Practising bends with a pitch target: mistakes worth avoiding

30 January 2023

A controlled bend has a pitch destination that you can hear before trying to reach it. Play the target note normally, listen, then compare the bent note against that reference. Work within a comfortable range and use suitable guidance if the movement feels strained. Speed and force should not replace accuracy. A small bend used deliberately can be more expressive than a wider one that misses its intended pitch. Stop and reassess if practice causes pain.

A practical next step

Alternate a normally fretted target note with a bend towards the same pitch at a comfortable pace.

Spotting the avoidable problems

An avoidable mistake often begins with a reasonable-looking assumption that has not been checked. Slow down at the points where an incorrect detail would change the whole plan. The aim is not to remove every uncertainty; it is to notice which uncertainties matter and avoid making a confident decision on information that is incomplete.

Slides that connect a phrase

A slide is most effective when its starting point, destination and timing are intentional. Listen to whether the arrival lands where the phrase needs it, rather than focusing only on the movement along the string. A short slide can connect notes smoothly; a longer one creates a more obvious gesture. Keep unwanted strings quiet and use only the pressure needed for the intended sound. The same slide may feel different before, on or after a beat.

Play one short phrase with a plain note change and then with a controlled slide into the destination.

Call and response on guitar

Call and response can be practised as a conversation between two short ideas. The response does not have to copy the call exactly; it might answer with a different rhythm, a lower register or a clearer ending. Leave enough space for the listener to recognise that there are two parts. This exercise is useful for avoiding an uninterrupted stream of notes. It also encourages attention to the shape of a chorus rather than treating every bar as an isolated chance to play.

Play a short call, leave a deliberate gap and answer it with a related idea that ends differently.

Preparing for a blues jam

A jam is easier to join when you understand the agreed key, feel, form and ending before playing. Listen to the organiser and the other musicians rather than assuming every song follows the version you practised. Keep equipment changes efficient and volume considerate. A dependable accompaniment can contribute as much as a solo. When uncertain, simplify and listen instead of filling the space with increasingly busy playing. Respect the event's arrangements for turns and participation.

Prepare a few comfortable progressions and practise starting, accompanying and ending them clearly.

Do not treat a shared jam as an opportunity to override the agreed arrangement or monopolise solo time.

Planning a focused guitar practice session

A focused session has one clear task that can be heard or observed. Instead of planning to improve everything, choose a chord change, a rhythmic habit or a phrase ending. Begin at a manageable level, repeat with attention and finish by testing the task in a musical context. A short note about what happened makes the next session easier to plan. Time spent holding the instrument is not the same as time spent working on an identifiable problem.

Write one goal before playing and one observation afterwards, using language specific enough to guide the next session.

Do not turn a practice plan into a demand to continue through discomfort, fatigue or loss of concentration.

Details not to overlook

Do not keep forcing a painful movement or assume that a dramatic hand motion proves the note is accurate.
Do not let the slide's length make you lose the pulse or miss the note that gives the phrase its meaning.
Do not make the response so long that the original call is forgotten before the conversation develops.

Context and further reading

Fender Play: blues in A with seventh chords