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Classical Guitar Classes Natchez MS

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

Stans String Shop
(601) 445-9762
148 Liberty Rd
Natchez, MS
Types of Instruments Sold
Acoustic Piano, Digital Piano, Electronic Keyboard, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments

Data Provided By:
TUNESLANGER
(601) 443-9145
24 FAIRWAY DR
Natchez, MS
 
Don Robinson
127 Bent Creek
Hattiesburg, MS
Instruments
Banjo, Guitar, Stand Up Bass
Styles
Folk - Country - Bluegrass
Experience Levels
Advanced, Beginner, Intermediate
Rate
$30
Years of Experience
25 Years

Data Provided By:
Michels Record Shop
(601) 636-8902
1417 Washington St
Vicksburg, MS
Types of Instruments Sold
Electronic Keyboard, Drums & Percussion, Sound Reinforcement, Recording Equipment, Guitars & Fretted Instruments, Print Music, DJ Equipment

Data Provided By:
Avs Music
(662) 286-6353
2408 Highway 72 E
Corinth, MS
Types of Instruments Sold
Sound Reinforcement, Guitars & Fretted Instruments

Data Provided By:
Easterling Music Co
(318) 336-7239
604 Carter St
Vidalia, LA
Types of Instruments Sold
Acoustic Piano, Digital Piano, Electronic Keyboard, Organs, Drums & Percussion, Sound Reinforcement, Recording Equipment, Guitars & Fretted Instruments, Print Music, DJ Equipment

Data Provided By:
Easterling Music Co
(318) 336-7239
604 Carter St
Vidalia, LA
 
Music Masters Studio
(662) 401-3976
929 Bickerstaff ST
Tupelo, MS
 
Spiers Music Center Llc
(601) 250-0201
1602 Veterans Blvd
Mccomb, MS
Types of Instruments Sold
Band & Orchestral, Drums & Percussion, Sound Reinforcement, Guitars & Fretted Instruments

Data Provided By:
Lakesland Music
(601) 982-0089
5200 Highway 25
Flowood, MS
Types of Instruments Sold
Sound Reinforcement, Guitars & Fretted Instruments

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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