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Classical Guitar Classes Manchester CT

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

Dubaldo Music Ctr
(860) 649-6205
186 Middle Tpke W
Manchester, CT
Types of Instruments Sold
Band & Orchestral, Guitars & Fretted Instruments, Print Music

Data Provided By:
Vintage Tones
(860) 291-8006
300 Pleasant Valley Rd
South Windsor, CT
Types of Instruments Sold
Sound Reinforcement, Guitars & Fretted Instruments

Data Provided By:
Gordon Lasalle Inc
(860) 289-3500
993 Main St
East Hartford, CT
Types of Instruments Sold
Sound Reinforcement, Recording Equipment, Guitars & Fretted Instruments, DJ Equipment

Data Provided By:
Scotts Music Ctr
(860) 529-3568
669C Silas Deane Hwy
Wethersfield, CT
Types of Instruments Sold
Band & Orchestral, Guitars & Fretted Instruments, Print Music

Data Provided By:
I&R Music
(334) 361-4120
815 S Memorial Dr
Rocky Hill, CT
Types of Instruments Sold
Band & Orchestral, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments

Data Provided By:
Bellers Music
(860) 649-2036
50 Purnell Pl
Manchester, CT
Types of Instruments Sold
Band & Orchestral, Guitars & Fretted Instruments, Print Music
Store Information
Instrument Rental: Yes
Lesson Information
Lessons: Yes
Instrument Repair Information
Repairs on brass, wind, string, fretted instruments (guitar, bass)
Hours
Mon - Thurs 11-8pm
Friday 11-6pm
Sat 9:30-2:00pm

Data Provided By:
Riccardos Music Center Inc
(860) 568-0692
42 Main St
East Hartford, CT
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Organs, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments, Print Music

Data Provided By:
Lasalle Music Inc
(860) 523-8425
993 Main St
East Hartford, CT
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Organs, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments, Print Music

Data Provided By:
Music Barn
(860) 623-0378
265 S Main St
East Windsor, CT
Types of Instruments Sold
Drums & Percussion, Guitars & Fretted Instruments, Print Music

Data Provided By:
Center Music
(860) 666-8311
39 Maselli Rd
Newington, CT
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Organs, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments, Print Music

Data Provided By:
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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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