If if you're thinking of broadening the
styles of music that
you play like bluegrass, jazz, rock, folk
you're coming over to my school, the
Classical Guitarist School.
From one of these other,
from one of the other school's on the
artist's works campus.
We welcome you and we already actually
have a lot of students
that have come over to check out what
we're doing over here.
And I, I hope that the curriculum here and
everything is, is is something that you
will excite you and
ignite a new passion to study the
classical guitar and
it's wonderful repertoire of music that
reaches from today,
all the way back 500 years.
It's a really, an amazing art form all
these these compositions and
wonderful works of art that we've had over
the years here.
So and I understand as a teacher,
having a taught a lot of students over 20
years or so.
That a lot of students my private students
and even some of my conservatory
students had come from a jazz background,
a rock background previously.
And while some of the things sometimes, of
you know, a guitarist will have a
But then there is that little bit of a
growing pains thing, cuz even, for
example, even some of the left hand
approaches don't necessarily translate
over to classical guitar.
That's nothing to get discouraged about.
In fact, it's just a natural kinda thing.
Classical guitar is really, it's own
animal and it's,
it's own very unique kind of art form.
So even the, you know, of course, the
obvious example is the right-hand.
That, that has it's own very specific set
of of technical things that,
that work and, and that allow you to play
this wonderful music.
And so you may come from a bluegrass from
the bluegrass school having
played banjo and have a, a particular
facility with the right-hand.
And a lot of that facility is going to
you shouldn't be discouraged if, if if
you're studying with me.
And maybe some of the things, I may
suggest in a hand position or
an arm angle or something like that I'm
I'll be suggesting that in order to help
you play classical guitar and it's
arpeggios and scales much easier.
Some of these things don't necessarily
translate immediately over.
Likewise the issue of tablature or
tabs versus reading music.
I have to say that I am not a big believer
in tabs and
using tabs for classical music and here's
Reading music is, being able to read music
is an essential part,
a huge part, a percentage if you will of
being a classical musician.
We almost we classical musicians believe
that really if you,
if you're a very strong sight reader and
you happen to play a particular
instrument, you, you can basically
learn any instrument after that because
you have the power of reading music.
But another way to, to explain that is
A tab only really gives you a very limited
amount of musical information.
What tabs are very good at are providing
you information about where to place
your left-hand fingers.
They don't provide any information within
the context of studying in classical
About what your right-hand fingers should
be in order to pluck those
notes that are being held down in the
And they also, while they may indicate
that say second fret,
second second string, [SOUND] you know, we
all know that's a C-sharp.
So while the C-sharp isn't on there, a lot
of people confuse that with notes.
But in reading music, when you read a
C-sharp, it not only tells you,
the music on the staff not only tells you
that music is a C-sharp.
It tells you how the, the rhythmic length
of that note.
And in classical music crucially, it tells
you whether that C-sharp is a, in a,
is a step up, or a stem down or a stem up
or down in a mi, in the middle voice.
We're playing several voices at the same
Sometimes, four at the same time in some
of the advanced.
Some of the advanced pieces.
So that C-sharp might be in a soprano
range or, or,
or soprano line in the texture.
It could be an alto voice.
It could be a bass voice.
In fact, C-sharp is up here.
[SOUND] Right now, that C-sharp is a
[SOUND] on the 4th string is a bass is a,
is a bass note with the stem down.
Not to mention all the various musical and
expressive markings that a composer gives
you soft you know,
medium loud in terms of the dynamics.
A decrescendo which, you know, of course
is a decrease,
a gradual decrease in volume.
An accelerando, which is a gradual
increase in speed.
All these expressive gestures that are
throughout peppered throughout
These are things you're not getting in,
in, in the tab.
You're really just getting, you're being
told where to put your left-hand finger
for the most part and, and the rhythmic
assignment of that note.
So this is why I, I strongly recommend
that whether you're coming from another
school or this whether
classical guitar is your first instrument
[LAUGH] through this school.
We really believe that that this is
entirely possible through this system that
That you can start in the fundamental
skills block with holding the guitar and
then the right and left-hand together and
then the Carcassi Method.
And Giuliani 120 exercises that you can
learn to play the classical guitar,
even if you've never played any instrument
So whether you're that student or you're
somebody from another school.
We really believe that reading music is an
essential part of the process that
as you learn each new guitar skill, you
are learning a new skill in reading music.
Which is why we're providing PDFs and,
study materials for all of your exercises
whether it be
Carcassi method or the Giuliani 120
So and that's if you have any questions as
feel free to contact me either through the
forums or in a video.
Or you can send a video and ask, ask me
any question you like about this topic.
And the main thing is to enjoy yourself
and to, to be patient with your study.
And, and send in those videos, so that I
can help you become a better guitarist.