How to play everybody dance now on guitar

C+C Music Factory’s “Gonna Make You Sweat (Everybody Dance Now)” (Feat. Freedom Williams)

Martha Wash was a veteran of disco’s first era. She was a powerhouse singer who’d grown up singing gospel in church and who’d gone on to study opera. In 1976, Wash and her church friend Izora Rhodes became the backup singers for Sylvester, the theatrical and openly gay disco icon. Wash and Rhodes, known as Two Tons O’ Fun, sang on Sylvester hits like 1978’s “Dance (Disco Heat)” and “You Make Me Feel (Mighty Real).” (“Dance (Disco Heat)” is Sylvester’s highest-charting single, and it peaked at #19.)

Wash and Rhodes were both large women, and their size was part of their stage persona. They owned it enough to be OK with being known as Two Tons O’ Fun. Eventually, Wash and Rhodes found success without Sylvester. In 1982, calling themselves the Weather Girls, Wash and Rhodes recorded “It’s Raining Men,” a knowingly campy club track that had been turned down by stars like Donna Summer and Barbra Streisand. “It’s Raining Men” peaked at #46, but the song’s chart position doesn’t tell the whole story. “It’s Raining Men” has endured as a deeply silly cultural touchstone, and it’s stuck around in large part because Wash and Rhodes belted it out with such straight-faced intensity.

The Weather Girls kept recording, but “It’s Raining Men” was a one-off. Martha Wash mostly spent the ’80s as a backup singer, adding her voice to hits like Bob Seger’s “Like A Rock” and Aretha Franklin’s “Freeway Of Love.” (“Like A Rock” peaked at #12. “Freeway Of Love” peaked at #3. It’s a 7.) Wash also recorded demos. David Cole had briefly served as keyboardist and musical director for the Weather Girls, and he brought Wash in to sing “(You’re My One And Only) True Love.” Around the same time, the Italian house group Black Box hired Wash to sing a bunch of tracks. A couple of those songs became part of the wave of crossover early-’90s house hits. 1990’s “Everybody Everybody” and 1991’s “Strike It Up” both peaked at #8. (They’re both 8s.)

Martha Wash wasn’t credited for those Black Box tracks. Instead, the French model Katrin Quinol lip-synced Wash’s vocals in the videos and posed for the cover of Black Box’s album Dreamland. These songs were hitting around the same time as the Milli Vanilli lip-syncing story blew up, and so the ongoing story of Martha Wash getting no credit for these big songs worked as one more example of a truly depressing music-business practice at work. Martha Wash had a perfect voice for her moment, but record labels and dance producers didn’t look at her and see someone who they thought they could sell. So all these videos had much-smaller women pretending that they could sing like Martha Wash. Wash sued Black Box, too. (Last year, Nate Patrin wrote a great Stereogum piece about that whole Martha Wash saga.)

When Seduction hit, Clivillés and Cole started up a new project that they called C+C Music Factory, and they signed a multi-album deal with Columbia. The whole idea for C+C Music Factory was that Clivillés and Cole would be the only consistent members and that they’d work with different vocalists. When Clivillés came up with the backing track for the song that would become known as “Gonna Make You Sweat (Everybody Dance Now),” he offered the track to Trilogy, another group that he and Cole had put together. Trilogy turned the track down, Clivillés and Cole released the song themselves. They included vocals from demo tapes that Martha Wash had recorded for Cole. They also included a guy named Freedom Williams.

Freedom Williams, a Brooklyn native, was an amateur rapper and aspiring music engineer. While studying to become an engineer, Williams worked as a janitor at Quad Recording Studios in New York. Clivillés and Cole thought that his voice was cool, so they brought him in to rap on “Gonna Make You Sweat.” Williams’ rap on the song is ridiculous, but it’s what it needs to be. Williams does have a cool voice. It’s deep and commanding, and he sounds unflappable to the point of being bored. When he tells you to dance, he sells it, even if his actual lyrics look dumber than fuck on paper: “It’s your world, and I’m just a squirrel tryna get a nut, so move your butt.

Freedom Williams works on “Gonna Make You Sweat” because he’s not the vocal point of the song. Maybe the focal point is Martha Wash’s voice, which hits like an adrenaline-needle to the heart. Wash brings a raging passion to the song, and Clivillés and Cole chop her voice down to tiny sound-clips, using the catchiest parts. So maybe the real focal point is the beat, a relentlessly giddy attack. Drums fall all over each other. Bells ding. Synths whirr. Saxophones honk. There’s a processed-to-death four-note guitar riff that actually rocks in that deathlessly simplistic “Smoke On The Water” sort of way. “Gonna Make You Sweat” has no real structure to it, though Freedom Williams does somehow get two verses. (On verse two, we learn that he paid the price to control the dice and that he’s more controlled, to the point, he’s nice.)

“Gonna Make You Sweat” is goofy and immediate and shameless enough to turn a transgressive underground dance sound into pure mainstream kitsch. That’s a difficult thing to do. Some of the track’s success probably comes down to the video, which fucking rules. If you were a kid in 1991, as I was, then the “Gonna Make You Sweat” video works as a blast of Proustian memory. Marcus Nispel, the German director who would later make the utterly pointless ’00s reboots of The Texas Chain Saw Massacre and Friday The 13th, crams in so many extremely 1991 details that the video has an unreal time-capsule quality. Everything about it screams of one short and specific cultural moment: The high-top fades, the oiled-up shirtless dancers, the doorknocker earrings, the words like “hype” and “slammin'” flashing across the screen.

One thing the “Gonna Make You Sweat” video does not have is Martha Wash. Later on, Clivillés and Cole claimed that they’d planned to make Wash a part of C+C Music Factory but that her lawsuit over the Seduction track made them change their plans. At various points, they’ve also said that Wash didn’t want to be part of the group. Instead, they got Zelma Davis, a skinny young singer who did the vocals on most of the tracks from the group’s debut album, to lip-sync Wash’s parts. Once again, Martha Wash was pissed. Once again, she sued. When Wash and Sony settled in 1994, MTV agreed to add a disclaimer to the beginning of the “Gonna Make You Sweat” video whenever they showed it, clarifying that Zelma Davis had not actually sung those vocals.

Even with the bad publicity of that Martha Wash lawsuit, C+C Music Factory were hugely successful for a brief window of time. Follow-up single “Here We Go, Let’s Rock & Roll” peaked at #3. (It’s a 7.) Another single, “Things That Make You Go Hmmm…,” made it to #4. (It’s an 8.) Zelma Davis really did sing on those songs, so her presence in the videos didn’t piss anyone off.

Billboard eventually named “Gonna Make You Sweat” the #3 single of 1991. C+C Music Factory’s debut album, also called Gonna Make You Sweat, sold an astonishing five million copies — way more than the LPs from any of those other crossover-house artists. At the same time, though, the whole Martha Wash story had kept anyone from ever taking them remotely seriously — something that would’ve been an uphill climb anyway, given the silliness baked into a song like “Gonna Make You Sweat.” At the American Music Awards in 1992, David Cole thanked the audience for “not falling prey to this whole lip-syncing thing, ’cause we are not a lip-sync group. We are for real 100%, and Miss Zelma right here can sing.” She could, but it ultimately didn’t matter too much.

In the years after “Gonna Make You Sweat,” Robert Clivillés and David Cole produced music for bigger stars; we’ll see them in this column again in that capacity. Freedom Williams left C+C Music Factory to go solo, which didn’t turn out too well for him. (Williams’ highest-charting single, 1993’s “Voice Of Freedom (Dance 90),” peaked at #74.) Once her lawsuit was settled, Martha Wash actually joined C+C Music Factory as a full-time vocalist. In the video for “Do You Wanna Get Funky,” the lead single from the group’s 1994 sophomore album Anything Goes!, Wash lip-syncs her own parts. By that point, though, that whole house-pop wave was over, and the song peaked at #40. It was C+C Music Factory’s last time on the Hot 100.

In 1995, David Cole died of spinal meningitis. He was 32. It’s been widely speculated that AIDS was the real cause of Cole’s death, but as far as I can tell, that’s never been confirmed. Robert Clivillés finished the group’s third album, and then the Music Factory closed. Eventually, Freedom Williams got ahold of the trademark rights to the C+C Music Factory name, and he started playing live shows under that name even though he doesn’t even have the letter C in his name once. Robert Clivillés was furious, and he wrote a long Facebook open letter about it, but Freedom Williams just blocked him. There was a whole Vice story about it in 2016.

Martha Wash kept recording. (Her only solo Hot 100 hit is 1993’s “Give It To You,” which peaked at #90, but she’s had a lot of hits on the club charts.) These days, Martha Wash stands as an avatar for a moment where singers, especially Black women, were treated as interchangeable voices in the music industry. She made it out of that moment with her dignity intact, and she’s now widely recognized as the real voice of the strange little early-’90s house boomlet. I hope she’s proud of that. The story behind the song is shady as hell, but Martha Wash told a whole lot of people to dance, and a whole lot of people danced.

GRADE: 8/10

BONUS BEATS: Here’s the moment from a 1991 Fresh Prince Of Bel Air episode where Janet Hubert, the original Aunt Viv, crushes a still-famous dance routine to “Gonna Make You Sweat”:

BONUS BONUS BEATS: Here’s a perfect little video of 10-year-old Ryan Gosling, who hadn’t yet been cast on The Mickey Mouse Club, doing a “Gonna Make You Sweat” dance routine with his sister Mandi at a Mormon talent show in 1991:

BONUS BONUS BONUS BEATS: There’s a classic 1997 Simpsons episode where Homer suddenly gets very worried that Bart is gay. In a misguided lesson intended to impart manliness on his son, Homer takes Bart to visit a steel mill, where he discovers that everyone who works there is gay. “Gonna Make You Sweat” serves as a punchline to the scene. Here it is:

BONUS BONUS BONUS BONUS BEATS: The French duo Justice sampled the “Gonna Make You Sweat” guitar riff on their remix of Britney Spears’ 2005 Madonna collaboration “Me Against The Music.” Here’s the remix:

(Britney Spears will eventually appear in this column. Madonna has been here a bunch of times, and she’ll be back. Justice, somewhat incredibly, have never been on the Hot 100.)

BONUS BONUS BONUS BONUS BONUS BEATS: Here’s UK grime king Skepta rapping over a “Gonna Make You Sweat” sample in the video for his 2012 track “Make Peace Not War”:

(Skepta has never been on the Hot 100 as lead artist, but he raps on A$AP Rocky’s 2018 single “Praise The Lord (Da Shine),” which peaked at #45.)

Gonna Make You Sweat (Everybody Dance Now) Sheet Music | C+C Music Factory

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Product Details

  • Artist C+C Music Factory
  • Score Type Interactive, PDF, Included with PASS
  • Writer Robert ClivillesFrederick B. Williams
  • Format Digital Sheet Music
  • Pages 9
  • Arrangement Piano, Vocal & Guitar Chords (Right-Hand Melody)
  • Publisher Hal Leonard
  • Product ID 64561

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Andrey Gubin - Dancing, Chords for guitar

 Intro:  G#M   F#6   F#  G#M     F#  D#M  G#M   E   F#   D#m   G#m  When the lights come on  E  And the city of dawn will subside,  F#   D#m  Forgetting worries and deeds  G#m  You paint your lips bright  E  Where there is music and laughter nine0003 F#   D#m  It's time for you to go.  E  Uno momento, senora rogazzi,  F#  Girl with us, belissimo grazzi,  E  Chao bambini, bongiorno girlfriends,  F#   D#m  Let's raise our hands together.  G#m   E  Dancing, dancing, dancing girls  F#   D#m  And let the guys stand on the sidelines,  G#m   E  And in every note the movement of the body, nine0003 F#   D#m  Dance, you wanted it too.  G#m   E  Dancing, dancing, a little more  F#   D#m  No one will judge you severely  G#m   E  Everyone here is like that, and until you drop  F#   D#m  Dance, that's all we need today.  G#m   E   F#   D#m   G#m   E   F#  D#M   G#M     F#  D#M   G#M     F#  D#M   G#m  Blurred faces swirl  E  Will take you today  F#   D#m  From endless gray days.  G#m  And even the hands on the clock  E  Drunk right in front of my eyes  F#   D#m  They run somewhere faster. nine0003 E  Basta, senor, it's time to relax,  F#  Das is fantastic, seize the moment  E  We forget today about boredom  F#   D#m  Let's raise our hands together.  G#m   E  Dancing, dancing, dancing girls  F#   D#m  And let the guys stand on the sidelines,  G#m   E  And in every note the movement of the body,  F#   D#m  Dance, you wanted it too. nine0003 G#m   E  Dancing, dancing, a little more  F#   D#m  No one will judge you severely  G#m   E  Everyone here is like that, and until you drop  F#   D#m  Dance, that's all we need today.  G#m   E   F#   D#m   G#m   E   F#   D#m  90 E0003 F#   D#m   G#m   E   F#   D#m   G#m  Here are all the girlfriends and friends,  E  But you know and I know  F#   D#m  That it's only until the morning.  G#m  The day will come without a trace  E  Everyone will scatter somewhere  F# 7   F#   D#m   E   F#   E   F#   D#m  Such a strange game. nine0003 G#m   E  Dancing, dancing, dancing girls  F#   D#m  And let the guys stand on the sidelines,  G#m   E  And in every note the movement of the body,  F#   D#m  Dance, you wanted it too.  G#m   E  Dancing, dancing, a little more  F#   D#m  No one will judge you severely  G#m   E  Everyone here is like that, and until you drop  F#   D#m  Dance, that's all we need today.  G#m   E  Dancing, dancing, dancing girls  F#   D#m  A a o o  G#m   E  Let the guys stand on the sidelines  F#   D#m  Oh oh ee  G#m   E  Dancing, dancing, dancing girls  F#   D#m  And let the guys stand on the sidelines,  G#m   E  And in every note the movement of the body,  F#   D#m  Dance, you wanted it too.  G#m   E  Dancing, dancing, a little more  F#   D#m  No one will judge you severely  G#m   E  Everyone here is like that, and until you drop  F#   D#m  Dance, that's all we need today. nine0003 G#m   E   F#   D#m   G#m   E   F#   D#m   G#m  Dancing! 

recommendations for playing the guitar

Friends! Since musical instruments, namely guitars, are in great demand among the population of our country, we decided to offer you 10 recommendations that would be useful to any guitarist in playing.

1. Learn to listen to yourself.

Ears are the main instrument of the musician and his main teacher. Develop your listening skills from the very beginning. Learn to listen to one sound. Its beginning, development and end. Hear its timbre, duration, volume, pitch. Everything you play should be under constant auditory control. Finger movements are not important. Fingers only carry out the command given by the ears. Play with your ears!

2. Proper hand placement is the key to success.

The guitarist's right hand is the basis of technique. Therefore, the stage of correct hand placement and sound extraction should be given maximum attention. At the initial stage, this is task number one. A common mistake is to neglect this stage, or even skip it altogether. They play any way they want. They rush to "play something". But in vain. With the wrong setting, you are doomed to play clumsily, stiffly, and ugly. Incorrect formulation will become an insurmountable obstacle to the further development of technology. You can snort. Play no. And relearning is many times more difficult than putting your hand right from the very beginning. nine0335

Therefore. Play exercises with one right hand on the open strings for as long as it takes to consolidate the correct position of the hand and confident sound production. Even if you think that you are doing everything right, review the lesson again. Check your hand position. From all angles. Play in front of a mirror. Slowly! Check everything again ten, twenty times. It's easier with a teacher. He will prompt. If you study on your own, it all depends on your attentiveness. The lessons are full of information. Your task is to study the lessons up and down. Learn every aspect of the performance by heart. There are no trifles. Everything is important. It’s not enough just to do it once or twice correctly. It is necessary to consolidate the skill of playing with the right hand to automatism. So that when the left hand is added, the right hand will definitely do its job. It's like she's playing alone. nine0335

3. Relax your body.

At the beginning, a person perceives the guitar as something alien, unfamiliar. Everything is unusual. Unusual to sit, unusual to hold, hands do not obey. It is very easy to get stuck at this stage. Any tension in the body is an obstacle in your path. The whole body should be relaxed and the hands in particular. ALWAYS! Whatever you play should be done with a light feeling in your body and hands. Only in this way will the lessons be beneficial.

Just sit down. Comfortable. Breathe. Listen to silence. Relax. Put your hands down. Shake 'em up. Remember this feeling. These are the hands you should play. If you find yourself tensing up while playing, holding your breath, clenching your jaw, raising your shoulders, or lifting your foot on your toes, your whole body freezes like a statue - these are sure signs of a clamp. We stop playing, breathe, shake our hands, relax all the muscles of the body. nine0335

When played correctly, the effort required is minimal. If correctly removed and properly pressed. If you have to make excessive efforts, then you are doing something wrong.

4. Take your time.

All beginners are in a hurry to get everything at once. Rush can manifest itself in different forms. In dissatisfaction with their pace of learning, in the constant race to increase complexity, in the desire to play as many pieces as possible, to play at a fast pace, to the limit of their capabilities, even where it is not necessary. nine0335

There are no shortcuts to mastery. If you want to play at a good level, you will have to spend many years on it. Deal with it. And enjoy the process itself.

The fastest way to improve technique is to gradually move from simple to complex. From a VERY simple one. And the more stages this path is divided into, the better. We master the skills of the game step by step. Calm and stress-free. Adding difficulty one unit at a time. If you immediately grab onto a stage for which you are not yet ready, you will inevitably shrink, lose ground under your feet, and despondency and confusion will appear. There will be a feeling of emphasis on a concrete wall. As a result, training will take much longer, because you still have to start from the beginning and relearn. This path can be walked from beginning to end ONLY step by step. No fluff or jumps. And you will have to come to terms with this. Sometimes it seems that you can take a shortcut, jump, but this is just an illusion. You still have to go back and go through step by step what you didn’t pass. It will just take more time. nine0335

5. Enjoy the process.

This is the essence of everything you do. Playing a musical instrument is not a job. And above all pleasure. You need to perceive classes only from this position. It doesn't matter what you play. Learn to hear the beauty in every sound. One sound is already great. You can listen to it endlessly, finding various facets and shades in it. It can be played in a million different ways. And every time it will be different. No two sounds are the same. Each sound is unique. nine0335

Enjoying the process itself, you are here and now. You don't care about anything. You don't need anything else. You already have everything. You have a guitar and you can make sound out of it. Isn't that happiness?

6. Play slowly.

Fast paced obsession is another common disease for beginners. They are always trying to play faster than they can. To the detriment of music, to the detriment of sound, expressiveness, clenched teeth, crooked hands. What for? nine0335

There are several reasons.

Involuntary acceleration of the pace. The student at the initial stage is not able to control his hands, and they simply run ahead of the locomotive. The head and ears do not participate in this process, everything is played automatically. This is treated by playing under a metronome. I will discuss this topic separately.

It is boring for the student to play slowly. Why? Because he can't listen. His ears are closed. He does not hear the beauty of the sound. For him, there is only action - the movement of the fingers. What about between movements? Nothing Just waiting for the next move. And the longer this wait, the more boring the student. nine0335

This approach is fundamentally different from the thinking of a musician. For a musician, there is first and foremost sound. For the sake of sound, the musician makes a movement. And when the sound is born, he listens to it. And it is at this moment, the moment of sounding, that he gets the maximum pleasure. He tries to extend it. Extend the life of the sound as much as possible. The greater the distance between sounds, the longer each sound lives. The more fun the musician gets. Think about it. Music is not finger movements. Music is sound. nine0335

A student is often under the influence of an erroneous opinion: that musician is better who plays faster!

Nothing could be further from the truth. Just a virtuoso game is a sport. Show element. The same impression is produced by car races, runners' races, high-speed cymbal shooting ... There is nothing wrong with that. It is perfectly. This is skill. But it has nothing to do with music. This is a sport. The goal is speed and accuracy.

Music has completely different tasks. The main thing is to convey feelings and emotions to the listener. With the help of music, conduct a dialogue with him. Awaken something in him. Take him to another world. This is the main thing. When you are talking to a loved one, or do you want to be understood as you speak? Fast and fussy? No. Calm and measured. Letting every word sink into consciousness. The same is true in music. Music is a language. And the same is true for it as for human speech. nine0335

Yes, music can be fast. But in these cases, speed is not the goal, but the means. This means that it is necessary to convey a certain emotion. But how often do you have such emotions that you need to express with a machine gun burst? I do not have.

In addition to all of the above, it must be said that from a methodological point of view, it is strictly forbidden for beginners to play quickly. No one rides a horse at a gallop until he has mastered the walk and trot with confidence. The first year of training should only be played at a slow and moderate pace. At this stage, basic skills are consolidated. This is the setting of hands, the correct sound production, rhythm, relaxation, the ability to listen, combine sounds, phrasing. All this work is done only at a slow pace. To follow and hear everything. The more difficult a fragment is given, the slower it needs to be worked out. This is a universal rule. nine0335

The fastest way to learn to play fast is to play slowly!

7. Play along with the metronome.

Music is strictly organized in time. Each sound has an exact position on the timeline. Any music is permeated with a pulsation - a musical meter. The ability to feel this pulsation and play rhythmically is one of the basic skills of a musician. This skill is developed only when playing with a metronome.

The metronome is impartial. It will prevent your hands from arbitrarily slowing down or speeding up the pace. Will not let you play "about", "somewhere like that." It will require you to have perfect control over your hands. At the initial stage, your hands are not under the control of your will. They play the way they want. With a metronome, you will learn how to make sounds exactly when you need them. When YOU want it. After all, sound control is the most important thing. What kind of music can we talk about if your hands do not obey you? If they play by themselves? nine0335

It is not uncommon to come across the opinion that playing under a metronome makes the music mechanical, soulless, etc. But no one says that you should always play with a metronome. Yes, in music there are slowdowns, accelerations, music breathes together with the performer. This is called agogy. But agogy is the next step.

In order to vary the tempo correctly, logically, naturally, you must first learn to play perfectly accurately. Reference. And only then, feeling this reference pulsation as a connecting rod, vary the pace. And only then it will turn out beautifully. You will know exactly how much you deviate. And for what. It will make sense. Without the ability to play perfectly accurately, without the feeling of a reference meter, all attempts to do more agogics will sound just like inept, non-rhythmic playing. Remember. First a perfect metronome, then agogics. nine0335

There is a practice of replacing the metronome with foot stomping. In this way you are deceiving yourself. It seems to you that you play rhythmically, but in fact it is an illusion. The hands still play as they please. without your control. And with your foot you just stomp your game. In other words, the feet stomp under the hands. Hands slow down - foot slow down. Hands will run - a foot in pursuit. Our body is a whole, and the individual parts are interconnected. The correctness of this assertion is easily verified. Turn on the metronome and try playing. It will seem to you that you play accurately, and the metronome, the dog, slows down or speeds up

Playing with a metronome determines how much control you have over your hands and your sense of rhythm. No matter how freely you vary the tempo of a piece, at any given moment you should be able to play the piece perfectly to the metronome. It's like a skier who must be able to go around all the flags on the descent. At any time. Regardless of how he travels on vacation. Or a race car driver taking the perfect turn at the perfect speed. Regardless of how he goes on a picnic with his family. This is your skill. This is your degree of control. Therefore, playing with a metronome should become an indispensable element of your daily activities. nine0335

8. Learn the music.

Notes represent music. And the tablature shows where to poke your finger and which string to "pull".

The tablator simply wiggles his fingers as instructed. A musician plays music. He already sees her. He knows what it is. In the future, with experience, he will be able to vary his game, add something, change, play differently. He can make a different arrangement. The way music is recorded initially determines the student's thinking.

Therefore, why limit yourself in the first place and complicate your life? Music notes are easy to learn, contrary to popular belief. And the opportunities they provide cannot be overestimated. A huge world of music will open up for you. And you will talk to the musicians in their language.

If you still don't know music, it's time to learn it.

9. Sing. Dance.

Sing! The most perfect instrument given to us by nature itself is the human voice. All musical instruments are just an attempt to imitate it. The laws of intonation, phrasing, are taken by music from human speech. When a person sings a melody, he naturally makes the right accents, he breathes, sings words, phrases. Makes semantic divisions. Singing along to the music you play is a prerequisite for expressive, beautiful playing. You will never make a guitar sing in your hands unless you learn to sing expressively yourself. nine0335

This is not about mastering your voice. This is a separate science, it must be studied. I'm talking about feeling. You can sing to yourself. You can sing in a whisper. You can sing just as it turns out, it is not even necessary to hit the notes. The main thing is to feel the melody. Hear inside yourself HOW it should sound ideally. Make the right accents. It is logical to sing motives, phrases. Imagine that the melody is sung by a professional singer or singer. How would they sing it? While playing, you should always sing to yourself. And to achieve that this inner singing was voiced by a guitar. You don't just move your fingers. You SING with the sounds of the guitar. And evaluate your game from this position. nine0335

Dance! Why is it important? Yes, because! To dance you have to open your ears! You will have to hear the music. Hear the rhythm, musical meter. Pass this rhythm through your body. Make it move in sync with the music. You will have to relax and not think about anything. Just music and you. You will understand, feel that moving to the rhythm is as natural as breathing. You will understand what a musical meter is. By merging with music into a single whole, you will no longer perceive it as something alien, existing separately from you. You will finally feel the music in you. nine0335

And after that, you simply won't be able to play in a frozen, stiff position. Your body will automatically and naturally move to the beat of your inner music. You will relax. And this, in turn, will instantly be reflected in your game.

10. Don't get hung up on the guitar.

The guitar is not the center of the universe. This is just a tool with which you express yourself, your inner world. A good musician is not at all good for his ability to deftly move his fingers. A good musician is, first of all, a person who has something to say to the world with his music. nine0335

So fill yourself up. Emotions, impressions. Learn the different facets of this world. Travel. Love. Read books. Go in for sports. Listen to the music. Different music. Performed by good musicians. Learn other activities. Each new skill opens up new sensations for you. Opens a new perspective on old things. You feel life more fully.

The most important thing in music is emotions.

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