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Classical Guitar Classes Doylestown PA

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

Richard B.
(877) 231-8505
Main St
Harleysville, PA
Subjects
Music Performance, Classical Guitar, Music Theory, Songwriting, Singing, Guitar
Ages Taught
16 to 99
Specialties
Classical, Rock, Blues, Acoustic, Folk, Songwriting, Theory, History
Education
Metropolitan State College of Denver - Music/Guitar - January 2003-December 2008 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Ty A.
(877) 231-8505
N. Union St.
Lambertville, NJ
Subjects
Guitar
Ages Taught
1 to 99
Specialties
Blues, Rock, Metal
Education
Berklee College of Music - Performance, Teaching, Music Production and Engineering, and Teaching - 2007-Present (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Dena C.
(877) 231-8505
Blair Mill Rd.
Horsham, PA
Subjects
Guitar, Piano, Singing
Ages Taught
6 to 99
Specialties
Musical theatre, Adaptive music lessons (for learning differences).
Education
Sperry HS - music, theatre - 1975-1979 (High School diploma received) SUNY Potsdam - music education - 1982-1985 (Bachelor's degree received) Temple University - music therapy - 1896-1993 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
The Guitar Academy
(215) 343-3011
1334 Easton Rd
Warrington, PA
 
Music & ARTS Center
(215) 443-7880
490 Easton Rd, # A
Horsham, PA
 
Gregg R.
(877) 231-8505
Minneakoning Road,
Flemington, NJ
Subjects
Guitar, Bassoon, Songwriting, Music Recording, Classical Guitar, Music Performance, Bass Guitar, Saxophone, Clarinet, Music Theory
Ages Taught
10 to 127
Specialties
I'm fluent in music theory ranging from Renaissance counterpoint to modern atonality and microtonality, which I use to bolster my students' abilities. For guitar, I focus on jazz and classical, because each one complements the other very well. I also teach rock and metal guitar styles. I teach at my recording studio, so I can show the student modern recording techniques as well.
Education
Muhlenberg College - Music theory/'composition/performance/history - August 2001 - May 2005 (Bachelor's degree received) Montclair State University - Music composition / microtonality - September 2005 - May 2007 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Brennan M.
(877) 231-8505
Tennis Ave
Ambler, PA
Subjects
Guitar
Ages Taught
5 to 99
Specialties
Although I play primarily acoustic guitar, I play the following styles: bluegrass, blues, rock and roll, solo riffs, funk guitar, punk and alternative music, and I have recently been trying to learn classical styles of guitar playing. I have also been teaching myself scales for solo riffing over the past three years.
Education
M.C.C.C. - Education - 2004-2006 (not complete) Kutztown University - Education - 2003-2004 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Bhauraw A.
(877) 231-8505
Washington Crossing Penn Rd
Titusville, NJ
Subjects
Music Theory, Bass Guitar, Guitar, Percussion, Piano, Music Performance, Songwriting, Drums, Music Recording
Ages Taught
1 to 99
Specialties
Rock Pop Hip Hop Audio production some jazz/classical songwriting music business
Education
SUNY Purchase College: Music Conservatory - Studio Production - 2002-2005 (Bachelor's degree)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Blues Guitar Lessons
(267) 221-7050
Colmar, PA
 
A Zara Music
(215) 672-3113
169 Log Pond Dr
Horsham, PA
 
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 (...

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