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Instruction available in the Petaluma, CA USA area or online. Background, Pedagogical Outline, and Practice Suggestions below.
I am continually looking to craft my offerings for private students and group classes. As such, I have found that defining an emphasis is apropos. My specialization has been taking shape through a conscious effort on my part since 2011; however, the knowledge and skills I am eager to share is most certainly the result of my lifelong interests in both music and the world of letters. There are many ways in which the guitar and the written word interact. Singing, perhaps the most apparent way, is an activity I would hope to include in all of my lessons, but it is not required. I welcome students interested in accompanying oneself while singing, writing texts to music, studying cultural backgrounds of certain pieces or composers, writing instructional texts, and exploring any and all manifestations of Textual Chordophonics, traditional or innovative. My aim is to improve skills in guitar, voice, composition, arranging, and theory, while instilling a sense that the entirety of the musical experience thrives on language arts. Students will achieve written fluency through extensive aural-oral practice and a dynamic focus on social morality through music and language arts.
The lesson phases below are designed to apply to students of any level. They provide structure for instruction, but will be flexible according to the particular needs and interests of the student as determined by open dialogue. Each phase is comprised of a composition/melody of creative, technical, and historical importance to the guitar (more than one composition/melody in similar styles may be used); a study in harmony and chord progressions; two techniques or sets there of, one related to plucking, one to strumming; a theoretical concept central to understanding the instrument; and lastly, a particular historical period that has shaped the guitar into what it is today.
With my guidance, students will be able to lead themselves through topics of interest and pursue creative excellence. Each phase lasts about two months, though the duration will likely vary from student to student. All instruction is drawn from historically pertinent canons, bolstered by the best of my creative production (J.S. Bach employed a similar approach, using both masterworks and original compositions).
Practice is guided through both assignments and exploration based on video recordings of each lesson, an audio recording to train toward real-time musical interaction, and written materials appropriate to the student’s knowledge and skill.
Lesson Phase 1:
-Calvi vi (E=Do)
-Transpose to C=Do
-Pashto Folk Tune; Lars’s “Ornaments Phrase”; Vocal phrases to gain command over initial technique [Students’ own musical tastes are especially important here! Melodies both vocal and instrumental are studied with regard to how they sit best on the guitar, and shaped according to linguistic principals]
-Jácaras in A Minor
-Plucking: Tremolo, Vibrato
-Strumming: Base (down i, up p)
-Music making as a process of creating environment [Again, it is important to that students’ personal tastes are especially pertinent here]
-Reading Tablature, Rhythmic and Pitch Notation
-Mode vs. Key
-Transposition vs. Graha Bhedam
Students will be able to: Read Music, Ornament and improvise, and compose melodies; strum drones and chords in a variety of styles; Explore a variety of ways to change mode and key, and reposition melodies and harmonies on the guitar; Perform basic arpeggios, explore multi-string techniques
-LCR, “Caminar por la calle”
-Jácaras de la Costa in C Major
-Pasacalles in G Maj.
-Strumming: Tresillo (down i, down p, up p)
-Combining melody and harmony
-Composing according the rhythms of spoken language [Students are invited to bring in their favorite texts or pieces of vocal music]
-Expressive functions of pitch and overall form
-First lute-family instruments
SWBAT: Perform all learning outcomes from Phase 1 in the context of Phase-2 material; Improvise over chord changes; Compose chord changes according to 5-1 resolutions and relative-major and -minor shifts; imitate and perform combinations of melody and harmony; lute-family instrumental technique in the context of vocal music, microtonal tunings, enhanced timbral effects
-Conde Claros strummed as well as plucked style
-Mudarra, “Fantasia XI del primer tono (Guitarra al temple viejo)”
-Strumming: Trío (down i, up p, down m)
-Creative takes on issues of consonance vs. dissonance
-Oud to Lute
SWBAT: Perform all learning outcomes from material of Phases 1 and 2 in the context of Phase-3 material; Polyphonic technique, improvisation, composition; Exploring less-standard techniques on various instruments
More to come!