The dark seduction of a non-musical mindset

So, I still love music. I listen to music (guitar and other) a lot. I also have licks and passages I like to play. I’m trying to spend more time playing over loops or jam tracks. I’ve been trying to do sort of a “back to basics” rebuild of vocabulary for improv purposes, looking at Clapton on the Beano album as a starting point to model from. I also started digging into Joseph Alexander’s books on theory/improv.

Yet probably 9 times out of 10, when I grab a guitar at home, I spend my time dicking around with right-hand variations on “Yngwie sixes” type picking. I’m basically doing the exact opposite of what every interviewee (and Troy) suggests for making usable musical progress. I’m not particularly compulsive in other aspects of life, but I’ve worked my way into treating picking-hand technique like an optimization problem that I fixate on for it’s own sake. It’s intrinsically rewarding in its own way, very much in line with the metaphor that has come up before of “learning a skateboard trick”, but on an intellectual level, I’m coming to recognize that I spend time on it at the expense of more musical practice because it’s less mentally demanding, or in the most charitable terms, it’s demanding in a way that’s very familiar and comfortable. Kind of like playing a video game you’ve previously mastered, and inventing new mini-goals for yourself within the gameplay.

Even as I’m writing this out almost as a kind of therapy to try and motivate myself to change my approach, there’s a part of me that wants to nerd out about why I’m starting to love pronated DSX with a three-finger grip so much. :stuck_out_tongue:

Philosophically, I’ve turned into the opposite of Albert Lee.

I guess what I’m trying to say is: going too far down the rabbit-hole of dicking around with technique at the expense of making music is absolutely a real phenomenon, and I really encourage other people to be wary of how the reward processes in your brain are working. Back to the videogame thing, at the risk of alienating videogame lovers, I feel like spending too much time fiddling with mechanical things becomes, again, like playing an already familiar videogame instead of reading a challenging book (or, hey, playing a new and differently challenging videogame).

Anyway, TL;DR: I crossed a threshold of alternate picking competence long ago that I should spend more time using to make music instead of getting sucked into ever more diminishing returns continuing to experiment with variations on picking technique. Be mindful of whether the same is happening to you, and whether you would consider that a good thing for you, or a bad thing.

And in the spirit of semi-unhinged, self indulgent rants, here’s a recent John Oliver video about the movie “Air Bud”.

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So instead of “improvization,” why don’t you just compose a piece? If “improv” is defined as “real-time composition,” why do you care about the real-time part? Why not just compose something awesome instead, and make a nice recording?

I think that great composesers are overflowing with music and improv makes sense for them (as they’re just trying ideas and throwing them away), but I believe that regular people who have not reached that level should avoid improv like the plauge because it will stunt their growth and always make them chain little “cliches” together, almost pseudo-randomly, and they’ll never go further. Oh, I guess I said it… :rofl:

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I’ve experienced this myself and I’ve seen parallels in other communities. For example, there are woodworkers whose obsession with sharpening their tools extends far beyond the limits of practicality.
There’s a certain type of person that likes to keep a problem in the back of their mind at all times. Maybe guitar technique scratches that itch for you.

Devil’s avocado: should “making music” be the goal of everyone who plays an instrument? Do you actually want to make music, or do you feel like it’s something you’re expected to do? If you enjoy the analytical side of guitar technique, why does it matter whether or not you apply it to “real” music?

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This is definitely true for me. I’ve always felt it’s a really fun instrument to just “play”. Still, I wouldn’t want to only do technique stuff. Also, I try to have any technique practice actually include excerpts from songs I like, rather than running scale shapes up and down the neck. I’ve also found looping the sections of the songs in soundslice (at various speeds) to be really helpful, and fun.

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Hearing this comparison immediately makes me think it’s essentially a form of procrastination. There’s a sort of twisted mental gamble that “overspending” on prep will yield some kind of huge future dividend, or “reduce all forms of the problem to a previously solved one.”

This last part is a fair point. I think the answer for me is that the executive part of my brain has set the goal of “making music”. Sometimes I get a loop in my head and hear improvised lead lines over it in my mind’s ear. Rather than trying to hum or whistle those lines, I’d like to be able to fluently find and play them on a guitar. We could get deeper into the psychology of why I want to do that, but the part of my brain that’s supposed to be in charge has set that goal, while other part(s) of my brain say “it’s going to take a really long time to reach that goal, so instead of taking a baby step towards that, let’s do this other thing that already makes us feel good!”

Honestly, your reply really has me thinking I need to treat this not as a “music” problem, or a “guitar” problem, but as a “procrastination” problem.

This is exactly why I like some of the Gypsy Jazz teachers because you get to actual learn songs. They have complete solos tabbed out, no mistakes, highly accurate, you follow, you succeed, challenging, but not a waste of time. You learn song after song, the more solos you learn, you actually can begin to understand how to truly improvise, but it takes a very long time. You have to learn the language, most of the tablature out there even from Young Guitar, although they get it very close, is so terribly wrong it is just a waste of everyones time. Even if one motion is wrong, you have lost, the student must learn it right from the beginning why show them how to play an embellishment wrong, in my mind they will always play it wrong or get stuck in a rut because of it.

If you like the Yngwie stuff I would say learn some of the songs of the concerto album by ear. These to me are his easiest stuff, some of the songs have very short solo fills that are easy to manage at 70-80% speed and you can create your own phrasing to paste over if they are too janky to mimic.

One thing I try to do is force myself to learn a riff or something every day I haven’t tried yet, seems like a pretty good way to both build skill and vocabulary. But yeah you have to come up with a strategy to keep things fresh. Just remind yourself, there’s a ton of low hanging fruit out there in the form of cool riffs and ideas that you haven’t practiced at all yet - and getting good at all of that stuff will make you way more impressive overall than getting Yngwie sixes 10 bpm faster.

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You can also do the other thing I did and compose a bunch of complete songs in Guitar Pro you can’t play yet and just have that weighing on you until you can play them lol.

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Terrific topic and post, very relevant to how my brain works.

However, like @joebegly wrote, I don’t necessarily see it as a negative as long as we’re self aware about it, and we know the limitations of the activity.

the part of my brain that’s supposed to be in charge has set that goal, while other part(s) of my brain say “it’s going to take a really long time to reach that goal, so instead of taking a baby step towards that, let’s do this other thing that already makes us feel good!”

Honestly, your reply really has me thinking I need to treat this not as a “music” problem, or a “guitar” problem, but as a “procrastination” problem.

Also well stated. But remember it doesn’t have to be either/or. Gratification itself has value. You can do picking explorations and also do more musical practice (and also get a beer with fiends, or watch a tv show…)

For me personally, I often work on picking technique during my ‘off’ time, as in, time I have to myself where I’m not trying to work towards any specific important goal. because I like doing it! It’s fun and interesting. It doesn’t require me to go out of my comfort zone; it is my comfort zone. Even when I’m not progressing.

I do and have done plenty of other things that are uncomfortable, and structured work towards a goal. But again, gratification has a value, it’s just good if we’re not deluding ourselves about what we’re doing and why.

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Good post. I agree this doesn’t have to be an “either/or” thing. My post arose from my awareness that for me right now, the balance is slanted in a way that I don’t like.

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Just remember it’s never really about the slant. It’s always about the trajectory. Oh wait wait…you’re talking about a different type of slant…my bad :slight_smile:

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You are a bad man. :wink:

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Totally. Here’s a cool article that covers a lot of ground, but I think the picking thing is similar to the category of “tinkerer”

https://www.jazzguitar.com/features/sharrock.html

If not familiar with Sonny Sharrock (not that I can claim to be an expert on his discography,) he’s well, “kind of a big deal”

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