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Classical Guitar Classes Durango CO

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

Pete Guiliani-Guitar & Voice
(970) 385-6713
3015 County Road 203
Durango, CO
 
Canyon Music Woodworks, Inc.
(970) 259-1622
734 E 2Nd Ave
Durango, CO
Types of Instruments Sold
Guitars & Fretted Instruments, Print Music

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Lutherie, The
(970) 759-5120
Durango, CO
 
BAND WAGON MUSIC
(970) 259-2263
509 E 8TH AVE STE 6
Durango, CO
 
BAYFIELD MUSIC
(970) 884-0658
271 MOUNTAIN VIEW DR
Bayfield, CO
 
Canyon Music
(970) 259-1622
734 E 2nd Ave
Durango, CO
 
Katzin Music Inc
(970) 259-2211
1316 Main Ave
Durango, CO
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments, Print Music

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Canyon Music Woodworks
(970) 259-1622
734 East Second Ave
Durango, CO
 
Katzin Music at "Crossroads Center"
(970) 259-2211 , (970) 259-2212 (fax)
1316 Main Avenue
Durango, CO
 
Mary F.
(877) 231-8505
S Devinney St
Denver, CO
Subjects
Music Performance, Guitar, Piano, Organ, Banjo, Classical Guitar, Singing, Music Theory
Ages Taught
5 to 105
Specialties
classical guitar and piano
Education
Alleman High School - - 1963-67 (High School diploma received) St Ambrose University - music education - 1979-81 (Bachelor's degree received) Northern Illinois University - music - 1994-96 (Master's degree received) Art Institute of Colorado - graphic design - 2007-09 (Associate 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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