After seeing a number of 'pub' bands recently, I feel what really separates the men from the boys is the ability to execute a bend with perfect intonation.

Nothing ruins a solo more than an out of tune bend!

Here's how to practice getting accurate:

That's definitely a skill worth learning, but this is not the right way to share your lessons on this website.
First of all, this sub forum is for the discussion of jazz and blues, not for discussion of guitar techniques (there is a forum for that).
Secondly, you are not allowed to advertise your website by opening threads linking to it. That will get your threads closed and you banned. You can put a link to your website in your sig, or occasionally link to a lesson of yours when relevant to another user's question. You can submit also submit your lessons for UG's front page - http://www.ultimate-guitar.com/submit/lessons.php
But boys will be boys and girls have those eyes
that'll cut you to ribbons, sometimes
and all you can do is just wait by the moon
and bleed if it's what she says you ought to do
practice playing the note you bend to and then the same note by fretting it and then compare the tuning
larry carlton has a great tip for bending...do the 7 steps of the major scale..

c note..then bend it to D go to E note..bend it to F go to F note bend it to G go to G note bend it to A etc...

do that on the bottom 3 strings in as many keys as you can..
This is a quote from another Guitar Teacher, Sophie Docx who came through my site, it's a very insightful tip and i thought you might like to hear it in this thread:

"I like to 'majorize' notes from the minor pentatonic by 1/4 tone or 3/4 tone bends.

I leave the R and the 5 alone, but sometimes bend the b3 not quite up to the 3,
the 4 either not quite up to the b5, or 'overshooting' the b5, and the b7 I bend not quite up to the 7.

I nicked that from Muddy Waters.

I also like to take a major pentatonic, and 'minorize' notes, by bending.

Again, I leave the R and the 5 alone, but the rest is fair game: the 2 gets bent up towards the b3, and the 6 gets bent up, approximating the b7, but not quite hitting it.

I nicked that from Eric Clapton ;-)

From Albert King, I nicked the craziest thing: on a Minor I-IV-V progression, I play a minor pentatonic, and bend the b3 up to approximate the 3. It is a very rare blues move, because usually, the 'blue' feeling comes from the tension created by singing or soloing in a minor key, on a major chord progression. It sounds as if you are protesting the minor accompaniment, by slapping it in the face with a (almost) major third ;-)"

Thanks Sophie!
Last edited by SimonJames at Mar 11, 2013,