NEWTON LEE / INDIEFRET

A master’s destination shouldn’t be a student’s starting point

Once you’ve internalised a skill, it can feel like second nature. That’s where we want to get. But telling a student who’s not there yet to ‘open your ears and just feel it’ won’t suddenly make it click. “Just practise more” doesn’t tell them the correct way to practise, either.

Once you’ve internalised a skill, it can feel like second nature. That’s where we want to get. But telling a student who’s not there yet to ‘open your ears and just feel it’ won’t suddenly make it click. “Just practise more” doesn’t tell them the correct way to practise, either.

PEDAGOGICAL STANCE

I don’t object to “feel.” I object to using it to avoid teaching and learning.

Some skilled players answer every question with the word “feel.” Some students use “feel” to avoid doing the work.

Before an ability gets internalised, a teacher should find the next step a student can actually take towards it.

Use examples to challenge a mistaken assumption.

Break down the huge problem, and start with a single movement.

Instead of giving an answer, design questions that guide the student towards it.

Based on the student’s response

What the student can do: expand it.

What they can’t do yet: break it down further.

A student’s voice

“I’d studied with other teachers before. I knew they understood what they were doing and could do it well. But when I couldn’t do it, they’d just demonstrate a few more times. They couldn’t tell me where I was getting stuck.”

From “I can’t do it” to “I can do a little”

Then try using that little bit in actual music, so you can see what it opens up.

Of course you still need to practise. But now you understand why the work between your current ability and your goal matters.

PEDAGOGY BLUEPRINT

Core ideas

Rather than somehow developing a vague understanding of music after playing 1,000 songs, I want you to truly understand how the elements of music work together, so you can learn more from every song you play.

01

Music theory is the summary of feeling.

Music theory wasn’t invented by someone to restrict anyone. We hear first: “That sounds good” → “Oh, this is why it sounds good” → “That sounds great on its own, but sounds out of place here.” Then we give it a name so we can talk about that particular sound later. That is theory.

Analysis isn’t there to replace feeling. Good analysis sharpens your musical instincts.

02

Technique is another musical choice, not a measure of difficulty

I’m not particularly interested in practising a technique just so I can “play something harder.”

What matters is: What movement does this phrase need? And once you can make that movement, what other phrases does that movement enable?

03

There’s no single best fretboard system. Together, different systems give us a bigger picture

Each way of seeing the fretboard has its overwhelming strengths and fatal blind spots.

There is no one definitive system—only a way of visualizing the fretboard that best serves the sound you want. Use one tool to cover another’s blind spots.

04

How “unconventional” is this?

I’ve never been able to settle with: “How do you hear it? Just listen.” “Feel the groove.” “Just practise.” “These things can’t be taught.”

As a teacher, I should at least keep dissecting: Can we make this more concrete? What smaller abilities is it made of? How can we break them down? What kind of practice can move the student forward?

Newton Lee playing guitar

FOUNDER & INSTRUCTOR

Newton Lee

Bachelor of Fine Arts (Honours), Hong Kong Academy for Performing Arts

Graduate, ESP Entertainment Tokyo

INSTRUCTOR PROFILE

About Newton Lee

25+ years of playing and learning guitar

10+ years of full-time guitar teaching

5 years of Study at the Hong Kong Academy for Performing Arts (BFA Graduate)

Grade 8 Electric Guitar (Rockschool)

Grade 8 Classical Guitar (ABRSM)

2 years studying guitar craft in Japan

4 years working in live sound

These experiences let me see a problem from different angles. A question that seems to belong to one area may have an answer somewhere you hadn’t thought to look.

COMMITMENT TO STUDENT ANONYMITY

Respecting student privacy

I respect my students’ privacy. Without their consent, I won’t disclose their identities or use class recordings, videos, or practice clips for promotion. I don’t use students’ achievements as marketing gimmicks; I want the quality of my teaching and the reasoning behind it to speak for themselves.

100% respect for privacy

TAKE THE NEXT STEP

Been practising something for ages without knowing how to improve it?

Bring one specific problem you’ve been stuck on to a free 30-minute Zoom consultation. I’ll try to break it down with you.

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