M A T E R I A L & M E T H O D
Especially in a time and era where we're flooded by information, and the question often is which textbooks, methods and such is suitable for any given situation. The experienced music educator's overview and expertise is a great help. And often in fact, even crucial in the process of monitoring and selecting the proper instructional material, out of all the many available resources. While a good amount of standard TRADITIONAL tested and approved learning material, always is at hand. Quite often STUDENTS CHOOSE or COMPOSE their own material. Along with teacher suggestions and when appropriate also originals may be used as examples. In addition, some students prefer or like to learn the techniques and ways to TRANSCRIBE and play music back when hearing it.

* Note that in helping the student's reach their goals, helping him / her to play like their favorite musicians is not necessarilly productive in the long run. As this on the contrary quite often in fact makes the student more dependent on external sources ( in this case - the teacher ). Rather, giving the students the tools to work this out on their own, as they please is a far more powerful endeavour as this by default aim towards creative activity (original transcriptions, arrangements, compositions.)

E A R T R A I N I N G
There's NO LIMIT to how developed our incredibly sophisticated organ THE EAR can get. It's common for students to spend many hours on mechanical finger exercises or impressive tricks, while at the same time spending little or even no time on ear training. If so, the good news is then that in the light of this it is possible to develop considerably - just by listening actively. Preferably with some some guidance from someone who have practiced this systematically. Transcription is very good ear traing. Whether it is done in real time, from memory or from records, partially sketching or slowly and accurately for professional scores.

R H Y T H M & T I M E
perhaps the most fundamamental and important aspect in music is to become friends with pulse, time and rhythm. And keeping a steady rhythm and subdividing it while doing it. Playing with it and making music this way. PHYSIQUE Good, practical posture and hand / finger positioning. Learning how to use and distribute energy while playing. And also, importantly when and how to relax. This is the key to how to develop a good solid TECHNIQUE regardless of style, be it riffing, shred, strum or fingerpicking.

PLAYING vs. HAVING FUN
Connecting with the SPIRITUAL expressive energies in music. And conciously and intuitevely using it to be a better musician - and better person .

Music is subordinate in our society. And for the most part regarded as a product or item
that you can buy (a CD or band T-shirt). While it in fact is something we all have naturally already, may actively use and make use of, or actually even need in our daily lives.

PLAYING and LEARNING an instrument is A WAY TO BE. Music is A WAY OF LIFE. So the material we choose should on some level relate to and - be IN TUNE with us. Sometimes OUR OWN IDEAS is the best source. The trick is to however to make use of them. And this can also be explored, practiced and learned. Working with an experienced musician and educator or such familiar with this process can help UNLOCK your CREATIVE POTENTIAL and give an increased awareness of and access to it's great possibilities.

The old expression the only way to become a better player is to play with better players is true. In as much as LEARNING FROM an educator that also is A PLAYER matters greatly. Since in music it makes all the difference HOW you get introduced to music as this informs, influences and goes into how you play it. And what you feel and transmit when doing so.