> Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through.
I think listening and transcribing is great advice. Careful listening will help to improve your own listening ability and taste. It also helps to demystify why something is great.
But it's also going to be a struggle - especially at first. You have to be prepared to struggle, a LOT. Most people won't be able to keep at it, and that's one of the things that separates the greats from everyone else.
I'm a jazz musician, and my kids are both professional classical players. I've asked them why they don't learn to play jazz. My daughter described pretty much what Glass is saying here. She calls it "fear of sucking." She knows what good jazz improvisation sounds like, and trying to make herself do it is pretty discouraging.
Not that there's anything wrong with loving and playing classical music, which is a factor too.
This may be why it's different when you start very young. You're not conscious of your own sucking, you just play, usually in a setting where everybody's congratulating you. For sucking. ;-)
I started on classical, and got into jazz by accident, as a bassist. It turns out that you can function in a band as a bassist without having to improvise very much, so I was able to learn at my own pace and eventually did. In fact a lot of good jazz players started out in school jazz bands or large ensembles where you didn't have to be a good improviser right up front.
I picked up Violin as an adult, have done recitals, and I suck. Being able to suck and find joy in something anyway even if you're not top nth percentile is a valuable life skill.
I was at a dance hall the other day, and this young lady came floating in. It's hard to describe how she walked - just like she was effortlessly gliding. It looks easy, but anyone else would look like a moose trying it.
It's the result of a lifetime of ballet dancing. Probably 10,000 hours, at least.
I've picked up a couple languages relatively easily and I 100% attribute it to the fact that I have no shame - zero
I will speak in my ugly, broken, American accent and do it til I improve. I didn't read about this technique in a book or anything, I simply mirrored what I saw kids do and IMO a big reason kids do well with picking up language (aside from all the physiological stuff) is that they actual speak it - they aren't concerned about whether it sounds like baby talk or not
A lot of advice feels trite and cliche, like keep trying, etc - but often times it takes repetition and hearing the message in many different ways before it sinks. As a tangent - this is the value i found in therapy too - a great therapist that was patient and consistent in their messaging day in and day out eventually led to some of what they said sinking in.
That reminds me of an interview I heard with comicbook artist Chip Zdarsky. He was talking about how we all love to draw as kids, but eventually around 10 years old or so we start to become aware that what we see in our heads isn't anywhere near what's appearing on the page in our drawings, and that gap acts as a powerful filter discouraging most people from pursuing art any further.
One truth I've observed from decades of keen hobbyist involvement in guitar music and playing is that a lifetime of music is largely an individual journey.
The fact that some players learn by transcribing, while others learn by jamming, and yet others learn by rote theoretical study, or 10-hour practice sessions, etc, is a big part of the variety which results in the wonderfully varied tapestry of music styles and approaches that humanity creates and enjoys.
Not to take away from the age-old, valid advice in the link about the value of ear-to-fretboard work.
I think you need both. If you never stop or slow down, it's hard to build the proper muscle memory to improve and get more accurate. However, it's also valuable to practice playing through mistakes to finish a whole song. Mistakes happen, and if you're playing for a crowd you can't just stop and start over.
Yes, both. A good example why is for example, as muscle memory grows it will bias your note selection when improvising. Sometimes you really need to slow down to consciously force yourself to explore other sounds. Once you've done that, you need to wear it in again so it sounds natural in your playing.
Sting famously learned to play bass using this sort of technique with music on LPs, lifting the needle and dropping it back a bit in the track over and over again as he gradually worked out the notes and fingering.
Probably almost any method is effective at learning guitar, as long as it includes the key factor - time spent practicing.
> Probably almost any method is effective at learning guitar, as long as it includes the key factor - time spent practicing.
There are a few pedagogical points here to keep in mind:
first, there are local maxima in terms of learning something like guitar where you get bad habits and the only way to progress is to undo them.
Also, different ways of learning have different values in terms of what goals you're aiming towards and very importantly what kind of practice will keep you motivated in a sustainable way. Sometimes, taking shortcuts in some ways means you might slow down your growth rate but you'll have better overall growth because you'll keep at it for longer
Add some distance and sensitivity. I used blunt / brute force repetitions and somehow wasted years. Music is very subtle, and keeping a focus on small details is worth thousands of hours.
> as long as it includes the key factor - time spent practicing.
And at least for me, frequency beats duration. I make more progress when I play consistently for even 10 minutes every day than when I play for 90 minutes on Sunday afternoon.
Recognizing melodies by ear is a hugely useful skill, but I can't help but think it's going to be nearly impossible to do without a sound foundation in music theory.
Tabs are, in large part, paint-by-number. Lots of guitarists out there are only interested in learning a song. Regardless of key, mode, or what the notes actually are. And, tabs satisfy that group by saying: "Play this fret on this string".
To write tabs, you'll need to be able to make an educated guess at what's being played. ex. "Is that a minor pentatonic scale? Or are they arpeggiating a minor 7th chord?". If terms like that aren't in your musical vocabulary, and you haven't played enough to recognize the difference, I don't see how a guitarist would even begin writing their own tabs. Maybe the author is assuming this skill set.
Having learned guitar in a way that's somewhat similar to what's outlined in this article, I will say that someone doing this transcription-based method will likely naturally consolidate their "making tabs" into "making chords" pretty quickly, because the patterns occur often enough. I'd also say that producing your own tabs is very far away from a being a mere tab-consumer, it's just a natural introductory medium because tabs are very easily digestible to a beginner and, as you say, satisfy the craving.
I think that starting off with easy songs, and with enough brute force as you scale up, you can become organically familiar with these concepts to make the educated guesses you're talking about.
Many renowned musicians were able to effectively create music utilising these concepts despite never formally learning music theory, and by just learning by ear.
This is also one of those things that varies with the individual. When I was a kid taking cello lessons, I learned to play by ear. For classical students, theory doesn't really start until college.
I know very little theory, but I've been playing jazz for almost 50 years, and I know hundreds of melodies along with enough of their harmonies to improvise and accompany other players. Many people pick up tunes from the radio or hymns at church, even if they don't play an instrument.
I think a helpful tip for ear training is that you can do it without an instrument, just by hearing stuff (tunes, rhythms, accompanying parts) and trying to sing along. For beginners, this avoids the awkwardness of the instrument and its technique getting in the way.
If you develop your ear and learn your way around your instrument, then you can learn to play along by ear and then just write down what you're doing.
> To write tabs, you'll need to be able to make an educated guess at what's being played.
Knowing the theory certainly makes the process faster because you'll recognize patterns, but you can definitely work through most songs without knowing anything about music theory. Just pick up your guitar, slow the track down and try to reproduce the tones.
Back when I first started playing guitar, my teacher had me transcribe the melody to Rudolph the Red-Nosed Reindeer (from memory). I didn't even know the major scale at that point, but by trial and error I improved my intuition for translating melodies in my head to the fretboard, which is remarkably useful as a guitarist, not only for improvisation, but for composition as well.
That's not to say that knowing music theory isn't helpful in transcribing and in general, but I wouldn't say it's a prerequisite. A lot of my foundation in music theory came from transcribing first and putting things together afterwards.
It’s a great article on something that’s useful, but a bit overconfident in its universality. Better at what? There are many dimensions to being a guitar player. Is it technique? Theory? Ability to pickup a song by ear (this article)? Better at playing in a group? Better at playing solo? Better at reading music? Better at accurate bends? Better at fingerpicking?
One of the nice things about music is you can’t get good at ALL of it. You have to pick where to focus. I’ll also say, you might need to ask yourself if you want to get better. I love relaxing by reading through the chords on a new song and playing it. I already have a job, and the time I truly have for intentional practice is like once a month. Most people are not studying to become guitar pros but to enjoy their time with the instrument. If that is your goal let joy be your guide. Perhaps some short term pain is part of that journey but really weigh out what you want out of the experience.
Been plucking at the guitar (literally and figuratively - trying to learn) for a couple of years now and Justin's (free) course was the best I've found. His videos are compassionate, funny, explain things really well and easy to follow. He also dog-fed the instructions by learning to play left-handed (and posted those videos as well, hilarious to watch).
Compared to that, some time earlier I subscribed to a Berklee free course on Coursera (iirc) - Beginner guitar. Felt like a fumbling idiot, almost never touched guitar afterwards.
Another 10/10 free course is Scotty West’s Absolutely Understand Guitar on YouTube. Filmed in the 90s and it’s still one of the best classes out there.
Listening and transcribing is an excellent thing to do. But it would be terrible advice to say it's the only thing to do.
Also, I would argue that if you really want the benefit of transcribing, don't write it down until you have memorized whatever chunk you are transcribing - the act of memorizing it and learning it solely by ear is where the real value is.
On the other hand, this is not a good way to learn technique or the fretboard, as the easy keys will be vastly overrepresented, and you don't need to know where you are. That's a challenge that's almost unique to guitar and bass, and getting over that hump requires learning material by note name (whether from scores, tabs, or just chord symbols).
(my bonafides: 35 years playing, gig on sax, bass, piano, and percussion, currently doing an interdisciplinary PhD in music and CS, and running a jazz club night where I perform weekly)
Tommy Emmanuel apparently learned by transrcibing, famously thinking that both the bass line and guitar lines he was hearing were a singular "guitar part". Just by having his expectations (incorrectly) raised, he rose to the occasion and played both parts.
I forget where I heard this story -- it's probably either rather famous, or buried in an interview somewhere.
I started learning guitar using tabs. It's good for easily picking up a song, but I found it painful to learn new songs. Everything I played I simply memorized and learning a new song was always a start from scratch.
I mostly play classical guitar and now force myself to get better at sight reading standard music notation. I find it extremely hard but very rewarding because I'm now able to simply pick up a sheet of music and with a couple of tries figure out the basics of a piece. It opens up a whole library of beautiful pieces.
It's still tabs, but marginally better because you're making your own tabs. Work on hearing the key and chord progression and you won't need tabs. You'll be able to jam with anyone, anytime. It'll take a couple months to get there, but you'll no longer rely on tabs - which I think is the goal.
Had a lot of fun contributing tabs to Ultimate Guitar, esp. when folks would write notes of appreciation. The harder the better - not cheating to slow down the track to understand rapid lick in solos (the Steely Dan ones were a gas) either. You lose a little bit of the magic (little is off limits with some practice) but the fact that you can figure out your favorite tracks and imagine yourself up on stage is fun.
When you are transcribing a guitar part you have to think about the key, the chords, and how to play the part efficiently. It's a great way to get a better understanding of the neck since there is usually more than one way to play a part.
I've been playing guitar for 30+ years. When I was a kid, I learned almost everything by ear - note by note by note...
In hindsight, once I had learned a song, I had actually learned MUCH more than just that song. It is that "extra" that adds up over time and makes one a guitarist and not just someone who can play some songs on the guitar.
Upon hearing Eruption for the first time, the story goes that Tony MacAlpine learned to play the finger tapping section by PICKING IT because he didn't know finger tapping was a thing. Only after seeing Van Halen in concert did he realize what Eddie was doing.
If memory serves me right, I read this in either Guitar Player or Guitar World magazine back in the late 80s or early 90s. Whether Tony was embellishing or not is unknown.
I also came to the realization after making this that my time was better spent transcribing, but I wanted to learn egui (and this was before coding agents, so it actually took some time).
There should be a saying like "A tool is not the task" similar to "A map is not the land." As professional tool makers it can be easy to replace the task with a tool in theory, but that's not reality.
In a similar vein I think that's why there are so many devs making game engines instead of games.
I learned to play guitar this way -- listening to CDs and scrubbing back and forth, writing down what I heard. It's great, but it only gets you so far. Learning pentatonic scales was a step-change for me.
First, figure out the bass line. That typically suggests the chord progression. If you know your chords, then, for simple songs, you have the rhythm figured out.
For solos, it's more tricky. If you aren't familiar with common soloing patterns (licks) and/or scales then start with simple solos and work your way up.
I am playing for quite a while... Had private lessons with a coach to practice solo guitar, and general understanding for a couple of years. Before that around 10 years or more as amateur, now it's been 3 years since I spoke to a guitar coach last time.
I play every day, I do my solos, I play blues, I don't need chords. But it's hard.
Just don't underestimate how hard it is - to be able to play any solo by ear. I guess I just don't have any freaking talent. Pretty obvious at this point, since some people do a better progress in 3-5 years of work.
But for me it's not. I realized that for me something isn't just clicking. There was no breakthrough moment I expected all these years.
I invested a lot into playing guitar, but... meh. Honestly, I wish I spent all that time learning AI math or just math in general. Or spend my time on something that would have a better ROI.
Looking back I see how much effort it took, and how low my ROI is. I wish I gave up earlier.
I mean, it kind of sounds like you hated the whole process and didn't care about the result either. What was your reason for taking up the guitar as a hobby in the first place?
I suspect it's actually impossible to get reasonably good at something without some amount of passion for it, to some degree or another. Most musicians are in it for the thrill of learning something that most people find hard to do, or because they love music, or because they want to be part of a community that values music. Occasionally because they think they can make money at it.
I play an instrument or two, but only for fun. I love music, but I'm at a point in my life where I will never be good enough to be in a band. I have enough other hobbies anyway. I take a random 15 minutes out of my day to play a few songs, maybe practice a new song I'm learning, watch a short Youtube video about it here and there, and that's enough for me.
I can't imagine you can do it for many years without a passion. I'm saying that when it comes to playing an insrument, there is definitely a concept of a talent involved. If you're not talented, you ain't gonna reach stars even if you spend 10-15 years doing it with passion.
I was always pretty curious about what's gonna happen next :) Like one year more into that - will it make me fundamentally better or not? If you understand fretboard - will it make you better or not? If you learn the scales, if you practice them, etc... I was (and still am) looking for something that would hopefully glue all of that together.
Don't get me wrong, I produced a couple of songs, some people say they're pretty good. But honestly, it's a crap.
I'm a new player so I'm not asking this to be snarky but to understand. How can you think you don't need chords? It seems to me, 5 months into my journey, that chords are a fundamental aspect of guitar. It sounds like someone taking up golf but saying they don't need putts. Can you help me understand?
I’m a banjo player. Starting with tab ( and playing for myself ) quickly got me to a certain level and then ingrained some bad habits. Playing by ear is much better.
One way that seems to work really well:
1. Listen to the song, tap the rhythm to learn it.
2. Figure the chord progression.
3. Using standard rolls ( sequence of notes, one measure ) find how to fit in melody notes
I lived near a music school and took proper guitar lessons. After getting down the basics from the Alfred Method book, this was the homework my guitar teacher gave me.
Coincidentally enough, I was also transcribing RATM back then too...
TLDR: practice. If you have sufficient natural talent xor will, you will eventually go past the canon of available material and begin to transcribe your own. Then there are those who move to creation, either immediately or somewhere in the path.
> Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through.
I think listening and transcribing is great advice. Careful listening will help to improve your own listening ability and taste. It also helps to demystify why something is great.
But it's also going to be a struggle - especially at first. You have to be prepared to struggle, a LOT. Most people won't be able to keep at it, and that's one of the things that separates the greats from everyone else.
Not that there's anything wrong with loving and playing classical music, which is a factor too.
This may be why it's different when you start very young. You're not conscious of your own sucking, you just play, usually in a setting where everybody's congratulating you. For sucking. ;-)
I started on classical, and got into jazz by accident, as a bassist. It turns out that you can function in a band as a bassist without having to improvise very much, so I was able to learn at my own pace and eventually did. In fact a lot of good jazz players started out in school jazz bands or large ensembles where you didn't have to be a good improviser right up front.
It's the result of a lifetime of ballet dancing. Probably 10,000 hours, at least.
I was just in awe.
I will speak in my ugly, broken, American accent and do it til I improve. I didn't read about this technique in a book or anything, I simply mirrored what I saw kids do and IMO a big reason kids do well with picking up language (aside from all the physiological stuff) is that they actual speak it - they aren't concerned about whether it sounds like baby talk or not
A lot of advice feels trite and cliche, like keep trying, etc - but often times it takes repetition and hearing the message in many different ways before it sinks. As a tangent - this is the value i found in therapy too - a great therapist that was patient and consistent in their messaging day in and day out eventually led to some of what they said sinking in.
The fact that some players learn by transcribing, while others learn by jamming, and yet others learn by rote theoretical study, or 10-hour practice sessions, etc, is a big part of the variety which results in the wonderfully varied tapestry of music styles and approaches that humanity creates and enjoys.
Not to take away from the age-old, valid advice in the link about the value of ear-to-fretboard work.
I used to stop all the time, when I made a mistake, between repetitions, when I finished the piece.
I agree about ear to fretboard.
Probably almost any method is effective at learning guitar, as long as it includes the key factor - time spent practicing.
There are a few pedagogical points here to keep in mind:
first, there are local maxima in terms of learning something like guitar where you get bad habits and the only way to progress is to undo them.
Also, different ways of learning have different values in terms of what goals you're aiming towards and very importantly what kind of practice will keep you motivated in a sustainable way. Sometimes, taking shortcuts in some ways means you might slow down your growth rate but you'll have better overall growth because you'll keep at it for longer
And at least for me, frequency beats duration. I make more progress when I play consistently for even 10 minutes every day than when I play for 90 minutes on Sunday afternoon.
If you mess up, redo the part you messed up correctly 5 times in a row.
And, don't just practice the easy stuff. You have to challenge yourself to grow.
And as my music professor once said: "If you sound good while practicing, then you're not practicing."
Everything takes twice as long to learn because I first have to unlearn the old habits.
why am I posting here instead of practicing?
Tabs are, in large part, paint-by-number. Lots of guitarists out there are only interested in learning a song. Regardless of key, mode, or what the notes actually are. And, tabs satisfy that group by saying: "Play this fret on this string".
To write tabs, you'll need to be able to make an educated guess at what's being played. ex. "Is that a minor pentatonic scale? Or are they arpeggiating a minor 7th chord?". If terms like that aren't in your musical vocabulary, and you haven't played enough to recognize the difference, I don't see how a guitarist would even begin writing their own tabs. Maybe the author is assuming this skill set.
I think that starting off with easy songs, and with enough brute force as you scale up, you can become organically familiar with these concepts to make the educated guesses you're talking about.
Many renowned musicians were able to effectively create music utilising these concepts despite never formally learning music theory, and by just learning by ear.
I know very little theory, but I've been playing jazz for almost 50 years, and I know hundreds of melodies along with enough of their harmonies to improvise and accompany other players. Many people pick up tunes from the radio or hymns at church, even if they don't play an instrument.
I think a helpful tip for ear training is that you can do it without an instrument, just by hearing stuff (tunes, rhythms, accompanying parts) and trying to sing along. For beginners, this avoids the awkwardness of the instrument and its technique getting in the way.
If you develop your ear and learn your way around your instrument, then you can learn to play along by ear and then just write down what you're doing.
Knowing the theory certainly makes the process faster because you'll recognize patterns, but you can definitely work through most songs without knowing anything about music theory. Just pick up your guitar, slow the track down and try to reproduce the tones.
Back when I first started playing guitar, my teacher had me transcribe the melody to Rudolph the Red-Nosed Reindeer (from memory). I didn't even know the major scale at that point, but by trial and error I improved my intuition for translating melodies in my head to the fretboard, which is remarkably useful as a guitarist, not only for improvisation, but for composition as well.
That's not to say that knowing music theory isn't helpful in transcribing and in general, but I wouldn't say it's a prerequisite. A lot of my foundation in music theory came from transcribing first and putting things together afterwards.
One of the nice things about music is you can’t get good at ALL of it. You have to pick where to focus. I’ll also say, you might need to ask yourself if you want to get better. I love relaxing by reading through the chords on a new song and playing it. I already have a job, and the time I truly have for intentional practice is like once a month. Most people are not studying to become guitar pros but to enjoy their time with the instrument. If that is your goal let joy be your guide. Perhaps some short term pain is part of that journey but really weigh out what you want out of the experience.
Been plucking at the guitar (literally and figuratively - trying to learn) for a couple of years now and Justin's (free) course was the best I've found. His videos are compassionate, funny, explain things really well and easy to follow. He also dog-fed the instructions by learning to play left-handed (and posted those videos as well, hilarious to watch).
Compared to that, some time earlier I subscribed to a Berklee free course on Coursera (iirc) - Beginner guitar. Felt like a fumbling idiot, almost never touched guitar afterwards.
Really recommended: https://www.justinguitar.com/
Also, I would argue that if you really want the benefit of transcribing, don't write it down until you have memorized whatever chunk you are transcribing - the act of memorizing it and learning it solely by ear is where the real value is.
On the other hand, this is not a good way to learn technique or the fretboard, as the easy keys will be vastly overrepresented, and you don't need to know where you are. That's a challenge that's almost unique to guitar and bass, and getting over that hump requires learning material by note name (whether from scores, tabs, or just chord symbols).
(my bonafides: 35 years playing, gig on sax, bass, piano, and percussion, currently doing an interdisciplinary PhD in music and CS, and running a jazz club night where I perform weekly)
I forget where I heard this story -- it's probably either rather famous, or buried in an interview somewhere.
I mostly play classical guitar and now force myself to get better at sight reading standard music notation. I find it extremely hard but very rewarding because I'm now able to simply pick up a sheet of music and with a couple of tries figure out the basics of a piece. It opens up a whole library of beautiful pieces.
In hindsight, once I had learned a song, I had actually learned MUCH more than just that song. It is that "extra" that adds up over time and makes one a guitarist and not just someone who can play some songs on the guitar.
Rock on!
Upon hearing Eruption for the first time, the story goes that Tony MacAlpine learned to play the finger tapping section by PICKING IT because he didn't know finger tapping was a thing. Only after seeing Van Halen in concert did he realize what Eddie was doing.
If memory serves me right, I read this in either Guitar Player or Guitar World magazine back in the late 80s or early 90s. Whether Tony was embellishing or not is unknown.
The greats who became so good doing this had massive amounts of time to do it and put in massive amounts of effort.
Anyway here is my app of shame:
https://kelvie.github.io/chord-finder/
I also came to the realization after making this that my time was better spent transcribing, but I wanted to learn egui (and this was before coding agents, so it actually took some time).
In a similar vein I think that's why there are so many devs making game engines instead of games.
https://strangestloop.io/essays/things-that-arent-doing-the-...
First, figure out the bass line. That typically suggests the chord progression. If you know your chords, then, for simple songs, you have the rhythm figured out.
For solos, it's more tricky. If you aren't familiar with common soloing patterns (licks) and/or scales then start with simple solos and work your way up.
I play every day, I do my solos, I play blues, I don't need chords. But it's hard.
Just don't underestimate how hard it is - to be able to play any solo by ear. I guess I just don't have any freaking talent. Pretty obvious at this point, since some people do a better progress in 3-5 years of work.
But for me it's not. I realized that for me something isn't just clicking. There was no breakthrough moment I expected all these years.
I invested a lot into playing guitar, but... meh. Honestly, I wish I spent all that time learning AI math or just math in general. Or spend my time on something that would have a better ROI.
Looking back I see how much effort it took, and how low my ROI is. I wish I gave up earlier.
I suspect it's actually impossible to get reasonably good at something without some amount of passion for it, to some degree or another. Most musicians are in it for the thrill of learning something that most people find hard to do, or because they love music, or because they want to be part of a community that values music. Occasionally because they think they can make money at it.
I play an instrument or two, but only for fun. I love music, but I'm at a point in my life where I will never be good enough to be in a band. I have enough other hobbies anyway. I take a random 15 minutes out of my day to play a few songs, maybe practice a new song I'm learning, watch a short Youtube video about it here and there, and that's enough for me.
Loving musing doesn't mean you can play it.
Don't get me wrong, I produced a couple of songs, some people say they're pretty good. But honestly, it's a crap.
I’m a banjo player. Starting with tab ( and playing for myself ) quickly got me to a certain level and then ingrained some bad habits. Playing by ear is much better.
One way that seems to work really well:
1. Listen to the song, tap the rhythm to learn it.
2. Figure the chord progression.
3. Using standard rolls ( sequence of notes, one measure ) find how to fit in melody notes
I lived near a music school and took proper guitar lessons. After getting down the basics from the Alfred Method book, this was the homework my guitar teacher gave me.
Coincidentally enough, I was also transcribing RATM back then too...