In an approach to guitar, one must first abandon the

notion of the guitar.
When one plays guitar, and then attempts to create as a byproduct of the instrument, the
end result is something that is and will always be limited by the instrument and the
current ability of the player. Guitars, no matter how good, have very definite limitations,
and every player, no matter how good, has a technical limit that they cannot exceed.
To start from a point that is not limited, one must first create an ideal version of whatever
it is they are playing. This ideal exists only in the mind, and it is not subservient to any
physical limitation. The ideal must exceed all preconceptions and stretch the imagination
and creativity as far as possible; until the point is reached where the creator is absolutely
convinced the ideal is an objective truth.
The creation of the ideal is something that must happen before anything is done on the
guitar. Any action performed without first having the ideal is impossible to judge
because, without the standard the ideal creates, nothing exists to judge the action against.
The ideal creates a situation that will create a conflict between the ideal and the version
that exists in reality. The conflict that arises is necessary for musical and artistic
progression. The dissonance between what is desired and what exists at that moment
provides the necessary motivation to find solutions to bring the ideal to reality.

The important question is: from where does the ideal
Much of the ideal, when working on a piece of composed music, comes directly from the
composer. A piece of music mainly consists of objective facts. The entire music
notation system was designed to convey this information as precisely as possible. The
structure, the rhythm, and the harmonies are all decided by the composer and laid out
clearly in the score. Phrasing is indicated in the score, even if it is not done so with
phrase marks, but rather as it plays an integral role in the overall structure. Tempo
markings are usually found in the score. Although tempo markings are semi-subjective,
the tempo can be found in the relationship of the harmonic progression and rhythmic
activity to the overall structure of the piece and suggested tempo. The moods and
characters present are suggested by what the composer composed.
The ideal is also influenced by the tradition of classical music and also music in general.
A long history and context exists behind the music that is created today, and, although
one must create something that is new and relevant, understanding performance and
interpretive practice gives one a clear direction forward. Through the vast catalog of
recorded music, one is able to hear some of the great musicians and what they did with

form opinions and preferences. the judgment could only be a process of comparing the sound of the ideal with the sound that is produced in reality and. dynamics. and. this act creates a space for the music to live and breathe.the music. One must take something subjective and be so convinced that it can pass as the objective truth. with the use of a mirror. This joint creation and discovery is a synthesis of one’s personality and experiences. and that each one of us. As a musician. which will always create an absolutely unique interpretation. one must use the other senses to achieve solutions to the problems that hinder the achievement of the ideal. Ideally. and. One must first realize what sensory perceptions are used to make a judgment. Given that all of us are presented with the same information. is capable of being presented with and processing the same amount information from the senses. One is able to hear the sounds produced. This process of connection and understanding can be revealed through practice and experimentation to find the right sounds. and a connection with the music. One must accept that judgment is a process that is dependent on the senses to provide information. What is the act of judging? The act of judging is the process by which one can bring the ideal into reality. However. also see the entire body. and etc. Through this process the interpretation is given a meaning and a direction that is only possible by reaching a personal understanding of. barring misfortune. one must be aware of what the level is. one must watch the hands to make sure the movements are happening in a way that achieves that desired sound. The creative and interpretative parts of the ideal originate from finding the absolute truth of the music inside oneself. For example. feel the notes resonate. feel the body movements. colors. and surpass it. or it can come through insights and memories. and allows the ideal to be communicated. there is a danger that perception can vary drastically from reality. or that the body is moving in a way that strengthens the rhythmic pulse rather than fights it. at the most fundamental level this is true. It is important for one to understand what has been done before because a certain standard level of performance exists among the classical instruments. Although it is impossible to transmit one’s personal experience. . There are three main causes of this distortion. chord voicings. see the hands moving. from there. This level of musicianship is a generally accepted standard. One can compare performances and make decisions on what was successful or not.

when an action is performed. distractions.The first cause is that one is too consumed by something other than what one is doing (technical difficulties. true judgment cannot occur. However. the ideal. therefore. Judgment must be passed with brutal honesty. The desire to achieve the ideal can lead to the ego to make one believe the ideal has been reached when it has not. once the result from the action has occurred. etc). The second cause is that the ideal is not clear. Through the pursuit of the ideal and the use of judgment to determine the gap between the ideal and the reality.Andy Cowling. create something that is not limited by any constructs other than one’s own imagination. The third cause is that one is deceiving oneself. and attention to the senses is diminished. through practice. one is able to. the action has the intention to produce a specific result. It is necessary that. ---. the expectation of the result must not interfere with the judgment. 2014 .