How to Play the Guitar and Sing at the Same Time

Singing and playing guitar can be tricky for a beginner but it is not impossible. A sense of good timing, rhythm and ability to combine two actions at once will come with practice and dedication.

Method 1 of 6: Using a Metronome

 

1.Learn how to play guitar. You can start with basic chords, or find a song and look up the tabs. Find something you think you can sing to.

2.Learn the words of the song. Practice your singing technique.

3Learn how to play while tapping your pinky in 4/4 time. It would sound like 1 2 3 4 if you don't know how to count 4/4 time. A metronome can help you to keep time and is available inexpensively at most music stores.(There are also many online metronomes that are free)

Method 1 of 6: Using a Metronome

4.Start counting out loud "1 and 2 and 3 and 4 and" while playing.(Make sure you say the AND every single time it'll keep tempo the best.)

5.Once you feel comfortable enough with the rhythm, no longer count aloud, just tap along.

 

 

6.Start adding in words.

7.Its also very important to remember sometimes guitarists go months to years without keeping a steady tempo; using a metronome will help a lot.

Method 2 of 6: Playing Along with a Record

 

1.Pick a cool song, learn how to play it, and also learn how to sing it.

2.Play the song with the record and try to at least hum the lyrics.

3.Keep practicing the song until you can play it without the record and with your eyes closed.

• Your brain uses alpha waves and beta waves (conscious/sub-conscious). You use alpha waves when you concentrate and focus on something and use beta waves when you can just "do it" without "thinking about it". Once you have the song down to this point, you're ready for the final step.

 

4.Play the song, but DO NOT think about the chords, fingerings, or anything else; just play. Now sing the song and let the playing fall to the background. Your conscious will be concentrating on the singing, but your sub-conscious will be playing the song. This can feel a little like an out of body experience where half your brain is actually playing the guitar and the singer in you is using the other half. It's weird at first, but very exciting and fun once you got it down.

• Finally, you will be able, with practice, to change roles back and forth (did I hit that chord right? yes, OK the next vocal line goes like...).
• Note: it is quite rare for guitar solos and singing parts to occur at the same time (that is by design) don't try and change that when you go to write a song(easier on you anyway).

5.Well, practice this and have fun!

Method 3 of 6: Training Your Brain to Multitask

1.Once you have the basics of guitar playing, try to come up with a few runs or chord progressions (or just use them from other songs if you're only going to play covers.)

2.Practice these until you can play them easily.

3.Now sit in front of the TV and watch it whilst playing them (It's important not to stop playing) 

4.After a while, you should notice that you are playing fine but also managing to follow whats going on on TV. This is the first step in developing independence.

 

5.Next, try reading something whilst playing (try reading off a computer screen if you can't hold a book open.) This will keep your mind more active than watching TV and playing.

6.Try reading out loud in a droning voice (A common problem is only being able to sing the notes you're playing) 

7.Keep doing this and eventually you should be able to sing and play almost completely different things.

Method 4 of 6: Learning the Lyrics First

 

1.Pick a song you want to play,and learn the lyrics 

2.Now play the recording of the song back to you and sing along. If you want, you may hum or sing in your head, just so that you can get the song in your head). Repeat until you have mastered the song and you can play the song back in your head.

3.Now pick up the guitar and play along with the recording, but only guitar.

4.Once you master the song and you can play it without looking, start humming, or singing out loud while playing.

Method 5 of 6: Associating Chords with Words

 

1.Try to play chords that go with each other, (ex. E, D, G).

2.Next, think of a word to use as your "sample word". Use a sample word for each of your chords.

3.Take for example, if my sample word for E were game, then I would play E but say game at the same time. If D was free, than I would play D at the same time as free was being said. Try to make your words rhyme, because it will train you to distinguish word from word when playing.

4.Use this method with an actual song. This method is useful because it trains you to give each word a note, and this eventually leads to word-guitar-sync.

Method 6 of 6: Playing While Reading

 

1.Once you are fine with playing the song just try playing while reading a book.

2.Practice until you are able to read the book. Once you are able to do this, read aloud in any particular rhythm of your choice.

3.Once you are able to do this, singing songs will be easy.



 Source : http://www.wikihow.com

 

 

 

 

 

 

 

 

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Guitar Riffs Every Man Should Be Able To Play

There are two surefire ways to get laid: 1) Be Ryan Gosling; and 2) Learn how to play the guitar. But since there’s only one Ryan Gosling (he also plays guitar, which is like, totally cheating), we suggest picking up an axe and start writing some love songs. But before you can write your own stuff, you have to know what came before. Thankfully, Ubisoft’s Rocksmith allows gamers to plug in any guitar to their video game console and play along with any of the game's 50 featured songs. To get you ready, here are 10 guitar riffs that are easy to learn and constantly played -- so if you've got your guitar in-hand, you'll undoubtedly get your moment in the spotlight

10."Smoke on the Water"

Deep Purple
Difficulty: 2

This riff is proof that sometimes in rock music, simplicity works best. The pulverizing four-note melody is one of the most recognizable riffs in the history of hard rock, and once it's joined by the hi-hat, the distorted organ, the drums, and the electric bass, the sound reaches musical heights few dream of. A favorite of beginners and seasoned vets alike.

9."My Sharona"

The KnackDifficulty: 4

“My Sharona” became the fastest-selling debut single since The Beatles' “I wanna Hold Your Hand” in 1964. Why, you might ask? The band’s guitarist Berton Averre wrote that riff years before he joined the L.A. New Wave outfit The Knack. Never underestimate the power of a catchy riff.  

The Wild Ones
Difficulty: 3
Though written by Chip Taylor and originally recorded by The Wild Ones, it's the version recorded in 1966 by British band The Troggs that catapulted this song to ubiquity. Written in the key of A major, the riff is based on a four-chord progression and is a perfect starting point for beginners everywhere. It’s also the perfect entry song for a fictional relief pitcher played by a real-life bi-polar drug addict with an affinity for hookers. 

7."You Really Got Me"

The Kinks
Difficulty: 4
Many experts contend that this song was one of the major precursors to heavy metal. Written by Ray Davies, the power-chord driven ditty became The Kinks’ first crossover hit. It captured the essence of hard rock and paved the way for the British Invasion that would change rock music in America forever.

6."Johnny B. Goode"

Chuck Berry
Difficulty: 7

Contrary to popular belief, this pioneering riff wasn’t written by Back to the Future's Marty McFly, but Chuck Berry, who many contend is the godfather of rock 'n’ roll. In 2008, Rolling Stone named "Johnny B. Goode" No. 1 on its list of the 100 Greatest Guitar Songs Of All Time. This is rock 'n’ roll in its purest, most unadulterated form. 

5."Sweet Child O' Mine"

Guns N’ RosesDifficulty: 9

Although the entire band receives writing credits on the song, it was Slash’s riff that became its defining force, making it Guns n’ Roses’ only number one hit. Legend has it that Slash began playing the riff as a joke during rehearsal, but when Axl Rose heard the playful jam session, he began writing lyrics to it, and just like that, one of the defining songs of the '80s was born.  

4."Smells Like Teen Spirit"

NirvanaDifficulty: 6
When Nirvana unleashed their rebel anthem in 1991, which rode the back of the most iconic four power chords of the '90s, disillusioned teenagers officially took over rock 'n’ roll and the grunge movement that would eventually define an entire era officially went mainstream.  

3."Iron Man"

Black Sabbath
Difficulty: 5

While Ozzy Osbourne was busy eating bat heads, lead guitarist Tony Iommi was crafting one of the most menacing riffs in the history of heavy metal. Iommi famously came up with a surprisingly melodic riff during rehearsal, and after Ozzy doubled the guitar part with his vocal, the quintessential metal song was born. 

2."Enter Sandman"

MetallicaDifficulty: 8

There’s a reason this song is Metallica’s biggest hit to date. From their eponymous fifth album, this sinister ode to things that go bump in the night -- which Lars Ulrich has called “a one-riff song” -- transformed them from thrash metal outsiders to alt rock darlings almost overnight, for better or for worse. 

1."Seven Nation Army"

The White StripesDifficulty: 5
If ever there was a track defined by its riff, this is it. Playing throughout the entire song like an ominous warning, Jack White’s densely hypnotic, uber-catchy chord progression has become an anthem for sports teams everywhere looking to send a menacing message to their opponents. It’s a wonder it took until 2003 for someone to stumble upon it.

This article is sponsored in part by Rocksmith, available October

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How to practice guitar and not bore yourself to death

If your like me; technical exercises and guitar method books probably bore you to death.
And until recently I turned that into a very negative thing, where I felt guilty or like I’d let myself down if I didn’t practice the way I said I should have.
A typical guitar teachers instructions to a beginning student might be something like:
“You should practice this chromatic scale every day for like 20 minutes, and then once you are done that then you move onto playing that same chromatic scale backwards for 20 minutes…”
Now I realize that this is a totally insane way to approach any kind of hobby; especially music. And I can see why some people don’t get past the beginner or intermediate stages; or when they do they play the guitar like it is a video game and they sound like the most boring guitarist on earth even though they are a technical virstou.
And, quite honestly if chromatic scales and exercises don’t bore you to death and you can spend 2 hours a day practicing technical exercises then, I am sorry to say, but there is something wrong with you – time to get off the Dexedrine.
The problem with learning guitar through formulas and ideas that are boring and repetitive is that eventually everything you play will sound boring, mediocore and repetitive.
So here is the best tip I think that I have figured out in my 16 years of playing guitar and it’s what I have always done anyways… 




PLAY WHAT YOU WANT TO PLAY!


Here a catchy tune on the radio? Search for the guitar tab using a search engine. Were you playing around one day and accidentally stumbled into a little riff that you have grown fond of? Write it down for later so that you can practice and improvise with it more.
Now this was an idea I had thought of but recently I read an article where Johnny Marr was like yeah you should play whatever you have fun playing because that will make you play more!
Another occurence of this was from another musical hero of mine Doug Martsch, who I remember in an interview someone asked him how he was so technically good and he said he doesn’t ever think about technique he just sits with his guitar and plays what he wants too.
If I think about some of the best teachers I’ve had over the years, many will even just make up their lessons as they go along. They love what they do so much that there is no preperation for them. They just perform.
I wonder if any of you out there know of any other musicians or teachers that follow this same practice principle?





Source : http://www.howtotuneaguitar.org

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7 Things New Guitar Owners Need to Know

If you've just gotten your hands on your first guitar, chances are you're not entirely sure what to do next. The following suggestions should offer some guidance about how to prepare and maintain your instrument, as well as provide you with the foundational knowledge required to start learning guitar.

  Learn the Parts of the Guitar

Although there are many different types of guitars (acoustic, electric, classical, electric-acoustic, etc.), they all have many things in common. This brief tutorial outlines all of the primary parts of the guitar you'll need to know in order to get started playing the instrument. 
 

Learn How to Hold the Guitar

When you want to play the guitar sitting down, the first thing you need to do is find yourself a straight-back chair without arms. Now get yourself comfortable and sit up nice and straight. Pick up your guitar, and rest the dip of the guitar on your right thigh like this. Now, rest the back of the guitar flat against your chest. Make sure that the neck of the guitar is more or less parallel to the floor.

Learn How to Tune Your Guitar

Perhaps the most frustrating aspect of learning guitar is that it initially seems impossible to play anything that actually sounds good. While it is true that it takes some time to learn the techniques needed to play songs well, the real reason most new guitarists sound bad is because their instrument isn't in tune. Here is a guitar tuning tutorial that, with a little practice, should allow you to keep your instrument in tune. 
 

Learn How to Hold a Pick

Hopefully, you've found, bought or borrowed a guitar pick. If not, you'll need to buy yourself some. Don't be stingy, go and pick up at least 10 of them - guitar picks are easy to lose. You can experiment with different shapes and brands, but I highly recommend medium gauge picks to start - ones that aren't too flimsy, or too hard. 

Learn How to Clean and Care for Your Guitar

It goes without saying that good guitar maintenance will go a long way. Take care of your guitar and it will take care of you. If you buy a guitar online, chances are when you get it, it's going to need to be set up. The reason for this is there are different climates around the country. If you buy a guitar from California and you live in Texas, you're guitar is going to adjust when it gets to it's new home and you’re going to need to set it up for your new climate.

How to Read Chord Charts

Guitar chord charts are almost as commonly found in guitar music as tablature. The information these chord charts convey, however, is different than guitar tablature. Some of you might look at chord charts and understand them right away, but it doesn't always "click" for everyone. For the sake of being thorough, let's examine what exactly these guitar chord charts tell us. 

How to Read Guitar Tab

Guitarists are a unique breed. Chances are, if you play guitar, you are either self-taught, or have learned the basics from friends. If you were a pianist, you would have learned the instrument through years of private study, which would include both music theory lessons, and heavy focus on "sight reading". Although it may seem complex, learning to read guitar tab is quite simple, and you should find yourself reading tab easily in no time.

 

  source : http://guitar.about.com

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10 Things All Guitarists Should Be Able to Do

For some reason, I’ve been getting out more often lately and experiencing live music. It’s been a mixed bag. Some have been national acts in large venues, while some have been at the local bar and club level. Most recently, I was a judge in a local guitar competition. After seeing the more polished national acts, I got a little spoiled hearing well put together sets that paced themselves and built up to a peak in the evening. All the musicians’ playing was spot on, and they were great experiences. Coming down to the local level, I witnessed a lot of similarities in players that were quite different from the national level acts. Of course this is to be expected to some degree, but it was overwhelming how many fundamental aspects of playing seemed to be overlooked. Here’s what I witnessed on the local level. It’s not a representation of everything that’s out there, but it hasn’t been pretty. Therefore I’m compelled to present my list of 10 things every guitarist should be able to do. It’s not too tall of an order, but it is an important list.




1. Stay in key.

Before you get up onstage, it’s a not a bad idea to know the notes on the fretboard! Sure, most people at the bar are already drunk and most likely can’t tell the difference if you nailed the solo in “Free Bird” note for note, but hey, it’s a point of pride to know you understand what you’re doing. Would you hire a plumber that didn’t know how to use a snake or plunger?

2. Tune up.

We’ve got tuner pedals, tuners built into guitars, tuners you can attach to the headstock, portable tuners, iPhones, iPads, pitch pipes, tuning forks, and keyboardists. NO excuses on this one! It shouldn’t take but a minute to tune up before a set and a few seconds between songs if the guitar has started to slip from climate changes, or got beaten up on that last killer solo. Hey, even if you can’t hear that you’re out of tune, any of the previously mentioned devices can. Use ’em, and keep your listeners from getting their ears punished for no good reason.

3. Hold your notes.

Sure it’s fun to play fast, but I like to hear a note held out every once in a while. Make it the first or the last note in the solo—or even in the middle if you’re crazy—but give us a little something to hang onto and ponder. If you’re still speed-crazy, think of it this way: The fast notes will sound so much faster if you’ve got something slow to compare it to.

4. Incorporate vibrato.

Maybe I came up in a time when this was more of a personality statement, but it seems to have gone the way of the dodo bird. To me, the first mark of a great player and their tonal character is the mighty vibrato. Call me a geezer, but Hendrix, Paul Kossoff, Van Halen, Yngwie, Gilmour…they all had it. You could tell the player from his vibrato alone, and that’s a beautiful thing. 

5. Pay attention to phrasing.

Those notes that you play are all part of a story. Are you a good storyteller? My fellow columnist Paul Gilbert has recently talked about this, so if you haven’t yet, swing by his area and check out the killer advice. He knows what he’s talking about and backs it up with fantastic phrasing on every solo he’s recorded. 

6. Dial in great tone, even if it’s not your rig.

Guess what? Sometimes you won’t have your main rig with you. Maybe it’s a backline rental, maybe you’re at a jam night, or maybe you need to use a different rig while yours is in the shop. So many guitarists I’ve met don’t even know how to dial in a good tone, regardless of whether it’s their own amp or belongs to somebody else. Take the time to understand what those knobs do. Too much treble? Back it off. More power tube saturation? Crank it up. Do you understand how a master volume works? These are all things that should be the most basic of skills mastered as a guitar player and used to your benefit. Amps are built (for the most part) to be inspiring and offer an extension to your hands, not just to make notes louder. 




7. Play a few more licks.

It doesn’t take a lot of effort to expand your licks base. We have more than enough places to learn from these days, and while it’s easy to get stuck in the comfort zone, there is no reason you couldn’t add a dozen new licks each week. Spend some time breaking out of the box and dazzling your listeners and bandmates by sprinkling some newness on them. Oh yeah, don’t just string ’em together either. Refer back to #5 and make them part of a story, otherwise they’re just a bunch of phrases tied together with no purpose.

8. Nail your timing.

Play with the band—they are there for a reason. I’m not sure what’s going on—perhaps too many people are segmenting themselves off in their bedrooms or something like that—but I’ve never heard so many players sound like they’re not even in the same room as the rest of the band. It’s as if they’ve stopped listening and are just playing in a vacuum! Ahead of the beat, behind the beat, and everywhere in between. You have to listen to each other and play off of each other. This is music folks, not just a platform to show off the new licks out of context. Open your ears and feel the music. Like The Force, it is there to guide you.

9. Balance your volume with the band.

Yes, you can do this from the stage. Even if you don’t get a soundcheck, it’s imperative that you have your volume balanced with the band. Drop the ego and make sure you can hear everything. If you’ve got a wireless, you’re in better shape because you can drop off the stage and listen from the audience’s perspective. Yes, the soundman has a job to do but you can help by not making it impossible on him. I know you love your new Dumble, but make an honest assessment of your volume situation and keep it in check. Trust me, no matter how great that new amp sounds, nobody is going to care if you’re just blowing doors down to show it off and drowning out the rest of the band in the process. Oddly enough, I’ve never heard a guitarist that wasn’t loud enough in the stage mix, unless his amp wasn’t big enough. How strange.

10. And the granddaddy of them all: Don’t saw the lady in half first!

A long time ago, my first guitar teacher told me that a soloist is a lot like a magician—they both have a bag of tricks. The best magicians know how to pace the show. Start with a card trick here, maybe a little cup and ball trick followed by something like a disappearing rabbit. You get the idea. You never see the magician start the show off by sawing the lady in half. That’s saved for the finale (unless he’s really good and has a better trick up his sleeve). Do the same as a player. If you blow your wad in the first 10 seconds, you’ll wow the crowd once, but put them to sleep for the rest of the night when you can’t deliver beyond that. By the way, notice how I waited for #10 to saw the lady in half? It’s magic! 

Source Article: http://bit.ly/1oG5RY8

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25 Things Every Guitarist Should Know

Many people believe that possessing talent alone is enough to guarantee an artist success in the music business. Nothing could be further from the truth. In a perfect world, the best musicians — the best guitarists — would be amply rewarded for their abilities. The music business, however, is far from perfect.
And unless you're one of the blessed few (such as Eddie Van Halen) who can single-handedly change the course of guitar history, the harsh reality is that killer chops and perfect time impress only other guitarists, not the people who hire you or buy the records.
Talent, of course, is any artist's basic bread and butter, but whether you're a fingerpicker or a two-handed tapper, in order to survive the music business and distinguish yourself from the thousands of other guitarists who are after your gig, you must boast some other essential qualities. These range from good people skills to practical, common-sense approaches to your business (Fact it, that's what it is), both of which will help you stand out from the pack — and believe me, there's nothing more frightening that a pack of hungry, feral guitarists.


For your edification, I have crunched these qualities — the many do's and don'ts of guitar existence — into 25 hardheaded, clearly wrought maxims. Learn them, memorize them, master them and imbibe. You'll be a better person for it, a better guitarist, and you just may make your way from the garage to the arena stage.

01. Nobody likes an asshole

Reality check: Most musicians don't give a damn whether you're the second coming of Jimi, Eddie or Buck Dharma. They just want someone with a good attitude who will play the parts correctly. And since most of your time is spent offstage, relating with the other musicians on a personal level becomes as important as relating to them musically. Remember-no one is indispensable. Just ask David Lee Roth.

02. Having a great feel is your most important musical asset

No one will want to play with you if you have bad time. You must have a great feel-it's that simple. By "great feel" I mean the ability to lock in with the rhythm section and produce a track that grooves. If there's one thing I would recommend you to constantly work on, it's developing your groove. Listen to the greats to learn how grooves should be played: from rock (Led Zeppelin's "Whole Lotta Love" to 16th-note funk (James Brown's "Sex Machine") to blues shuffle ("Pride and Joy" by Stevie Ray Vaughan). Tape yourself (with a metronome) playing them-you'll be able to isolate and work on your problem areas. Or pick up the excellent JamTrax series (Music Sales), a series of play-along tapes covering everything from blues to alternative to metal, to stay in shape. This is the one area where you should be most brutal in your self-assessment. You'll be a much better player for it.

03. Develop your own sound 

There's no better way to learn how to play than to cop licks from your favorite guitarists. The problem to watch out for is when you start sounding too much like your favorite player. Remember, rules, especially musical rules, are made to be broken.

04. Be on time

You wouldn't believe how many musicians don't believe that punctuality is important. It is crucial.

05. Listen, listen, listen!

When you're on stage or in the studio, don't be in your own world-listen and interact with the other musicians you're working with. React to what they're playing. Don't play too loud or get in the way when someone else is soloing. Put their egos ahead of yours-your number will always be called if the other musicians feel that you made them sound better.

06. Know what you want to be

The most successful people in the music business are totally focused-they have specific goals in mind and do whatever is necessary to achieve them. The simple realization that you don't have to be a musician to be a rock star and don't have to be a rock star to be a musician can spare you years of cynicism and bitterness.

07. Play for the song, not for yourself

It's imperative to play what's idiomatically correct. For example, don't play Yngwie licks on Bush's "Glycerine" or a noodly jazz solo on Soundgarden's "Outshined," no matter how much it impresses you. I learned this the hard way while auditioning for a punk singer. I thought I'd show her what a good, well-rounded musician I was and ended a thrash song in A with an Am(add9) chord, instead of a more appropriate A5. I was promptly shown the door.


08. Play with musicians who are better (and better known) than you

There's no faster way to improve and jump up to the next level than to play with great musicians. You'll learn the tricks of the trade, and pick up on their years of experience in the trenches, as well. But if you want to be a star, there's no better way to kick-start your career than by ingratiating yourself with someone famous and be seen sycophantically swilling drinks with him or her at the coolest bar in town.

09. Less is more

Most players you hear or read about pay lip service to what has become the guitardom's ultimate cliché. The fact is, though, what's glibly easy to say is not necessarily easy to do. I learned this on a gig backing up a singer on a cruise ship (It was the actual "Love Boat!"). Back then, I couldn't read music or play over changes very well, so during the first show, in abject fear, I played very sparsely-only what I was sure would work. After the show, the singer told me she had never worked with so sensitive an accompanist.

10. Image does matter

This is one of the sad truths about the music business. The good news, however, is that not every musical situation calls for the same image. So use some common sense-if you're going to be auditioning for a wimpy jangle band, don't come dressed like a Marilyn Manson cast-off.

11. It's essential to have a great touch, or vibrato

There are players who say it took them 10-15 years to develop a great vibrato. They're the lucky ones-most never find it. Your touch is like your fingerprints-it's what distinguishes your blues playing, for instance, from that of countless other guitarists. Think of B.B. King or Jimi Hendrix-they are instantly recognizable. There are two main types of vibrato: one generated by the wrist (a la Hendrix and B.B. King) and the other from the fingers (favored more by classical guitarists). To determine which type works for you, check out your favorite guitarists' vibratos and try to imitate them. You can also pick up B.B. King's video Bluesmaster (Volume 1) to see his unique "bee-sting" vibrato demonstrated in-depth.

12. Get your sound/tone together

I can't emphasize enough how important this is. Know your gear well enough so that it works for you, not against you. For example, if you're looking for a Stevie Ray tone, you won't get it with a Les Paul going through a Marshall. You'll need a Strat running through a Fender Bassman (with an Ibanez Tube Screamer for extra punch). Unless you're a studio tech-head, a great guitar and amp (with an overdrive or chorus pedal) will probably sound 10 times better than a refrigerator full of rack-mounted shit (believe me, I've been there).

13. Practice what you don't know, not what you do know

In order to improve, you must practice. That sounds frightening, but let me reassure you that good practicing doesn't necessarily entail sitting grimly in a basement (while the other kids are outside playing), mindlessly running scales and arpeggios-you can get all the technique you need by learning licks from your favorite guitarists. For example, Eric Johnson's intro to "Cliffs of Dover" is a veritable lexicon of minor-pentatonic ideas. Here are the three axioms of good practicing:
A. Master small bits of music first (no more than four to eight notes at a time), then connect them to form longer passages.
B. Start out playing new ideas at a slow tempo (this builds muscle memory), then gradually work up to speed. It's much better to play slow and clean than fast and sloppy.
C. Always practice with a metronome

14. Get your business chops together

Business chops are just as important as musical ones, if not more so. If you want to make money as a musician, you have to start seeing yourself as a business and your music as a product. Acting against the stereotype of a musician (you know — stupid, drunk and gullible), as hard as that may be, will show club owners and record execs that you're not a pushover.

15. Be fluent with both major and minor pentatonic scales

In rock, pop, blues or country situations, knowing these scales will enable you to get by 80 percent of the time. I heartily recommend my book Practical Pentatonics (Music Sales)-a nifty little volume that covers just about all you need to know to be comfortable using the pentatonic scale in real-life gigging situations.

16. As soon as you learn something cool, apply it immediately to a real-life musical situation

Many guitarists learn tons of licks that sound great when played in the practice room. But the minute they get on stage, they have a hard time integrating this new material into their playing. Before you learn something new, you should have an idea where you could fit it in.

17. Learn as many melodies as you can

Not only does learning melodies to tunes (any tunes) increase your repertoire, it also (subconsciously) gives you an incredibly distinct edge in developing your phrasing. Ideally, you should be able to duplicate any melody you hear.
A. Listen to how singers interpret melodies and try to mimic their phrasing on the guitar.
B. Try to play back any, and I mean any, melody you hear-be it a TV commercial, nursery rhyme or the Mister Softee ice cream truck theme.
C. Always learn a melody on more than one place on the guitar neck. You want to play the melody, not have the melody play you.

18. Know your place

When a bandleader asks you to play something a certain way, smile and do it! Don't argue. Don't pout. Don't think you know better. Don't be an asshole. You'll have plenty of time to be in charge when your three-disk epic rock opera adaptation of The Jeffersons gets picked up.

19. Contrary to popular belief, taking lessons and listening to other styles of music doesn't hurt

It never hurts to broaden your scope, no matter how great a player you already are or how much you think you've already learned all there is to know. Opening your mind to other styles and techniques makes you a better, more well-rounded musician. Period. A great teacher can inspire and enable you to develop as a creative, exciting player.

20. Learn as many tunes as possible, from start to finish

It doesn't matter what style you like to play in, the more tunes you know, the easier it is to get a gig or kick ass on a jam session. And there's no excuse for not doing it-even if you're not at the point where you can learn tunes off the recording, you can avail yourself of the hundreds of transcription books out there. Heck, you can learn five new tunes a month just by reading Guitar World!

21. Develop authority as a player

You have to get to the point where you feel as creatively comfortable in front of hundreds of people as you do in front of your sister and the dog. And the only way you can attain that authority is by putting in the time. Playing at home only gets you so far-it's imperative that you play out as soon as you can. Attend jam sessions. Take less-than-ideal gigs, just for the experience. Take any gigs, for that matter-it's the experience that counts!

22. Hang out with other musicians

The best way to get contacts and gigs is to be seen and heard. How can anyone recommend you if they don't know who you are? As unpleasant and greasy as this may sound, do your best to befriend other guitarists. Though there's intense competition amongst players, most of your work will come as a result of recommendations made by other guitarists.

23. Know the fundamentals

Being able to hear common chord changes will help you learn tunes off the radio faster. Knowing a little basic theory will help you with your songwriting and your ability to intuitively come up with rhythm parts. For example, knowing that the harmonic structure of most blues tunes is I-IV-V (C-F-G) and that early rock ballads were usually built on I-vi-IV-V progressions (C-Am-F-G) will help you to play just about any tune in those genres or compose one of your own. One more plug: you also might want to check out my book The Advanced Guitar Case Chord Book (Music Sales) to get an idea of how to apply cool chord voicings to common progressions in all types of music.

24. Be careful out there

As soon as you or your band become somewhat popular, all sorts of characters are going to start crawling out of the gutter with designs on you. Have fun, but don't go overboard. And always keep an eye on your equipment-it's your life's blood. And try to save some cash.

25. Don't shit where you eat

Don't fuck the singer. Don't fuck the drummer's girlfriend. Don't fuck the drummer's dog. Don't fuck the drummer. Don't backstab your bandmates. Don't pocket tips. Don't be an asshole!

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