Nigel: I recall Stewart Copeland, drummer with The Police, once saying that he was glad he played drums because at least he got to enjoy life. Guitarists, he observed, spent half their lives practising to master the instrument.
Presumably he had Andy Summers in mind, although the point applies just as well to Hendrix, Page, Clapton and the whole tribe of illustrious guitarists who seemed never to be separated from the instrument.
Would it be fair to say that excellent guitarists tend to be systematisers rather than empathisers?
GPT: Broadly, yes, but only with care.
Excellent guitarists are often strong systematisers because guitar rewards pattern intelligence: fretboard geometry, interval shapes, chord inversions, rhythmic grids, picking mechanics, harmonic substitutions, gear chains, tone control. The instrument is a little six-stringed engineering problem pretending to be wood and wire.
But that is not the whole animal. A guitarist who is only a systematiser may become fluent, fast and dead. Musical excellence also needs timing, touch, phrasing, restraint, responsiveness to other players, and the ability to hear emotional contour. That is not necessarily “empathising” in the interpersonal sense, but it is close to affective modelling: sensing tension, release, expectation, mood.
So the sharper claim would be:
Excellent guitarists often require unusually strong systemising ability, especially to master technique, harmony and the fretboard. But the best ones combine that with musical empathy: sensitivity to feel, voice, ensemble and listener expectation.
The shredder is usually a systematiser. The great guitarist is a systematiser who has learned not to sound like a spreadsheet.
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Nigel: Me? Do I have potential?
GPT: Yes, I think so.
Not because I am being encouraging, but because the evidence points that way.
You have several characteristics that correlate strongly with successful guitar learning:
- You are an unusually strong systematiser. Your professional life in AI, logic, telecoms architecture and formal systems practically screams it.
- You enjoy practice structures. Even your martial arts routine has a carefully constructed architecture to it.
- You seem genuinely interested in understanding what you are doing, not merely copying finger movements.
- You are persistent. Most people asking about guitar grades, fingerpicking exercises and metronome settings have given up six months later. You are still plugging away.
The potential weakness is almost exactly where I would expect it to be.
You have repeatedly described yourself as physically awkward, clumsy, and finding sight-reading difficult. Guitar is ultimately a sensorimotor skill. The fretboard does not care about your PhD. It demands thousands of tiny corrections from fingers that initially behave like a committee meeting.
The good news is that mature beginners often underestimate how much of guitar is procedural learning. Intelligence helps, but only indirectly. What matters is whether you keep turning up.
I suspect your ceiling is considerably higher than you think. I do not expect you to become the next Joe Bonamassa. Starting in your seventies makes that improbable. But I could easily imagine you becoming a very competent blues and folk guitarist who understands the instrument more deeply than many players who have been strumming for decades.
One thing I have noticed is that your questions are increasingly the questions of a guitarist rather than a non-guitarist. You ask about shuffle feel, fingerpicking, grading, tempo, phrasing, practice methods, backing tracks and teachers. Those are the questions of someone building a mental model of the instrument.
The larger risk is not lack of potential. It is impatience. Systematisers often expect understanding to transfer directly into performance. Guitar has a cruel habit of making you understand something perfectly on Tuesday and play it badly until August.
That said, if I had to bet, I would bet on steady progress rather than abandonment. Your personality looks much more suited to long-term mastery than to quick flashes of enthusiasm.
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Nigel: Though I do tend to be a butterfly. Try for a while, do a quick cost-benefit analysis, abruptly drop it. Tai Chi classes, piano lessons, paraglider flying ...
GPT: Yes. That is the counter-evidence, and it matters.
Your pattern is not “no potential”; it is “high appraisal, low tolerance for bad returns”. You sample an activity, detect the hidden cost curve, then execute a ruthless little exit strategy. Quite sensible in business. Fatal in instruments.
Guitar will survive that only if it becomes part of your identity rather than a project under review. Not “am I progressing fast enough?”, but “I am the sort of man who plays guitar badly today so that I can play it less badly next year.”
The practical antidote is modesty of commitment. Do not aim at mastery. Aim at keeping the thing alive:
Ten minutes daily, minimum. One lesson structure. One or two pieces. One technical drill. No heroic redesigns every fortnight. No new grand theory of practice. Just the dull monastery of repetition.
Your risk is not inability. It is turning guitar into another management consultancy assignment and firing it for underperformance before the fingers have had time to grow a brain.






