Search Play Jazz Guitar.com

 

 




Classical Guitar Classes Crown Point IN

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 Crown Point that give access to instruction in guitar playing techniques as well as advice and content on playing classical guitar.

Blake Clilfford Music
(219) 945-9595
612 Shawnee Drive
Lowell, IN
 
Melody Mart Inc
(708) 798-5500
18062 Dixie Hwy
Homewood, IL
 
Rubinos Music Ctr
(219) 736-9344
8102 Georgia St
Merrillville, IN
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Recording Equipment, Guitars & Fretted Instruments, Print Music, DJ Equipment

Data Provided By:
Rink Inc
(219) 769-8113
7900 Whitcomb St
Merrillville, IN
Types of Instruments Sold
Sound Reinforcement, Guitars & Fretted Instruments

Data Provided By:
Dynamite Music
(219) 924-7868
105 N Broad St
Griffith, IN
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Organs, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments, Print Music

Data Provided By:
Music Laboratory INC
(708) 895-2218
17805 Burnham Ave
Lansing, IL
 
Artist Showcase Inc
(219) 947-4525
Po Box 10614
Merrillville, IN
Types of Instruments Sold
Guitars & Fretted Instruments

Data Provided By:
Broadway Music Inc
(219) 736-7706
8121 Taft St
Merrillville, IN
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Organs, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments

Data Provided By:
Melody Mart
(219) 864-5800
1132 Lisa Ln
Schererville, IN
Types of Instruments Sold
Drums & Percussion, Guitars & Fretted Instruments, Print Music

Data Provided By:
Music Lab Inc
(708) 895-2218
17805 Burnham Ave
Lansing, IL
Types of Instruments Sold
Electronic Keyboard, Drums & Percussion, Sound Reinforcement, Recording Equipment, Guitars & Fretted Instruments, Print Music, DJ Equipment

Data Provided By:
Data Provided By:

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 (...

Click here to read the rest of this article from Play Jazz Guitar