Search Play Jazz Guitar.com

 

 




Classical Guitar Classes Parkersburg WV

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

Third Street Music
(740) 373-8558
328 3rd St
Marietta, OH
 
3Rd St Music
(740) 373-8558
423 3Rd St
Marietta, OH
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Recording Equipment, Guitars & Fretted Instruments, Print Music

Data Provided By:
Gibson's Music
(740) 423-4661
1229 Putnam Howe Drive
Belpre, OH
 
KASSEL MUSIC
(740) 374-4249
238 FRONT ST
Marietta, OH
 
PIANO TUNING REPAIR
(740) 373-2080
19575 STATE ROUTE 550
Marietta, OH
 
Gallagher Music
(304) 422-5010
2501 1/2 Dudley Ave
Parkersburg, WV
Types of Instruments Sold
Digital Piano, Electronic Keyboard, Band & Orchestral, Drums & Percussion, Sound Reinforcement, Recording Equipment, Guitars & Fretted Instruments, Print Music

Data Provided By:
Ca House Music
(304) 422-4676
3700 Cavalier Circle
Parkersburg, WV
 
Studio On Third
(740) 706-1067
423 Third St - Side Entrance
Marietta, OH
 
Jerrys Music/Third Street Music
(740) 373-8558
423 Third Street
Marietta, OH
 
Guitar Lessons by Alex
(304) 300-7100
41 Franklin St
Berkeley Springs, WV
 
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