Saturday, November 23, 2024
GuitarGuitar LessonsLessons

Creative Guitar Practice Ideas!


Don’t just practice scales. Practice melodic ideas that you could use in compositions or while improvising. I will demonstrate some ideas of how to do this.

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#Creative #Guitar #Practice #Ideas

Originally posted by UCJquYOG5EL82sKTfH9aMA9Q at https://www.youtube.com/watch?v=CxtgJynvDlU

50 thoughts on “Creative Guitar Practice Ideas!

  • Don’t forget to subscribe to the channel. I forgot to mention it at the beginning. I’m almost at 3 million. Let’s make it happen!

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  • not that it is the main point of this video, but what is the parent scale for these modes and chords? F major has b flat Maj and CMaj chords but I dont understand why the C Maj chord interval notation is b VII. why the flat?

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  • This is in my file of warmups and exercises now, ever since I saw your short on this. (Kinda wish I'd seen this full vid first LOL.).

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  • The link to purchase your “Quick Lessons Pro” course doesn’t work????????

    The link just takes you to “The Beato Book” which I already own.

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  • I appreciate your instructional videos, Rick.
    But, in most of them, there's a point at which, after going along comfortably at cruising speed, you suddenly switch to Mach 1, leaving dodos like me WAY behind.
    Dodos like me who, all of a sudden, no longer see the connection between before and after a certain point in the video.
    Like where you say: "I'm going to use Aeolian, Mixolydian, Lydian sounds." Where? On what specific chords? How does that lay work out in detail?
    And from that point forward, I switch off. I need baby steps, and they are not there. The devil is in the details, and, once the details go, nothing makes sense.
    Maybe your videos are intended for higher-level players than myself. That could be it.

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  • HEY RICK BEATO,YOU'VE DONE WONDERS CHAMPIONING SO MANY REALLY DESERVING UNSUNG ARTISTS AND IT IS WITH THIS VERY THING IN MIND THAT I WOULD LIKE YOU TO CONSIDER DOING A FEATURE ON A MUSICIAN AND COMPOSER NAMED LAINEY SCHOOLTREE OF THE BAND SCHOOLTREE. DO YOU KNOW ANY FEMALE PRODUCER/ENGINEER/COMPOSER/PLAYERS WHO HAVE MADE A STAGGERINGLY GOOD PROG ROCK OPERA DOUBLE ALBUM? GO LISTEN TO 'HETEROTOPIA' ALL THE WAY THROUGH AND TELL ME SHE CANT HANG WITH ANYBODY. AS A GUEST SHE'LL BE ONE OF THE SMARTEST,FUNNIEST AND MOST JAW DROPPINGLY CAPABLE PEOPLE YOU'VE EVER HAD ON. KNOW MANY FEMALE PROG ARTISTS DO YA?NOT LIKE HER YOU DONT. GIVE THE WOMEN A SHAKE,THEY NEED HELP TOO.

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  • That 'arpeggio thing ',that you're playing ,would sound brilliant if played really slowly….
    …maybe with a bit of Hammond in behind it…

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  • "Practice something that sounds like music" awesome advice. Thank you sharing your wisdom Rick!!

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  • Such cool ideas! Thank you Rick! I play harmonica and getting tips from other musicians on practice ideas always enhances my own practice ideas and options!

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  • What an excellent, entertaining, exuberant, embellished erection of etudes. As John Cleese might say – I will practice until I stop. Which won't be anytime soon. Simply delicious ! One of the best sets of runs I have heard on youtube , mytube and a bicycle tube.

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  • I play every morning- about 1 hour of organized right and left hand techniques- all from books, videos and such- then I pick a drone play along track in a key and improvise- hopefully discover big things like at the end of this video- the two note scale- this leads to playing the songs new and old from my band

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  • Why is Rick calling Bb major flat 6 and C major flat 7 when they are just chords 6 and 7 in D minor, of course I must be missing something, big fan!

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  • This video made me buy your Beato Interactive Book. The way you practice this scale is how musical I’d like to make mine and hoping your book will help. Thank you for your lesson!

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  • I totally see why practicing musical lines seems like the most sensible thing to do BUT there is also a great benefit in doing some of these "awful"-sounding scales.

    For example, let's think about doing 1 note per string alternate picking arpeggios like shown in the beginning:
    Executing this kind of technique is a highly complex combination of micro-movements (in fact it's one of the hardest things to master on guitar). One proven method to learn such a technique is to isolate and focus certain components instead of doing the entire thing at once.
    It's like a "don't run before you walk"-mentality: before we start to think about our fretting hand it makes a lot of sense to completely focus on the movement in our right hand since this is the main obstacle in achieving control with this technique. That's why it can be smart to take away as much difficulty from our fretting hand as possible to have more brain-power and focus on our picking hand hence achieving muscle memory on the most difficult part of the technique much quicker.

    The same method works in warming up: if I sit down and try to play these arpeggios without warming up I quickly hit a brick-wall where it feels like I don't have full control and working from there is a really tedious thing to do BUT if I just take a quick second and do a simpler version with more focus on the difficult part of the movement I'm getting warmed up A LOT faster!
    That's why playing some of these ugly sounding scales and chords is always one of the first steps in getting warmed up for me before a gig – those are the most basic versions of more difficult techniques that I want to control.
    One important thing to mention is: it is very true that it doesn't make sense to dwell on these exercises too much as they are simply a vehicle to achieve what you actually wanna play.

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  • When I play the piano I warmup with simpler songs, and not with boring scales. It just doesn't make sense to me

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  • I think the L 5 sounded the best but was really surprised how similar the ES335 and the Rosewood Tele sounded.

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