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Classical Guitar Classes Columbia TN

Classical guitar classes include lessons on right hand positions, rest stroke, free stroke, playing scales, pedal tones, vibrato, basic arpeggios and more. See below for local music schools in Columbia that give access to instruction in guitar playing techniques as well as advice and content on playing classical guitar.

Guitar Shop
(931) 380-0802
1860 Shady Brook St
Columbia, TN
 
Boomers Music
(931) 486-0358
2547D Nashville Hwy
Columbia, TN
Types of Instruments Sold
Electronic Keyboard, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments, Print Music

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Guitar Shop_The
(931) 380-0802
2743 New Lewisburg Hwy
Lewisburg, TN
Types of Instruments Sold
Drums & Percussion, Guitars & Fretted Instruments

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HEWGLEYS MUSIC SHOP INC
(931) 388-5209
1860 SHADY BROOK ST
Columbia, TN
 
AMTECH
(931) 359-9888
618 BRENTS RD
Lewisburg, TN
 
Ron Worrell - Guitar Lessons
(615) 495-3484
Spring Hill, TN
 
Madden Guitars
(615) 790-9741
4640 Old Harpeth Peytonsville Rd
Thompsons Station, TN
Types of Instruments Sold
Guitars & Fretted Instruments

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Hewgleys Music
(931) 388-5209
1860 Shady Brook St.
Columbia, TN
 
BOOMERS MUSIC
(931) 486-0358
2547 NASHVILLE HWY
Columbia, TN
 
William K.
(877) 231-8505
N. Royal Oaks Blvd
Franklin, TN
Subjects
Music Performance, Songwriting, Classical Guitar, Guitar, Music Theory, Flamenco Guitar
Ages Taught
5 to 85
Specialties
I specialize in classical guitar and flamenco guitar (as was my main focus in college). My methods of technique is a contemporary adaptation of Andres Segovia. I play a lot of jazz guitar, which I like to put into a lot of my lessons because it is a fun way to teach music theory instead of playing Mary Had a Little Lamb. It also is a great way to introduce and demonstrate how to play scales and improvise.
Education
Keene State College - Music Technology specializing in Music Theory and Composition - 8-2005 to 12-2009 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

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Put That Guitar Down

Put That Guitar Down
(and really improve as a musician!)
By Chris Standring ( www.chrisstandring.com )

For all the words of encouragement you have ever heard pertaining to picking up the guitar and practicing, either from me or your own sources, this article may come as a bit of a surprise to you. For once I am going to tell you to put the guitar down!

A little confused? Don't be, I'll try to explain. And the best way I can get my point across is by sharing an experience I personally had some time ago.

Back in the 80's, I went to music college in London. I feverishly studied classical guitar for 3 years. Practiced for hours each day. During this time I really developed some good disciplinary skills as far as practice was concerned. I would split up the day. Morning playing Bach fugues or whatever torturous classical guitar piece that had enslaved me at the time. A break for lunch, and in the afternoon I would pick up my electric guitar and plough through violin and flute music, which I'd rented from the music school library, to get my sight-reading together. Reading jazz and pop music is very different from classical music because phrasing interpretation is relative to the genre being played. So it is as much about listening to the band as it is reading the note values. So I wanted to get that together. Finally I worked on jazz harmony, specifically vocabulary for playing over changes. The Charlie Parker Omnibook was my bible, but I would also listen to be-bop players and steal their phrases and try to figure out how I should work them into my own playing. I remember stealing from Cannonball Adderly, Miles Davis, Mike Brecker, and I fell in love with the swinging styles of pianists Red Garland and Wynton Kelly, both of whom played on Miles Davis' album "Milestones", a record that had a profound effect on me. Just as importantly, I listened to the way these musicians would feel the music. It wasn't just about the notes.

Wynton Kelly in particular had a certain thing about playing over altered chords. He would play 4 note phrases that would be repeated in thirds going down. Sometimes in whole tones. In fact many jazz guys I knew at the time would make fun of his style a little bit by singing his name as they played those motifs, going "Wyn-ton-Kell-ey-Wyn-ton-Kell-ey" and so on. After I got the hang of his ideas I would find myself sitting at the guitar and working out my own variations of those ideas. Pretty soon I had a whole bag of Wynton style 'tricks".

And then something interesting happened...

I would practice and practice these new motifs and melodic ideas and really try to work them into my playing. Pretty soon I had a pretty broad library of resources I could draw from. And I would practice them over Jamie Abersold records and so on. The woodshedding continued. Over time, I realized that some of those phrases were technically difficult to play on guitar (...

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