Find out what inspires you and soak yourself in that. For me, going to concerts to see great players or bands inspires me to practice more. Listening to great singers inspired me to refine my vibrato and phrasing. Listening and studying the music of great classical composers inspired me to study music composition.
I prefer to be wise like the Buddha, and take the Middle Path. This is the one I have chosen, and I will describe it for you.
These are questions you should ask yourself. The two biggest practicing mistakes I have seen in students (besides not practicing enough) are: 1. Practicing is not goal orientated. 2. Not understanding the difference between playing one's guitar and practicing one's guitar. If you are having any difficulties with practicing, talk to your teacher about it. He/she should be able to help you.
Discipline yourself. Unlike a sport, you do not have a coach or a trainer to work with you all the time. Nobody is there to make sure you are practicing the way you need to, when you need to, and how often you need to.
You need to be totally self reliant. If this is not a normal part of your personality, fortunately there is help for you. Only you can stop yourself from procrastinating. Take the initiative now to go forward.
Chopin's natural ability was his ability to improvise. He was the master, but he worked very hard to become the virtuoso pianist that he would later become. Chopin also was the master at small forms, but struggled with large scale forms.
In fact, it makes learning things like bar chords an orderly, if still somewhat demanding process. And the result is a very comfortable feeling while doing them, and the proper basis for more advanced techniques, such as keeping a bar down while the other fingers do all sorts of things that demand great control.
For instance, the process may go like this: I notice I have trouble with a fast scale passage in a piece I am playing. I notice a particular note starts disappearing when I reach a certain speed. The note is being missed. I notice the finger responsible for playing that note is the third finger. It is not getting to the note because it is going up in the air in reaction to the second finger being used right before it in that particular scale passage. In other words, it is tensing in reaction to the movement of it's neighboring finger, and I have not been paying attention to it. I realize this is a bad habit that pervades my playing, a third finger that tenses up in reaction to the use of the second finger.
I prefer to be wise like the Buddha, and take the Middle Path. This is the one I have chosen, and I will describe it for you.
These are questions you should ask yourself. The two biggest practicing mistakes I have seen in students (besides not practicing enough) are: 1. Practicing is not goal orientated. 2. Not understanding the difference between playing one's guitar and practicing one's guitar. If you are having any difficulties with practicing, talk to your teacher about it. He/she should be able to help you.
Discipline yourself. Unlike a sport, you do not have a coach or a trainer to work with you all the time. Nobody is there to make sure you are practicing the way you need to, when you need to, and how often you need to.
You need to be totally self reliant. If this is not a normal part of your personality, fortunately there is help for you. Only you can stop yourself from procrastinating. Take the initiative now to go forward.
Chopin's natural ability was his ability to improvise. He was the master, but he worked very hard to become the virtuoso pianist that he would later become. Chopin also was the master at small forms, but struggled with large scale forms.
In fact, it makes learning things like bar chords an orderly, if still somewhat demanding process. And the result is a very comfortable feeling while doing them, and the proper basis for more advanced techniques, such as keeping a bar down while the other fingers do all sorts of things that demand great control.
For instance, the process may go like this: I notice I have trouble with a fast scale passage in a piece I am playing. I notice a particular note starts disappearing when I reach a certain speed. The note is being missed. I notice the finger responsible for playing that note is the third finger. It is not getting to the note because it is going up in the air in reaction to the second finger being used right before it in that particular scale passage. In other words, it is tensing in reaction to the movement of it's neighboring finger, and I have not been paying attention to it. I realize this is a bad habit that pervades my playing, a third finger that tenses up in reaction to the use of the second finger.
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