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Classical Guitar Classes Kenosha 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 Kenosha that give access to instruction in guitar playing techniques as well as advice and content on playing classical guitar.

Ian M.
(877) 231-8505
W. Grand Ave
Lake Villa, IL
Subjects
Classical Guitar, Guitar, Music Theory, Flamenco Guitar, Bass Guitar, Music Recording, Music Performance, Songwriting
Ages Taught
5 to 99
Specialties
Again, I am very confident in my teaching skills. I love so many genres of music that its hard to say where my best talents lie. But no matter what the style, I will say one thing that I have always been strict about is proper technique and rhythm. I feel like timing is something that a lot of musicians lack and often have to learn the hard way later on. I try to incorporate it soon after and onward after a beginner's first lessons.
Membership Organizations
TakeLessons Music Teacher

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Music Source
(847) 223-7979
33113 N Us Highway 45
Grayslake, IL
 
Schmitt Music Co
(262) 634-5637
1409 Washington Ave
Racine, WI
Types of Instruments Sold
Band & Orchestral, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments, Print Music, DJ Equipment

Data Provided By:
R Music
(847) 872-0892
2636 Sheridan Rd
Zion, IL
Types of Instruments Sold
Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments, Print Music

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Antioch Music
(847) 838-3635
911 Main St
Antioch, IL
Types of Instruments Sold
Organs, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Recording Equipment, Guitars & Fretted Instruments

Data Provided By:
A-Major Music INC
(847) 623-8565
3701 Grand Ave Ste B
Gurnee, IL
 
Music Center Inc
(262) 697-9393
7700 Green Bay Rd
Kenosha, WI
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:
Heinz Music Studio
(262) 634-8433
2009 16Th St
Racine, WI
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Organs, Guitars & Fretted Instruments, Print Music

Data Provided By:
Garys Music World
(262) 634-5203
1700 N Main St
Racine, WI
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:
Music Source Inc
(847) 223-7979
33113 N Us Highway 45
Grayslake, IL
Types of Instruments Sold
Band & Orchestral, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments, Print Music, DJ Equipment

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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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