Tag Archives: tuition

What’s your biggest guitar issue?

ATTENTION GUITAR FRIENDS!

This is a call for submissions!

One aim of my blog is to offer guitar & music-related advice and for the next few posts, I’d like to pass the power in dictating the topic of discussion to YOU. So tell me: what is the is the biggest issue you face in learning the guitar?

I’m happy to examine any relevant queries which have been bugging you. They could be technical (finger tapping, getting the right tone out of an amp), or more vague (who do you feel the best guitarists to listen to when learning Afro-Cuban jazz, etc). You might want to ask about bass guitar, ukulele or band performance/management in general. Feel free!

You can message me here, leave a comment in this post, or drop me a DM/tweet via my Twitter account: @tim_guitarist.

I look forward to hearing from you & talking your queries over the next few weeks!

Tim x

Advertisements

Special offer on guitar lessons (Newcastle)

Thinking of learning guitar? Or know someone who is? Here’s the ideal Christmas present for the guitar student in your life (and, crucially, are based in the North East of England)…

***SPECIAL OFFER FOR NEW STUDENTS***
I’m offering discounted rates for all new students who book lessons between the 1st of December and the 15th of January.

Whether you’re a complete beginner, or an experienced player looking for a short run of courses to focus on one specialist technique. Either way, all styles & all levels of player catered for in electric, acoustic & classical guitars. Ukulele lessons also available, also for all levels & styles.

***BLOCK BOOK TEN 1/2 HOUR LESSONS FOR ONLY £90.00***

(45 minute & one hour slots available too)

Message me on my Facebook page for details & to discuss.

Book Review: Higgledy Piggledy Jazz for Classical Guitar Ensemble

Higgledy Piggledy Jazz is the brainchild of teacher and composer Elena Cobb (http://www.elenacobb.com/index.html), who is on a dual mission to introduce more Jazz into children’s learning, and make it fun at the same time. As well as her books for Piano, Elena also has versions for guitar and alto sax students, and it’s the Classical Guitar Ensemble book I am reviewing today.

Ten of Elena’s Piano peices have been arranged for a combination of duo, trio and quartets and set in order of technical complexity. The scores are clear and easy to read, with each part clearly marked*. The first few peices in the book are variation on Blues in C and very simplistic. The main melody is one Jazz lick repeated and varied for the chord underneath. The accompanying parts are equaly repetative, and any player beyind the initial stages will quickly bore of it. My suggestion to teachers would be to rotate the lead between players, provided all of them were at the same technical level.

On the plus side, as the book progresses there are some interesting musical ideas, and the three guitar players Elena has called in to arrange these peices have done a good job here. I really feel the intermeadiate peices work better. My personal favourite is ‘Polka Butterfly’, a charismatic duo which would stretches students into a new style. As mentioned before the page layout is clean and easy to read, and I love Elena’s mission to introduce classical players to the swing rythym, something not widely present in the classical guitar repertiore.

My one suggestion would be to include a page at the front to explain notation and guitar-specific symbology (such as the fingering labels and guides for which string to play certian notes on). I appreciate that this book is primarily for teachers, who would provide the guidance on these things to young students, but it would serve as a useful look-up reference page when practising at home.

All in all, this is a useful book for teachers who are looking to encourage their emerging classical guitar students into exploring new styles and mpore contemporary ways of playing. It is also a valuble tool for young ensembles. One of classical guitar’s downfalls is that so often it is a solo venture; it’s uplifting to know tha Elena is working to ensure young students of the guitar do not feel that isolation, and her book will go a long way towards that end. Highly recommended for any classical crossover teachers of children.

[*N.B. – There is also a Tabluture version of this book, for children who are still coming to grips with reading music]