar things for the picking hand. The same idea we discussed above about subdivisions applies to picking as well. The extra thing to consider of course is pick direction and string skipping.
It’s worth practicing alternate picking here, keeping the confidence and control in place even if purely for technical reasons, to ensure the technique is as even as possible. Take a melody pattern like Ex. 2, where I repeat the same two-measure melody, but I change fingerings in the second half. This changes the amount of picked notes on each string, which changes different aspects of how this melody can feel both technically and from an articulation point of view. A simple way of getting more out of this exercise is to start with an upstroke. With practice, it can be quite an effective picking workout.
String Crossing and Skipping
A lot of guitar playing uses one-note-per-string ideas which can sometimes trip us up. In Ex. 3, I wrote an easy chord progression and created a picking patter that I could alternate pick without losing momentum. It’s a practice that can never get old. Just get creative.
In Ex. 4 we take a minor pentatonic shape (here we are using B minor and F# minor) and move through the pattern with string skipping. A super-simple idea, but worth spending time on. Simple skipping patterns like these keep your playing fresh and focused.
You’re training an impersonal organic system, respect it!
When we’re practicing, we can get quite contracted and tense. There can be a pushiness and anxiety about the process, forcing ourselves through the practice session. We have a lot of internal commentary about how it’s all going, often quite unfair.
“This lick should be fast by now!”
“I don’t have the technique or natural ability to do this.”
“Steve Vai practiced for 10 hours a day, so should I.”
“I’ll never make it as a guitarist.”All of these thoughts are abstractions as they are not based in reality. What is happening in the moment is practice. Our attention gets divided between these thought patterns and our feeling of anxiety. Very little attention gets spent on really listening and feeling what we’re practicing with no internal commentary. Because of this we become aversive to practice, we feel that practice doesn’t work or that we don’t have a natural ability or talent.
Therefore, wise practice sessions that are simplified and put into short time frames are most effective. It can be helpful to calm ourselves down before practicing so that our practice is effective.
Why do we practice? We practice because it helps us achieve results. We want to play a riff, we listen carefully, we learn the riff, and then we then practice the riff. Generally, that gets results. However, we are impatient. Humans believe that our thoughts can speed up our bodies and brains. This is a misplaced belief. We can set the conditions to get results, but we can’t control the speed at which our body learns. Practicing trains our bodies, our nervous system, our consciousness.
Our bodies are not separate from the world around us; we are what we eat and breathe. Our thoughts are the thoughts we are exposed to, our feelings are consciously and unconsciously triggered by the world around us. We are no different from nature, we are no different from a tree. We don’t will our fingernails to grow, we don’t will our heart and lungs to keeping going. We have no control over our senses, we can’t choose not to hear sounds around us, we can’t choose not to see when we open our eyes. And in the same way, we can’t force our body to speed up.
We must be grateful for the fact we’re alive before we practice, that there’s a body and mind to practice with. Rather than fighting our fingers and our thoughts, we must approach them with compassion. As you’re practicing, your body is busy programming all this information. Just like growing a plant or vegetable, you can set the right conditions, get the soil right, and water it. But you can’t force it to grow immediately, you must treat it with compassion and trust that you’re doing the right process. You can’t plant the seed then as soon as you see any sprouting, start pulling on the sprouts, that will stop growth all together.
In summary: Appreciate your body, your mind, the fact your conscious to even play guitar. Make sure you set reasonable goals in your practice, make your sessions simple and effective. Then, let the practice happen, trust that you’re programming the right information.
Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Mason’s hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Mason’s solos every day for 85 or so days. Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing. Levi shares the insight he gleaned from digging deep, and he tells us what it was like when they shared a stage last year. Plus, Levi plays us some great examples of Mason’s playing.
For the first time ever, two guitar greats, John 5 and Richie Kotzen will be heading out on the road this year. The tour will launch October 16 and run through November, hitting markets across the U.S.
Find the full tour itinerary right plus a link for tickets & VIP, including additional dates featuring John 5 only. Reserved seating tickets will go on sale Friday May 16 though a fan presale will begin today at noon local time and fans are strongly encouraged to buy early to get the best seats.
Meet and Greets for both artists will be available. For John 5 please go to: https://john5store.com/collections/vip.
Today, John 5 also announces more details of his anticipated new album. Called The Ghost, it will be released October 10 and is led by the new track “Fiend,” featuring Kenny Aronoff.
John 5 continues running public tours this month for his Knights In Satan’s Service Museum of KISS Memorabilia in Los Angeles, California. Guided tours are open to the public for one month only (with a possible expansion). Current dates available are May 12-16, May 19-23 and May 27-30. Each will be led by John 5 himself who will provide tons of rich detail and answer any questions. Secure your place HERE.
JOHN 5 continues to tour with Mötley Crüe including an upcoming residency in Las Vegas in 2025.RICHIE KOTZEN &
JOHN 5 FALL 2025 TOUR
October 16 El Cajon, CA @ Magnolia
October 17 Riverside, CA @ Fox Performing Arts
October 18 Roseville, CA @ Goldfield Trading Post
October 19 San Jose, CA @ The Ritz
October 21 Phoenix, AZ @ Celebrity Theatre
October 22 Albuquerque, NM @ KiMo Theatre
October 24 Dallas, TX @ Granada Theater
October 25 Leander, TX @ The Haute Spot
October 27 New Orleans, LA @ House of Blues
October 28 Memphis, TN @ Minglewood Hall
October 29 Nashville, TN @ Fogg Street Lawn Club
October 30 Atlanta, GA @ Variety Playhouse
October 31 Orlando, FL @ House of Blues
November 1 Fort Lauderdale, FL @ Culture Room
November 2 Clearwater, FL @ Capitol Theatre
November 4 Richmond, VA @ The National
November 5 Leesburg, VA @ Tally Ho Theater
November 6 Patchogue, NY @ Patchogue Theatre
November 11 Glenside, PA @ Keswick Theatre
November 12 Derry, NH @ Tupelo Music Hall
November 13 Foxborough, MA @ Six String Grill & Stage
November 14 Stroudsburg, PA @ Sherman Theater
November 15 Lorain, OH @ Lorain Palace Theatre
November 16 Columbus, OH @ The King Of Clubs
November 17 Warrendale, PA @ Jergels
November 19 Wyandotte, MI @ District 142
November 20 Flint, MI @ The Machine Shop
November 21 Fort Wayne, IN @ Piere’s
November 22 St. Charles, IL @ Arcada Theatre
November 23 Belvidere, IL @ Apollo Theatre
November 25 Denver, CO @ Oriental Theater
November 29 Pioneertown, CA @ Pappy & Harriet's*
*John 5 only
AEROSMITH guitarist and songwriter JOE PERRY is set to return to the road for a series of August performances with THE JOE PERRY PROJECT. The 8-date run kicks off August 13 in Tampa, FL and wraps August 23 in Port Chester, New York, with an August 19 performance in PERRY’s Boston hometown (see the itinerary below). For the North American trek—which marks the first solo shows for PERRY this year—the legendary guitarist will be joined by his Aerosmith bandmates Brad Whitford (guitar) and Buck Johnson (keys), along with The Black Crowes’ Chris Robinson (vocals), and Stone Temple Pilots’ Robert DeLeo (bass), and Eric Kretz (drums).
“Well…it’s time to let the music do the talkin again,” PERRY says. “I’m really excited about the JPP line up this year!!!! Most of these guys played with me at The Roxy in L.A. at the debut event for my latest solo album [Sweetzerland Manifesto] in January 2018. They’re all busy as hell but thankfully they’re able to carve out some time for this run. And I’m not only lucky enough to have Brad Whitford onstage with me but Chris Robinson of The Black Crowes! [who sang ‘Fortunate One’ on Sweetzerland Manifesto MKII], Robert DeLeo and Eric Kretz from STP!!! and Buck Johnson who plays keys and sings with Aerosmith, the Hollywood Vampires, and is also a solo artist in his own right.”
For the shows, the Rock and Roll Hall of Fame inductee says “the set list is gonna include my fav JPP cuts, STP, Black Crowes, and with Brad we’ll be hitting the Aero hits and some deep cuts and then ya never know!!!! Gonna be a BLAST, and if you’ve ever been to one of my shows you know the words GARAGE BAND on STEROIDS come to mind! See you there!!!!”
DATE | LOCATION | VENUE |
Wednesday, August 13 | Tampa, FL | Seminole Hard Rock - Tampa |
Thursday, August 14 | Hollywood, FL | Seminole Hard Rock - Hollywood |
Saturday, August 16 | Toronto, ON | HISTORY |
Sunday, August 17 | Muskoka, ON | Kee to Bala |
Tuesday, August 19 | Boston, MA | Wang Theatre |
Wednesday, August 20 | Hampton Beach, NH | Hampton Beach Casino Ballroom |
Friday, August 22 | Mashantucket, CT | The Premier Theater at Foxwoods Resort Casino |
Saturday, August 23 | Port Chester, NY | Capitol Theatre |
A sample page from the author’s analog log.
Seasonal changes are tough on your acoustic. Here’s how you can take better care of your prized instrument.
As you read this, spring is in bloom in most of the US, or maybe it has been for some time. I’m timing this column specifically to ask acoustic guitarists, in this season of increasing humidity and comfortable conditions, to prepare for what’s coming. It’s never too soon, and time flies. Before you know it, we’ll be back to the maintenance phase and you might be blowing up the phones of your local guitar shops, luthiers, and techs. I’m here to encourage a decidedly old-school approach to preventative guitar maintenance, and yes, it starts now.
Why, you ask? Well, as the lead luthier at Acoustic Music Works, I can tell you that in my nearly 15 years in this position, this was the worst winter ever for preventable repairs on acoustic guitars. Fret sprout, bridge lifts, top sink, soundboard cracks, back cracks, loose binding, general malaise… These hit us very hard in the winter that spanned 2024 and 2025. Am I complaining? On the one hand, no. This is part of how we make our money. On the other hand, yes! Repair schedules related to dryness and humidity issues can stretch into weeks and even months, and nobody wants to be without their favorite instruments for that amount of time. With a little thoughtfulness, however, you might get through next winter (and every one thereafter) without hefty repair bills or time apart from your musical companion.
Our preparation is going to start with an unlikely but very important guitar accessory: the humble notebook. Plain, lined, grid, day planner… it doesn’t matter. We all need to actively participate in our instrument maintenance, and in my experience, fancy apps that track humidity via Bluetooth breed a kind of laziness, a feeling of safety that might prevent us from actually physically looking in on conditions. Better we keep an analog, well, log, so that we know where things stand, and I suggest checking in daily.
“This was the worst winter ever for preventable repairs on acoustic guitars.”
Track your relative humidity, both in the case and in the room where your instruments mostly reside, but also take notes on your action height, top deflection (StewMac has some great tips for measuring this) and anything related to playability that you believe you can observe empirically.
Dryness is the root cause of most guitar issues that manifest in the fall and winter months. Symptoms of dryness include sharp fret ends, falling action and dead frets, sunken top around the sound hole, and cracks and bridge lifts. With your trusty notebook, you’ll get a feel for the sensitivity level of your instrument, and that knowledge is power!
A few other basic implements will not only assist you in your observations, but may also satisfy your need to buy guitar-related things (at least for a minute). Getting quick and comfortable with a fret rocker is a great skill to have, and is invaluable in diagnosing buzzes due to high frets or frets that have come unseated due to dryness. A well-calibrated relief gauge might seem luxurious, but it can prevent you from making unnecessary or extreme truss rod adjustments. A string action gauge, or even a simple machinist’s rule or set of feeler gauges, will help you keep track of your action. Get a three-pack of hygrometers so you can average their readings, rather than depending on one.
Lest we forget: A guitar can not only be too dry, it can also be too wet. By beginning your maintenance diligence in the spring/summer, you’ll also be able to tell if your instrument is the victim of a too-humid environment. The signs of over-humidification are subtle: Your action may rise from a puffed-up top, and in extreme cases, glue joints could begin to fail. In my experience, an over-humidified guitar will suffer from dulled tone, almost like a sock in the sound hole. If you’re sensing a lack of clarity in your guitar all of a sudden, start with new strings. If it persists, it might be due to over-humidification, and you may want to introduce a desiccant to the case for a time. The more lightly built your guitar is, the more sensitive it will be to seasonal changes.
By getting into these habits early, you’ll be empowered by knowing your instrument more intimately. You’ll understand when and why changes in tone and playability might have occurred, and you’ll hopefully save on repair bills year-round. Feel free to reach out with any questions. Who knows? I might just send you a notebook with an AMW sticker on the cover!