The Brain-to-Hand Connection

The third aspect of guitar control is perhaps
the most powerful, and this is what I call the
“brain-to-hand” connection. It is the most raw
and abstract skill for improvising. It all starts
with the energy of inspiration, which comes from within.
What you feel in your heart and hear in your head
is simply played directly, without thought, without any considerations.
We can improvise freely with our vocal chords by
singing pitches – but why is it so much harder to
do it on the guitar?

It’s because our vocal chords are a part of our physical body – so there is
nothing in between to get in the way. With the guitar, we somehow have
to know the right pitch and how to find it on the fretboard.
This requires some serious ear training. The most direct way of recognizing
pitches that you hear in your head is to develop the ability to know the
pitches themselves. This skill is called “perfect pitch” or “absolute pitch”.
This takes 1) knowledge of how to train your ear in this manner and 2)
either a partner or a computer program to drill you. Thankfully, both of
these issues are solved for you by tone tutor, which you can
get free access to when you sign up for Killer Guitar Control Secrets.
The next kind of ear training is relative pitch training – which essentially
means getting good at recognizing which degree of the scale you are hearing
over the chord progression.

For example, take a simple 12 bar blues progression. It is fairly easy to
distinguish when you are hearing the root of the progression. Then it
becomes a matter of learning the other important pitches such as the fifth
degree. It just takes practice.

Besides ear training, there are a number of other things you can do to
improve your brain-to-hand connection.

One exercise you can do is simply to practice getting good at nailing the first note
of a phrase that you are imagining in your head. I call this the “first note”
exercise. Its very powerful because once you hit the first note, often the rest of
the phrase falls under your fingers.

But, there’s many other exercises you can do. There was a time when I focusing
specifically on developing the brain-to-hand connection. I was playing lead guitar in a
band at the time, and …get this… I refused to know or learn what key I was playing in.
And I played some very inspiring and powerful leads.

However, occasionally I would get lost. Eventually, I learned how to play totally from
the heart, yet still feel grounded by the knowledge of the fretboard. I was able to
integrate the two, and also use my technique to serve the purpose of expression.
Other exercises you can do for the brain to hand connection:

– Seperate left and right hand practicing.

– Singing along with what you play

– focusing on various rhythmic groupings

And there are MANY other techniques that I cover inside my DVD course – for
example, just one of them is the “In and Out” technique that will get you closer to
playing from the heart by pushing you closer and closer to what you really want to play.

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Wavatar jason

hear my heart and why its a part of the distance that isnt really there for it to start.

Wavatar tony Swift

What I am after is a list of the chords that
ascend(And descend) within the8 notes of the

Wavatar Barney

I have a hard time believing in perfect pitch, I have a degree in music and a degree in electronics. to me if someone says they have perfect pitch when singing then they should be able to stop a strobe tuner,..why? Because a strobe tuner does have perfect pitch. Never have i ever seen anybody with such a claim stop one in a sound proof booth. so,..i dunno can’t tell it’s real from here. I can generate a tone for one of these people and they can get a pitch correct but to go the other way,..just haven’t seen it done yet. so practice at interval training will get you a positive result but to reproduce that “perfect note”,..naw…

Wavatar Neil

First of all Claude, although I am not a beginner, I am certainly new to the electric guitar and to the rock genre which now has most definitely captured my attention. Your course has been most helpful, particularly your “Scale System”, which initially puzzled me but is now begnning to make perfect sense; the idea of shorter scales towards developing the technique necessary for riffs instead of scales all the way up the neck, which now makes little sense to me. I questioned your method because of my prior training which was according to the latter, but I’ve stuck with it and am advancing faster now than ever before, even if I decide to go all the way up the neck. You are doing some great work here. Thank you.
One of the greatest things about this site is the backing tracks, and as soon as I “finish my homework”, i.e. the scales, I turn on the tracks and rock out. And it’s amazing what then transpires when I hit my next jam session. As I am primarily a singer, I find myself writing once again to your trscks, mostly blues so far. Now here is my question. Is there anyway to download those tracks to an Mp3 player, or rip them to media player so I can make a CD? The reason for this is that I use music to go to sleep; no, not chamber music or soothing nocturnes, but The Stones, Hendrix, Muddy Waters, those kinds of music. If I had your tracks to listen to repeatedly I could then a) figure out lead lines and b) write the lyrics or at least make up verse themes. (Yes, I DO eventually get to sleep)
Also, my ear not being as good as it used to be after 67 years, I sometimes have trouble hearing the melody structure within the chords on the backing tracks. Is there any way I could get access to written chord symbols for the tracks? For instance, Blues 120, which I think is a minor 1,4,5, progression with somewhat of a jazzy feel, in Em, using Am7 and Bm7,but I’m not sure.
Thanks for your attention and thank you for this site and all of your great work. I wish you the greatest success. Keep pickin’.