Recommendation for advanced (or maybe "professional") electric guitar technique lessons?

[molul]

I've been stuck at an intermediate level for years, and while I was fine with it, now I've got more time and I'd like to try to go to eleven.

I'd like to try some online lessons with videos (so I'm sure my fingers are on the right position, and also to watch them in the living room), but there are so so so many "The best online guitar lessons" that I don't really know what to try.

I'd like to know stuff that people from here recommend (not some Instagram or Google ad).

Some requirements, if it helps:

-Online courses with videos.

-Mostly 70's/90's rock, but I think it could be better for me if it had more styles.

-I heavily dislike the "factory rock" style from, for instance, Hal Leonard books (I bought some back in the day, but I found that playing style soulless).

-With daily or weekly routines if possible.

-With 1-week trial, so I can make sure it's my thing.

Any suggestion is greatly appreciated :)

EDIT: after checking several YouTube channels, I think I could be closer to advanced than what I thought. I mean, I know all pentatonics and major scale modes, and can manage to play a solo in the style of, say, David Gilmour, by sitting a few hours memorizing the notes.

What I would like to do that I can't (and never found how to): taking the guitar and start playing really cool, fast and clean licks (you know, the typical playing you see in guitar or pedals reviews). I guess I need to learn shredding and improvisation, but while I know the basics, all the times I've tried to level up (and I've spent so many hours a week), I always feel it's not physically possible for me to reach high speed.

Guitarists I'd love to play like: Billy Corgan, Reeves Gabrels, Omar Rodriguez Lopez, J Mascis.

 

[Fishbulb]

I think private lessons might be a better fit for you rather than an online course. A good teacher can zero in on what’s holding you back and give you pointers and homework every week to address that stuff.

The only other thing I’d say is to try and transcribe some solos by the guitarists you like. Billy Corgan’s a great starting point - try and tackle say, Cherub Rock or Here Is No Why and see if you can deconstruct the way the solos fit in with the theory you know. I think often people learn scales and arpeggios but don’t really investigate how it’s applied in a context that they can relate to, so it just stays this abstract information instead of a roadmap to making music come out of your instrument.

 

[molul]

I think private lessons might be a better fit for you rather than an online course. A good teacher can zero in on what’s holding you back and give you pointers and homework every week to address that stuff.

The only other thing I’d say is to try and transcribe some solos by the guitarists you like. Billy Corgan’s a great starting point - try and tackle say, Cherub Rock or Here Is No Why and see if you can deconstruct the way the solos fit in with the theory you know. I think often people learn scales and arpeggios but don’t really investigate how it’s applied in a context that they can relate to, so it just stays this abstract information instead of a roadmap to making music come out of your instrument.

Private lessons are unfortunately not an option, but I wish they were.

Those solos I can actually play them without much effort. An example of a solo I'd like to play is the one near the end of Geek USA. I just can't figure out how to reach high speed, and I've spent countless hours repeating exercises slowly increasing the tempo. There's like a barrier where my fingers just won't go faster.

 

[Fishbulb]

Gotcha, check out this video, Andy has some good concepts relating to playing fast:

 

[DrewJD82]

I was going to suggest Andy Wood. I’m a patreon member of his and he’s quite consistent with lessons and whatnot on there. Might be a bit more technical/chops-based than you’re looking for, based off the guitarists listed above, but if you want to just have the techniques in your back pocket or even just kinda open the door to look around the room a bit, which might help push your brain in a different direction, he’s a great option.

 

[FuzzyAce]

Andy's vids are cool, although I've not watched any practice related things other than his perspective on speed. He mentions playing as close to the desired speed as possible and work out the details as you go along. It's about conditioning your hands. If you were training to be a sprinter you wouldn't practice by jogging.

I was talking to a work associate about guitar practice yesterday. He's taking up guitar and was asking various questions, etc.
One thing that stuck in my mind when discussing my own habits and experience -- I know that when I play for a good 3 hrs straight it's really that 3rd hour when a newer speedy kind of technique starts to peak and become natural. A lot of it's mental but majority is pure physical repetition, drills, or whatever. This is true for most things. Obviously I think understanding where to play is very important, as is connecting with a teacher or set of ideas that inspire you to play... but all that hinges on putting in the physical time with hands on the strings. There is no substitute for that. It just has to be a grind to see progress. It never stops.

 

[Ed DeGenaro]

I think private lessons might be a better fit for you rather than an online course. A good teacher can zero in on what’s holding you back and give you pointers and homework every week to address that stuff.

The only other thing I’d say is to try and transcribe some solos by the guitarists you like. Billy Corgan’s a great starting point - try and tackle say, Cherub Rock or Here Is No Why and see if you can deconstruct the way the solos fit in with the theory you know. I think often people learn scales and arpeggios but don’t really investigate how it’s applied in a context that they can relate to, so it just stays this abstract information instead of a roadmap to making music come out of your instrument.

Total agreement there. And my take in general.

The thing about music is that it’s actually two completely separate activities, even though people constantly treat them like they’re the same. They’re not — and both of them have to be developed seriously if you want to be a real musician instead of just someone who makes sounds on an instrument.

The physical technique alone is already a mess.
Learning how to actually control the instrument — mechanics, coordination, touch, accuracy, endurance — should be straightforward in theory, but in practice it turns into a total shit show because of the insane amount of misinformation and bad pedagogy floating around.

Teachers contradict each other, online advice ranges from useless to actively harmful, and people end up building habits that take years to undo.
Players spend huge chunks of their time fighting tension, inefficiency, or confusion simply because they were pointed in the wrong direction early on.

The technical side is massive, unforgiving, and way more precise than most people realize.


Music as an abstract artform separate from the instrument is everything that isn’t just moving your fingers: repertoire, phrasing, timing, groove, style awareness, theory, listening ability, taste, experience, and emotional maturity.

And this side is just as chaotic as the technical one.

There are countless well-known or even celebrated players who technically function on their instruments but still can’t phrase a line convincingly, can’t stay in time, can’t shape dynamics, can’t support other musicians, or can’t show restraint.
They play notes, but they don’t communicate ideas. The gap between playing correctly and playing meaningfully is enormous, and it shows up everywhere once you start listening closely.


So the real challenge is that mastering an instrument means solving two different problems at once: learning how to physically execute, and learning how to musically think.

Both are huge undertakings. Both are filled with confusion and bad guidance.
And neglecting either one guarantees you end up stuck — either expressive but incapable, or capable but empty.

 

[molul]

Total agreement there. And my take in general.

The thing about music is that it’s actually two completely separate activities, even though people constantly treat them like they’re the same. They’re not — and both of them have to be developed seriously if you want to be a real musician instead of just someone who makes sounds on an instrument.

The physical technique alone is already a mess.
Learning how to actually control the instrument — mechanics, coordination, touch, accuracy, endurance — should be straightforward in theory, but in practice it turns into a total shit show because of the insane amount of misinformation and bad pedagogy floating around.

Teachers contradict each other, online advice ranges from useless to actively harmful, and people end up building habits that take years to undo.
Players spend huge chunks of their time fighting tension, inefficiency, or confusion simply because they were pointed in the wrong direction early on.

The technical side is massive, unforgiving, and way more precise than most people realize.


Music as an abstract artform separate from the instrument is everything that isn’t just moving your fingers: repertoire, phrasing, timing, groove, style awareness, theory, listening ability, taste, experience, and emotional maturity.

And this side is just as chaotic as the technical one.

There are countless well-known or even celebrated players who technically function on their instruments but still can’t phrase a line convincingly, can’t stay in time, can’t shape dynamics, can’t support other musicians, or can’t show restraint.
They play notes, but they don’t communicate ideas. The gap between playing correctly and playing meaningfully is enormous, and it shows up everywhere once you start listening closely.


So the real challenge is that mastering an instrument means solving two different problems at once: learning how to physically execute, and learning how to musically think.

Both are huge undertakings. Both are filled with confusion and bad guidance.
And neglecting either one guarantees you end up stuck — either expressive but incapable, or capable but empty.

For some reason I was expecting "... But with my method you will succeed 100% guaranteed" at the end

 

[Intimo]

No BS here - https://www.skool.com/clarityguitarstudio/about
Jump in and check it out.

 

[DrewJD82]

I jumped on John Cordy's Patreon so I could download an EJ backing track and there's some pretty good stuff on there as well, I'll keep it going for a while and see how much EJ stuff I can snag from him.

 

[Ed DeGenaro]

For some reason I was expecting "... But with my method you will succeed 100% guaranteed" at the end

Seriously? I don’t even usually tell fills I give lessons. I’m like the non networking poster child. Lol

 

[Henry]

If you still think "online", check out Roy Ziv.