“Sometimes you want to give up the guitar, you’ll hate the guitar. But if you stick with it, you’re gonna be rewarded.”
- Jimi Hendrix

Whenever I am having a bad day on the guitar I pick up that quote, read it, and smile. There is something refreshing when Jimi Hendrix, arguably one of the greatest guitarists of all-time even admitted that yes, sometimes you will hate the guitar.

The instrument is a piece of art and all great art takes practice. In the end, though, it’s important that if you stick with it, you will be rewarded.

Check out 25 other brilliant pieces of information from some of the greatest guitarists ever…

1. Individuality

“A good way to crave your individuality is to get a tape recorder and get into a room that’s kind of dark—where you don’t have interruptions—and then just play with a rhythm machine. After a while, it’s like a deck of cards on the table, and you can begin to see the riffs that came from this guy, the riffs that came from that guy, and then the two or three riffs that are yours. Then you start concentrating on your riffs until you develop an individual sound.” —Carlos Santana

2. Improving Performance

“The most important thing to remember when you’re attempting to increase your speed is to relax. Don’t push your muscles beyond what they can give. Practice for about a half hour, and then take a break. You can always resume after a few minutes. This is especially important when you’re trying to get seriously twisted patterns under your fingers. I used to sit in front of the TV when I was a kid, and alternate-pick scales very lightly. I wasn’t really paying attention, and it actually helped that I wasn’t concentrating so much, because I stayed relaxed, and yet I was able to build up my technique and stamina. But never keep playing if you start to feel pain. Ever. Tendinitis is no joke.” —Steve Lukather

3. Challenge Yourself

“Play with others who are more advanced musically. They will help you rise to their level.”—Bill Kirchen

4. Dynamics

“To work on picking dynamics, plug into a practice amp and turn your guitar all the way up. Then play arpeggios—very quietly at the beginning, and then gradually louder by adjusting your touch. The goal is to vary your dynamics, but not change the position of your hands. Many guitarists change the way they hold their hands when changing dynamics. As a result, they end up with a ‘light-touch’ group of licks—the very fast stuff—but they don’t develop any power. What you want to achieve is continually making those conversions back and forth from quiet to loud picking.” —Jerry Garcia

5. Innovate

“Try to keep your playing as fresh as possible, and not rely on set patterns. When I practice, for example, I often tie off some strings with rubber bands to force myself to look at the fretboard differently. I might practice on the G and D strings only, or even the G and A strings.” —Jim Hall

6. Your Band

“Listen more to the other players on the bandstand than you do to yourself.”—Bill Kirchen

7. Ear Training

“For some basic ear training, play any note on your guitar. In this case, let’s say it’s an A. Then pick an interval out of the air—say a perfect fifth, E. Now, try to sing the E note, and then play the same note on your instrument. See how close you came. Don’t play the interval before you try to sing it. Then you’re only imitating, not ear training. Force your brain to seek out and determine the interval you’ve chosen. Start off easy with octaves, perfect fifths, major and minor thirds, and then move on to more difficult major sixths, sevenths, seconds, flat fifths, and so on.” —Rik Emmett

8. Soloing

“Think of a guitar solo as a paragraph. You need a clear beginning, a middle, and an end. Look at musical phrases like sentences, and make sure you break them up using punctuation—or space. You pause naturally when conversing, right? If you don’t, you’ll bore the listener. The same thing will happen with your audience if your solo is one dimensional. You’ll wear them out and lose their attention.” —Tom Principato

9. Big Strings

“Use big strings. I like a set with a .013 E string, but I’ve gone as high as a .018-.074 set. They’ll eat your hands, your tuning pegs, and your amp, but they sound great.” —Stevie Ray Vaughan

10. Got Rhythm?

“To become a better rhythm player, you must listen to the drummer. I’d also advise that you listen to the masters of rhythm guitar. The work that Steve Cropper did on the Stax records is the definitive document of how to play songs and accompaniment parts. Also listen to Chuck Berry. His rhythm playing is so intense that he can go out and perform with bands he has never seen or heard before and hold them together like glue.”—Danny Kortchmar

11. Pickup Balance

“To balance your pickups, plug your guitar into something with level meters, such as a 4-track recorder. Play each string individually, and adjust the pickup height until the level of each string hits the same point on the meters. Typically, you’ll have to lower the bass side of the pickup. If your guitar’s overall output is quieter than what you had, simply turn up your amp to compensate. The benefit here is string-to-string clarity.” —Dave Wronski

12. 12 Bar Blues

“Study jazz soloing using the 12-bar blues form. Most players want to start playing long bebop lines from the start, but the simpler the melodic material is, the sooner you begin to develop a sense of phrasing. In turn, this will give you greater soloing freedom, because you’ll have a larger rhythmic vocabulary at your disposal.” —Lenny Breau

13. Too Much Practice

“Over-indulgence in anything is wrong—whether it’s practicing 50 hours a day, or eating too much food. There’s a balance with me, as there should be with everything and everybody. I’ve tried to keep it so that I’m able to execute the ideas that come out, but practicing too much depresses me. I get good speed, but then I start playing nonsense because I’m not thinking. A good layoff makes me think a lot. It helps me get both things together—the creativity and the speed.” —Jeff Beck

14. Alternate Picking

“A good way to work on alternate picking is to choose three or four notes, and work on those. Too often, players who are trying to improve their right hand dexterity get hung up by trying to play too many notes with the left hand. I hear a lot of players running whole scales from the sixth string to the first, and playing them really sloppy. Keeping it very basic—using only a few notes—and playing slowly with perfect rhythm is a task in itself.” —Al DiMeola

15. Vibrato

“Strengthen your vibrato technique by using each finger to play a note and bending it up and down continuously, in half steps. As you move to fingers two, three, and four, remember that all available fingers can help you attain this half-step movement.” —Jim Campilongo

16. Correct Posture

“When playing while sitting, rest the guitar on your left leg—just like classical-guitar legend Andrés Segovia. This way, the guitar will be in the same position as when you stand. You can even get yourself one of those little foot stands to really anchor the guitar to your body when playing aggressive music.”—Dave Wronski

17. Amp Settings

“Adjust your amp’s volume and EQ settings by listening, rather than looking at the settings. Simply shut your eyes, and turn the knobs to where the amp sounds best. I’m consistently surprised when I open my eyes to discover things such as the Bass being nearly full up in one situation, or the Treble on 10 in another.” —Cameron Williams

18. Pinky and The Brain

“Use your pinky! When I first started playing, an older country musician told me to keep practicing with my left-hand pinky—even though it felt awkward—until it was second nature. That was the best advice I ever got. You were born with five fingers—don’t forget to use ’em all!” —Deke Dickerson

19. Compression

“Using compression is one of the best ways to get a consistently good tone. It makes the guitar feel electric and alive in your hands, because the notes sustain, rather than die on the vine as soon as you play them. Any stompbox compressor will do. I always place the compressor at the beginning of the signal chain, before going into the amp. Setting all the dials at 12 o’clock is a good starting point because it should give you a lot of extra sustain and a little bit of breathiness without affecting your basic tone much.”—Adrian Belew

20. Perform, Perform

“You must perform for an audience, because the real crunch happens when you get in front of people. You may discover that some things you played in rehearsal don’t make any sense, because you fooled around too much with the frilly stuff and forgot the basic drive of the song. Playing live also teaches you deal with situations like dropping your pick or breaking a string, as well as forcing you to project. You have to direct your playing somewhere—unless you want to sit in a room like a painter who won’t show his paintings to anybody.” —Rory Gallagher

21. Embrace History

“The greatest musicians are knowledgeable about music’s roots. Experience provides authenticity for the music we create. Eric Clapton and Keith Richards can teach you a mess of blues, but it’s good to find out about the original artists whose tunes they covered, such as Robert Johnson. It’s like the old saying: ‘How can you know where you are going, if you don’t understand where you’ve been?’” —Marty Stuart

22. Variety

“Play a new thing every day. Learning one new passing chord or a note combination will get you moving towards something that will serve you later on. Someday, a song will come along that all of those things will relate to.” —Ry Cooder

23. True Love

“Don’t be lazy. You have to want to play, and, most importantly, you have to love the guitar.” —Randy Rhoads

24. Restraint

“Don’t play every lick you know before the end of the set, because then you’re screwed. You’ll just end up repeating yourself. But it’s a very youthful thing to jam—it’s like sowing wild oats. But as grow older, you become interested in doing something more lasting. You have to settle down and make everything count—make sure what you do is worthy of being heard again. I’ve become more devoted to the song, and I feel that jamming, unless it has a goal at the end of it, is pretty much a waste of time.” —Eric Clapton

25. Confidence

“Remind yourself that you’re free to feel great instead of reserved or insecure. When you’re feeling good, you’re more apt to take chances onstage, and if you make a bunch of mistakes, it won’t matter. It’s almost like you’re the instrument, and the music is flowing through you like electricity. Like John Coltrane said—the paramount aspect of being a musician is to try to get more in touch and in tune with yourself. When you do that, it’s like returning to the center and everything emanates from there. You automatically become a better musician in becoming a more aware individual.” —Eric Johnson