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Classical Guitar Classes Fond Du Lac WI

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

Mikes Music
(920) 923-1925
289 N Main St
Fond Du Lac, WI
Types of Instruments Sold
Digital Piano, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Recording Equipment, Guitars & Fretted Instruments, Print Music, DJ Equipment

Data Provided By:
Mainstream Music
(920) 235-2900
584 N Main St
Oshkosh, WI
Types of Instruments Sold
Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments, Print Music

Data Provided By:
Heid Music
(920) 734-1969
4742 S Us Highway 45
Oshkosh, WI
Types of Instruments Sold
Acoustic Piano, Digital Piano, Electronic Keyboard, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Recording Equipment, Guitars & Fretted Instruments, Print Music, DJ Equipment

Data Provided By:
LIQUID LIZARD LLC
(920) 533-3530
N3040 STATE ROAD 67
Campbellsport, WI
 
ANGEL TONE ELECTRONICS
(920) 651-9892
635 SCHOOL AVE
Oshkosh, WI
 
Becker Music Center
(920) 235-0850
675 N Main St
Oshkosh, WI
Types of Instruments Sold
Acoustic Piano, Digital Piano, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments, Print Music

Data Provided By:
Harmony On Line
(920) 688-2285
3103 Black Wolf Ave
Oshkosh, WI
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Band & Orchestral, Drums & Percussion, Guitars & Fretted Instruments

Data Provided By:
Mikes Music & Sound Inc.
(920) 923-1925
289 N. Main St.
Fond Du Lac, WI
 
Henri's Music Superstores
(920) 33-1173
1173 South Washburn Street
Oshkosh, WI
 
BECKER MUSIC CENTER
(920) 235-0850
675 N MAIN ST
Oshkosh, WI
 
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

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