How To Sing Better With Superior Singing Method

How to Sing Better with Superior Singing Method

How To Sing Better | How To Be The Singer Of Your Dreams

Superior Singing Method is a complete online vocal training video course which allows you to:

*increase your vocal skills lightening fast!
*transform yourself into a stand-out, professional sounding vocalist!
*study and review videos online 24/7!

Make sure you watch my video above and visit the website here for the full story!dancemeeting

How to Sing Better With Singorama

Hi, welcome back, Aaron Anastasi here with Superior Singing Method and we’re in the middle of our series here. I think this is episode six around there and this is the Psychology of a Singer. The idea of what does it take to be a singer and the psychology behind that. And this one in particular is how to eliminate fear as a singer.


One thing I want to repeat to kind of kick us off here that I talked about on an earlier video is that all fear comes from picturing the future. I want to start with that premise and go from there. All fear comes from picturing the future. Now, fear almost never exists in the present; unless you are being chased by a bear or a lion, generally, fear does not exist in the present moment.  Give SINGORAMA a try.  Like if you are watching this right now, unless you are thinking about something you are scared of that’s coming up or that’s happening, there’s an anxiety around a certain thing, fear doesn’t actually exist in this moment. There’s no reason to be fearful in this moment.


Okay, so I just want to throw that out there to understand that when you’re in fear, understand that you’re picturing the future, and you can change that. You have a choice to think about what you want to think about in that moment, and when we get locked into the present moment it often eliminates fear. That’s just one thing. I’ve got several things that I want to talk about of how to eliminate fear as a singer.


So, if all fear comes from picturing the future, one thing that exacerbates that fear, one thing that just cranks the level of that fear up is procrastination. When we get in the cycle, this stuck cycle of “Okay I’m afraid that this is going to happen” or, “I’m afraid I’m not going to be good enough” or, “I’m afraid I don’t know what I’m doing” or, “I don’t know how to do this” or “She’s going to reject me” or whatever it is here I’m afraid so I’m not doing anything about it and that procrastination, and that putting it off, is taking up a bunch of bandwidth in my mind, like, it’s just weighting on my mind. I say it like this when it comes to a relationship the un-had conversation is the one that’s having you, that’s running you rather, the un-had conversation is the one that’s running you so that when there’s a fear of something that will happen in a relationship and we avoid that conversation. It just cranks up that fear more and more and the more we put it off the more we procrastinate. But that’s we tend to do is procrastinate and so we are just cranking up the fear and the anxiety in our life.

Learn to sing with Singorama

So, if whatever that conversation is, if you’re thinking of a conversation right now when I say that and you are like “Oh yeah I need to talk to my mom or wife or girlfriend or boyfriend about that”, I would say that just write down on a paper that I’m going to call them by this time today or tomorrow whenever it is and just get that off your mind, free up your mind to go to focus on signing.


The number one fear, we talked a little about this, the number one fear the fear of failure but not so much failure, just looking dumb, looking like a failure in front of somebody else. And what we said before is that failure is not a problem that you’ll face; that failure actually is the way you get there. I want to take that a step further here and say Winston Churchill actually has a quote that he says that I think is brilliant and I found this to be true in my own life. Of all the things I’ve been successful and that this is true. He says that “Success is stumbling from failure with no loss of enthusiasm”.


I’m going to say that again “Success is stumbling from failure to failure with no loss of enthusiasm”. And I notice that to be true that when I’m persistent and tenacious and I just allow myself to fail and fail, and stumble and fail and just keep being enthusiastic and driving forward, success emerges out of that. Watch my Singorama review.  So for me to be afraid to failure in essence is guaranteeing that I’ll never be successful because success comes from failure. It literally is the way that you get there.


In fact, and this has been my experience in a lot of coaches that I have listened to and have had in my life that the higher rate that we speed up the failure in our life, the more successful we will become quickly. Does that make sense? So what we try to do often times we get afraid so we slow down the rate of failure in our life and what we don’t realize that we’re doing is we’re keeping success at a really far distance. But if we speed up the rate of failure in our life, and I’ll give you an example of this in a minute, if we speed up the rate of failure in our life, we actually bring success to ourselves much, much faster.


Sounds counter-intuitive but here is what works out. I lived in South America for nine months and six months of that time I was in Brazil, and when I was in Brazil I was determined to learn the language. I wanted to learn how to speak, in Brazil they speak Portuguese. I was determined to learn the language and so I would study for about two, three, four hours a day in this book and do these sentences and all that stuff and then I would just go out and I had made a bunch of friends and I would just have conversations with people and I looked stupid, I sounded stupid, I failed, people laughed in my face over and over, and over and over because I sounded ridiculous because I didn’t know the language.Singorama lessons


But every day I went out there and the more I put myself at risk to fail over and over, and over the more I failed, the quicker I learned the language. So fast-forward about, I would say three months, and I was really obsessed with the accent, too. Because I didn’t just want to learn the language, I really wanted to sound like a Brazilian. I wanted my accent to be really, really clean. So fast-forward three months later and I walked into a room. There was a room full of maybe like 10-12 people. I was part of this mission, organization where you are building churches and helping kids you know, whatever. And I walked in there, and I asked in Portuguese I said to somebody “Hey, does anybody know what time it is?” but I said it in Portuguese. And somebody told me the time it was, and looked behind from me, it was a friend of mine, his name was Pablo, and he said “Oh my gosh, I thought you were Brazilian” and to me that was the biggest and highest compliment.


And this isn’t about “Oh yeah, I’m so great”. It’s not about that. Just the idea that the more I am willing to fail, the quicker I get to success and I know I am beating this like a dead horse. I just want you to get this. I want you to rewire the concept in your mind that risk and failure, literally equal success and we are so afraid of it but the fear of it kind of keeps it at bay for us.


One last thing, I was going to wrap up but I don’t want to forget to say this because I really like this. The way we eliminate fear, and it’s kind of the stuff that I have been talking about on this video. If you have a very specific fear, whatever that fear is, just think right now of one fear that you have.


The way to eliminate that fear, let’s say I have a fear of singing or speaking in public, I have a fear of singing in front of people, you want to eliminate that fear: sing in front of people. I know it sounds crazy “Well, I am afraid of that”. Okay, I heard you , I know you are afraid of that. Just do it anyway. And so, what happens is when we — the action actually eliminates the fear and the more — if we take that action enough time it eradicates the fear. So the way we get out of fear, whatever it is, is just to do the thing. Just do the thing. Just pretend you are a robot with no emotions and you don’t care what people think about you and just do the thing.


There is a quote — an my point there was that when you do it, you eliminate the fear for that moment. When you do it over, and over, and over and over again you completely get rid of that fear. One quote that I love is a quote that says, and I can’t remember who said this but you can probably Google it, and it was “Show me a man who is afraid to look dumb, and I will show you a man (or woman) that I could beat every time”.


Show me somebody who is afraid to look dumb and I’ll show you somebody I can beat every single time. Because lose face, lose face, lose face. When we are trying to save face as in when we are trying to look cool and we don’t want to look dumb and all that stuff, that’s fine, but that’s not where success lives.


Lose face, lose face, just go out there and be like “I just, I’m going to choose that I’m not going to care, that I’m going to fail my way into success as a singer, as whatever.”


Okay, that’s it for this video. I want to say believe in your bigness. There is more in you than you realize and for my number one vocal exercise the one I use every day and love and really helps in a lot of other good techniques and content, click this link here or you can click the link below.


If you haven’t subscribed yet, do so because there’s a whole series of these videos coming out. And leave me a comment because I am writing a book about a lot of this content, the psychology of being a singer and I would love to just hear from you whatever you think; whatever you think is good, or is not so good, and tell me why. I love your feedback because I want to write this book for you, to serve you and to serve people around the world in order to really learn how to be a singer and not just do the vocal exercises, that’s great, and the techniques, that’s all great but, to be a singer and really get out there and let your life really transform.

How to Sing Better For Guys


All right, welcome back, this is Aaron Anastasi here with Superior Singing Method. This is week two of a new series that I’m doing about the psychology of singing, the psychology of being a singer. And this particular episode I’m calling What if I Fail?, or you know, How do I succeed in singing?, it’s kind of around that idea. And I want to start off by telling you a story and then we’ll kind of launch into some of the content. There’s a video called Comedian and Jerry Seinfeld is in there, it’s after he did Seinfeld and he was going all around New York City in a lot of comedy clubs and he was building up his comedy again and then he was going to, you know, just so we have a whole new show, he wasn’t going to do any of the jokes that he was doing before. And he took along this little protégé like a younger comedian and the younger comedian asked him, he said: “Well, what if, you know what if I fail? I could have been doing all these other things, what if I fail?” And Jerry Seinfeld tells the story that I want to tell you really quick and it’s going to launch into kind of the idea of what we’re talking about here.

So, Seinfeld tells him the story, he says there’s a big band, it was like a Glenn Miller Orchestra type of a band back in the 40s and they, you know, travel with all their instruments and tubes and flutes and I don’t even know what’s in a big band, come to think of it, all of the different instruments, you know, it’s like 20 different people. Anyway, their bus had broken down and they’re in their orchestra outfits, it’s in the snow, it’s like in the middle of a blizzard, so they have to get out, bus has broken down, it was before cellphones and all that, so get out and traipsing through the snow with their orchestra outfit on, carrying their instruments. And going about half a mile down the road, they see this house and they go up to the house and they look inside the window and inside the window it’s like this, I don’t know if you know who Norman Rockwell was, it was kind of this Norman Rockwell setting, painted just like this perfect little family kind of setting, there’s a wife and she’s got her apron on and she’s cooking pie and they just had dinner and the husband’s reading the newspaper on the couch and kids are playing with their trucks on the ground and one of the orchestra members looks over to the other one and looks inside and goes: “How do people live like this?”


And so the idea is this: Being an artist is different than a lot of things, it’s not the normal way of life. And so here’s kind of my main point: make a decision about what it is that you want to do you.  So many of us labor over this idea of “What should I be, or what’s my calling, or what am I supposed to do?” You know, all that kind of stuff, none of that stuff matters. That type of thing is the thing that usually gets us stuck. Just make a decision: what is it that you truly love and what are you willing to go after and just make a decision and do that. You’ll know soon enough.  As soon as you make a decision and get in action, you’ll know how to course correct, you know just like the analogy goes that when you’re in a car, if you’re standstill in a car, you can’t course correct, you can’t get the car anywhere. But when you’re moving, you can course correct and back, “Oh, I need to get here, I need to get there”. That’s the same thing as life.  Once we get into action, we get a feel for what it takes to get there, what we need to do, or if this is something we really like or not. But just getting in action, making a decision, try Singorama, and going after it. And the decision to be an artist is different, like, these people would rather traipse through the snow and, you know, on a broken down bus just to get to the next gig because they love what they do. Seinfeld said to this kid, he says: “What else would you be doing, like what else would you be doing, like why does it matter if you fail or this doesn’t happen if that doesn’t happen?”

how to sing better

The idea is that we’re going through or moving towards something that matters to us. I heard it said that success is slowly realizing a worthy ideal or success is just this slow process of moving towards something that we really want, that we really like. And so my encouragement is this: to choose what it is that you want. If it’s to be an artist, being an artist is very different than anything else, but there’s nothing really like it, there’s nothing like being an entrepreneur or an artist, or specifically here, like being a singer and what is that? It’s scary and it’s exciting and it’s exhilarating and it’s terrible. It’s all those things, but you feel so alive being an artist if that’s what you’re called to do, then just live into that, just make a decision today that says: this is what I am, this is what I’m going to do, I’m going to do whatever it takes and I’m going to go after it.


When I first started this website, Superior Singing Method, I mean, now it’s been massively successful, tens of thousands of people all over the world and it warms my heart to know that, because people are reaching their dreams all over because of this little idea that started, that I and my business partner decided we’re going to move forward and do this. I don’t know how we’re going to do this or if it’ll be successful, or if anybody will ever see this thing, we’re going to move forward. So I want to tell you just

a story about when I first started doing this, me and my business partners, we started a thing called The Singing Guide. You can actually still find it somewhere deep in the recesses of the Internet, but we worked for a couple years to do this thing called The Singing Guide and we launched it and it was a massive failure, you know. We had a couple sales and this and that, it was like after two years of working, it was just done.


So, we had a decision to make at that point and it was like, “Okay, let’s just cut our losses”, I mean we spend a ton of time over those two years, billing this and filming it and thinking about it and the marketing and all that stuff. So, just forget it, let’s just move on. We’re not failures necessarily, but, you know, that’s not going to work. But that’s not what we do, we decided we’re just committed to this thing; we’re going to look for a way until we find a way. And so we took about another year, I did more study, did more research, all its brainstorming, re-filmed everything, totally new program and about a year later, it blew up. And I think back on that time and I think of all the things in my life that I gave up on because I was afraid to fail. And really, nobody’s afraid to fail, okay, let me just get that out there. Everyone thinks they’re afraid to fail, failure iss are no big deal if you fail in your house by yourself, alone. What people are really afraid of is looking like a failure in front of others, other people thinking you’re a failure.


So, the idea that I’m talking about here, of how to become a singer, is just deciding saying “This is what I’m going to do, I don’t care how many failures it’s going to take, I’m just going to move forward and do this.” In fact, I don’t believe that failure is ever a problem anybody ever faces and I know it sounds weird, but here’s what I mean: failure literally is the way you get there, okay, so, and I will talk more about that in another video, so failure is not a problem, failure is actually part of the process of becoming a success.


So I just think of: ”What if I didn’t do that?” There’d be tens of thousands of people that are close to reaching their dreams and I wouldn’t be doing what I love to do and I wouldn’t be able to make a living doing, you know, helping people reach their dreams, if I would have given that up and that’s what I think about for you. What is possible for you if you decide “I’m going to be a singer, this is what I’m going to do, I don’t care what my mom says, I don’t care what my dad says, my brother tells me I’m terrible. You know, all that kind of stuff, I don’t care. I’m going to figure it out, I know that there’s a way to figure it out”, you know, it’s back to this how thing:  “How can I do that?” How is the most stuck place that people always get to, but how doesn’t matter. What matters is the what, like what am I going to do, and a decision to do it and move forward. You can always find out how, I mean, in the information age, come on. I’ve got a superior singing method that’s got more content than you can ever devour, so there’s one how and that’s just one of a million hows, you know. But the idea of just saying: “This is what I want to do, I’m an artist, I’m up for it”.


So, that’s really it for this video. I want to end again with just the idea of believe in your bigness, there’s more in you than you realize. Think about the things that people have said about you, don’t just latch onto the negative things that people say. It’s like a hundred people could say good things about us, but like two people say these bad things and then all we choose to think about are the bad things and it keeps us stuck in that thing. Give as much weight to the memories and the voices in your life that are encouraging you and telling you things that are true about you, as you give to all these negative voices and just move forward.


So, that’s it for this episode, like I said, there’s going to be a bunch more episodes. So, first of all, subscribe, so that you know when the next episode is coming out and subscribe to the YouTube channel. Also, click this link here, right up here to the right, and that’ll take you to a bunch of not great content, that’s more of not just the psychology, but my favorite exercise and techniques and all that kind of stuff that’ll be super helpful for you as well, and you can find superior singing method through that it, if that’s what you want.


And then, finally, if you’re still watching this, is that I’m writing a book about the psychology of singing and I want you to be a part of it, I want you to be a part of the content, I want this to be something that all my subscribers, because I’m doing this not for anything else, except for my YouTube, my Facebook and my email subscribers, so I would love for you to be a part of it. Comment, let me know what you think of this content, what you like, what you dislike. All that feedback is great, if you do or

don’t, that’s all really helpful. If you have any questions, something you didn’t understand, something further that you can add, all that stuff is really helpful as I’m writing this book, because I want to write this book for you. So, let me know what you think, okay?


Well, thanks again for watching this whole thing and I look forward to seeing you next week for the next episode of The Psychology of Being a Singer.

Orientation to Arpeggios

Hey there, Allan Matthews here. In this video, I’m going to start to tell you about arpeggios. Now individual arpeggios, while there are a bunch more videos about arpeggios but this is basically your orientation to arpeggios– what they are, why we do them, what’s going on with them. It’s your orientation to arpeggios. So I hope that you sit down, buckle in, get ready for a long haul because a ton of what we do on the classical guitar has to do with arpeggios in forms– everything. It’s a lot. So please, sit down, get comfortable. Let’s dive into arpeggios.

Alright, well let’s get into some arpeggios then. The meat of the conversation, arpeggios; why arpeggios, what do we do? and what even are they? So let’s just talk about what they are and why would we possibly put all this time into studying them and practicing them as some individual esoteric little study.

The reason is this, an arpeggio is a broken chord. So I’m just going to play a big E chord [strums guitar once], ta-da. That’s a strum [strums guitar once]. So we went through the strings. On arpeggio, it’s whenever we break up the chord and we still have the same chord down here but then we just play the notes individually. It could be [strums the strings individually]. I just did that all with my thumb. That’s an arpeggio. Anytime you actually just have a chord, chord tones and you’re not playing them as a chunk [strums guitar once] or a strum Jamplay review but you’re actually playing the notes [strums each string individually], that’s an arpeggio.

Now, the way that the hand is designed– the right hand was specifically designed to play classical guitar. Not many people know this but this was originally why the hands [sic] was built in this way– was to fit this instrument. That when we come down and put it in the fingers, when we curve them, they basically come flat like this and what that does is we could just put them right to the strings. Then it’s very easy for us to play individual strings [strums each string individually] with the fingers and the thumb [strums strings individually].

This is why, out of the primordial hooves, we were designed this way. So we can all be classical guitarists. We might as well make good use of this. Notice that the hand is really well designed for arpeggios because we can put different fingers on different strings and play them individually. So that’s why arpeggios make up probably 75% of everything we do on the classical guitar. I’m guessing at these ratios. We took all the literature in all everything that we do into account. Probably 75% arpeggios another 27%– that doesn’t make any sense– another 22% scale work, things like that. Then another couple percentages as some special techniques like harmonics and tambourines and strums, and things like that but at by large, we play arpeggios. That’s what we do as classical guitarists.

A couple of examples, really common [individually strums strings], this is an arpeggio. What would be another one? There’s tons of different etudes, Bradford Weiner [demonstrates an etude]. Brouwer six [demonstrates Brouwer’s sixth]. There’s [demonstrates another example of arpeggio in a fast tempo]. Anyway, there’s so many pieces. Almost every piece that you are playing, it is chunk full of arpeggios. It’s what a large part of what we do. You don’t have to look very far to find them, it’s the point.

So if you notice, in this series of videos, there’s tons of videos on arpeggios. In the way that they’re laid out is this right here. There are a chord number of arpeggios that in form. They’re like word-letter combinations like TH together. In the English language, TH, CH, SH. These go together. So if you can master TH [pronounces Th] or SH, and CH. Then all of the sudden, it makes your reading much, much easier. These are the way that arpeggios work as well.

So these nine that are presented, these nine different ones, you can extract the videos and combine them with basic alternation and all of the sudden, you get pretty much any arpeggio that you could possibly find out of these core groups of arpeggios here. That’s why there are all of these videos on these specific little arpeggios. It’s why you can spend tons of time just on PIM. P-I-M-A, if you don’t know this, P is the thumb, I index, middle is the middle, and the A is the annular ring finger. So there’s that.

So the reason that we are putting all this time on arpeggios is because it’s so much of what we do, basically. Couples of things to remember as you go through these videos one a time, number one please be patient, please go slow, really look at the individual steps that go into each one and to each arpeggio, and master each step as like the robot. Really quick movements from the next, so that you know there’s this movement, then this movement, there’s this movement.

You’ll totally understand what I’m talking about when you actually start going through the videos but I just want to really review of Jamplay encourage you not to round the corners and just make them into a– Yes, that’s the goal [demonstrates an example of an arpeggio], this type of things. Yes, we want it to be round. We want it to just flow but you can’t do that unless you have each individual step mastered along the way, just like you can’t speak fluently and fluently if you can’t articulate each word separately as well. You have to actually know the words. So just please take your time, be patient, and really pay attention in detail because that’s what it’s all about. Whenever we’re talking about fundamentals and really core basic cells of movements and arpeggios, this is what we’re talking about. Please be very patient on it.

Moving right along, couple of things to remember just to recap back from the fundamentals and the basic concepts, you want to stay in alignment, you always want to shooting from the elbow– I say shooting for the elbow. Basically when you’re closing your hand, you want it to be in line with your elbow as opposed to like this [demonstrates clenching fingers with it laid out on the palm]. We don’t want to go like this [demonstrates hand clawing while attempting to strum a string], clawing at it like this. We want to actually be straight, so we want to keep good alignment, want to keep your wrist out a little bit, and you want to close your hands, and you want your knuckles, middle knuckles, to move into the hand whenever you’re doing all the every single that is to come on the arpeggios. We’ll tell you this again. I just want you to really harp on it because it’s really important.

jamplay guitar
In another video, there will some practice progressions and things that you could do to make your arpeggio practice much more interesting, much more beautiful, much more musical. There’ll be ideas as well; how to expand on them, how to speed them up, different things to do with them so they become more useful, varied, and more like the music that you will actually be playing in pieces of music, so there’s all that to come.

So there you go. Now you are ready embark on your journey in to arpeggio land in earnest. So please, keep in mind all these things. Let’s progress, let’s go forward, let’s move it up to the next level, and get started on arpeggios. See you in the next video. Adios.

7 Mistakes Guitar Players Make


Hey, I’m Nate Savage and in this lesson I’m going to share with you seven mistakes that I see a lot of guitar players make. And this is both newer guitar players and people who have been at it for a while.


If you’re just starting out on the guitar, these tips will help you not to develop bad practice habits and they’re going to help your practice times be more productive, too. If you have been playing for a while, these tips are going to help you get some bad habits out of your practice routine and help you see a lot more productive practice, too. Out of these seven mistakes, some of them are conceptual and some of them are actual physical things on the guitar, we’ll cover both.


The number one mistake guitar players make is not setting goals. I get emails from people all the time telling me, “Nate, I just don’t know what to practice next, I’m not getting any better. What am I doing wrong?” When I get email like that, I reply back. The first thing I ask them is “Have you set goals for your guitar playing?” Most of the time, the majority of the time, the answer they gave me is “No”.


Now, if you don’t set goals, you are not going to be able to break those goals down into practice points that you fill your practice time with. Your goals shouldn’t be something like, “I want to be a great guitar player”. That’s way too general, there is now way that you can really break that down. Your goal should be something like, “I want to be able to play this particular song” or “I want to be able to play blues leads over a 12 bar blues progression”.  Wiki


When you set realistic goals like that, what’s going to happen is you’re going to be able to break them down into small practice steps to fill up your practice time. Let’s take that last one I said. If you want to be able to play blues leads over a 12 bar blues progression, you can break that goal down into learning the blues scale, working on your left and right hand technique, learning blues licks, learning blues theory and playing along blues jam tracks, too.


Look at these goals you make like a big steak dinner. You’re not going to stick the fork in the entire steak and shove it your mouth. You’re never going to get it down and it’s not going to be good. You’re going to cut that steak up into bite size pieces or practice routine and it’s going to be really good that way. It’s going to be really effective.


Now, failing to set goals for your guitar playing leads us to the second mistake guitar players make and that’s noodling away your valuable practice time. Now, we all do this. I’m guilty of it, you’re guilty of it, we all do it. No matter if you have 20 minutes to practice or if you have two hours. How many times you’d be sat down and just gone over steps that you already knew or that you’re already good at. That’s fun, that’s very therapeutic, that’s one thing that is awesome about the guitar, but you can’t let that get in the way of the time that you designated to reach your goals on the guitar. So, one way around this is to actually schedule time just to noodle and to have fun with the guitar. Take however many minutes you want per practice session or however many hours per week and set a time just to noodle and have fun on the guitar. When you do that you going to keep that noodling time separate from your actual designated practice time that you use to reach your goals on the guitar.


All right, let’s get in to some actual physical mistakes that guitar players make when playing the guitar. The first one that I see a lot, especially in new guitar players, is they tend to lock their wrist and just play from their elbow and only use down strokes. Kind of like this, [plays guitar]. Or if they’re doing it with power chords, [plays guitar].


That is bad for a couple of reasons. The first reason is after a while that can open a gateway to some injuries, and some fatigue, with your elbow. That’s never good. The second reason it’s bad is because it’s extremely inefficient and it makes you work a lot harder when you’re picking or strumming. So, what you want to do is free up your elbow a little bit and free up your wrist. What you’re going to do is use your actual wrist to make the motions [plays guitar]. It’s a lot smaller motion; it’s a lot more efficient. What you want to do is, well, start using upstrokes, too [plays guitar]. If you’re not already, work on your upstrokes. A lot of new guitar players completely ignore that for a long time. Once you get your upstrokes going, put your down and upstrokes together and make sure to use small motions and use your wrist [plays guitar].


Number four is poor muting. That’s one of the biggest things that can make your playing sound unprofessional. It’s a little bit easier for me to show you what this is than to just explain it. I’m going to play through an A minor scale and I’m not going to mute any of the strings. I’m just going to focus on the notes that are happening. Watch how all the strings are going to bleed over one another and it doesn’t really sound good [plays guitar]. What you’re going to do to fix that is learn how to mute the strings you’re not playing with both your fretting hand and your picking hand. Let’s start with our fretting hand. I’ll show you how to mute some strings with your fretting hand. I’m going to play the three lowest notes of that scale again [plays guitar]. Look at my index finger, when it comes to drift that first note it is kind of hanging over and muting this A string. That way, if I accidentally brush up against that A string [picks the string], while playing the lower notes of the scale, it won’t ring out [plays guitar]. That’s how you can use your fretting hand to mute the neighboring strings when you’re playing the guitar. Your picking hand can also help mute the strings, too. The first way is my second, third and fourth fingers are kind of hanging out on the high strings up here keeping those guys quiet while I’m playing the lower strings [plays guitar]. Now as I go up the scale [plays guitar], my thumb right here and the palm of my hand right here start to mute the lower strings, just watch that as I go up the scale [plays guitar]. By the time I get up to the top, my whole hand is laying on the strings that weren’t being played.


Mistake number five that I see a lot of guitar players make is not using the very tips of their fingers to come down and make their chords. I get emails, all of the time, from people saying, “Nate, my chords just sound buzzy and not clear, what am I doing wrong?” Most of the time, they are not coming right down on the very tips of their fingers. And one way you can tell if you’re doing this or not is to make just a regular C major chord [plays guitar]. Watch what happens when I just barely relax my fingers and don’t come right down on the tips, this what happens to a lot of people [plays guitar]. Most of the notes from that chord just disappeared, just from this little tiny motion of not coming right down on the tips of your fingers [play guitar]. So, keep an eye out for that and remember to implement that when you’re learning new chords and that will help a lot of the buzz get out of your chords.


Mistake number six that I see a lot of guitar players make is not learning how to tune your guitar by ear really well. We live in a time where there are tuners all around us more than ever before like traditional tuners or tuners on your smartphone or iPad. We can become a little over-dependent on that because you can be in situations where you’re not going to have a tuner or where it’s too noisy for you to use a tuner right. So, actually practicing tuning your guitar and checking yourself against the tuner is a great way to hone in your skills for that. If you don’t know the fifth fret method for tuning your guitar, it’s out there. There are tons of places that have this information, but I’ll just go ahead and show you how to use it using just to tune the A string. Let’s just go to the fifth fret of the lower E string and play that note. That is an A and the next string is an open A, right? If you play those two notes they should sound the same [picks two strings]. I’m going to throw this E out a little bit [pick two strings while slowly tuning back to second string]. And this is a good exercise [tunes back the strings]. Just throw your guitar to tune a little bit here and there. Try to get it back in tune then double check yourself with the tuner. It may take a while for you to get your ears trained, but it’s really good practice and you’ll thank yourself later.


Mistake number seven that I see guitar players make is not applying what you’ve been practicing or learning. And by that, I mean not applying what you’ve been learning to actual real music. I can play a G major scale the whole day [plays a scale] and I can play a G major chord all day [strums guitar]. But if I don’t apply it to real music, then what good is it? I’m kind of just learning those shapes for the sake of learning it. If you’re working on a G major scale, pull up a jam track that is in the key of G major and try to solo it. Just try to improvise. If you’re learning some chords, find a song that uses those chords and apply those chords to some actual music. One reason I think people don’t do these a lot is because it can be really intimidating. You’re not going to sound like Joe Satriani the first time you pull up a jam track and try to jam with your G major scale. It’s just not going to happen, but actually sitting down and doing it is the first step to really taking a step towards some real progress. Every time you do it you’ll do better and better at it.


So, that does it for the seven mistakes the guitar players make. One bonus one that I wanted to throw at you is get your guitar set up by a professional. I get emails from people all the time asking me, “Nate, I don’t know what’s going on, my guitar is hard to play, my chords still sound terrible”. Most of the time their action on their guitar is really high which makes their practice un-enjoyable and pretty un-fruitful, too. Get your guitar set up. It only takes about 20 or 30 bucks and it’s going to play so much easier, you’re going to enjoy practicing and learning so much more.


I hope these tips really hit home with you. I know at least a couple of them apply to pretty much every guitar player on earth. Next time you’re practicing, think about these things and apply them in your practice time and that way they will help you.


I just launched a new guitar lessons series that you can get right now for free. Just go to guitar system dot com slash free dash series and I’ll see you there.