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Classical Guitar Classes Milton FL

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

Ye Ol Fiddle Shoppes
(850) 479-1989
109 Austin St
Pensacola, FL
 
Tringas Music Co
(850) 477-2210
1502 Creighton Rd
Pensacola, FL
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Drums & Percussion, Sound Reinforcement, Recording Equipment, Guitars & Fretted Instruments, Print Music, DJ Equipment

Data Provided By:
Ron kaye's Music Instruction
(850) 453-9966
4696 Kimberly Dr.
Pensacola, FL
Types of Instruments Sold
Band & Orchestral, Drums & Percussion, Guitars & Fretted Instruments
Store Information
Instrument Rental: Yes
Lesson Information
Lessons: Yes
Clinics: Yes
Instrument Repair Information
Now repairing all instruments we sell & some that we don't. If that drum kit or guitar, banjo, etc. looks hopeless, talk to us first.Expert Reairs!

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SANTA ROSA SOUND
(850) 994-6979
5740 TAMARACK DR
Milton, FL
 
Guitar Center Pensacola
(850) 473-6610
6927 N. 9th Ave
Pensacola, FL
Store Information
Mon-Fri: 11-7
Sat: 10-7
Sun: 12-6

Ron Kayes Music Instruction
(850) 453-9966
4696 Kimberly Dr
Pensacola, FL
 
Harris Music & Sound
(850) 434-6497
Pob 5188
Navarre, FL
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Organs, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments, Print Music

Data Provided By:
NELMS PIANO SERVICE
(850) 995-9194
2613 BAYSHORE PKWY
Milton, FL
 
Guitar Center
(850) 473-6610
6927 N. 9th Ave.
Pensacola, FL
 
Guitar Center
(850) 473-6610
6927 North 9th Ave
Pensacola, FL
 
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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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