Posts Tagged ‘bass guitar lessons’

After learning your basic chords, what’s next?

February 27, 2017

After learning your basic chords, what’s next? This is a common question that I get when teaching adult students who are self taught or have taken lessons for a few months. In this video, I describe a technique called travis picking and how it can be used to create more interesting arrangements with the basic chords you already know.

 

 

I hope you enjoy this instructional video. If you want to learn more about our program, visit rockpopma.com and http://www.thelessonstudio.com, and contact us if you’d like to sign up for in-person lessons!

Advertisements

Handing Mistakes

February 15, 2015
Michael Sebulsky

Michael Sebulsky

 

 

  

 

 

 

 

 

 

 

 

 

By Michael Sebulsky

Whether it be playing a memorized, classical piece in a concert hall, playing a jazz solo at a local jam, or simply sitting and learning with friends around the campfire mistakes are likely to happen. A mistake is defined as an unintentional musical moment, contrary to musical expectation. Some mistakes seem more critical than others. Whether it is a broken guitar string, a wrong note played on the piano or a vocalist’s voice not reaching the expected high point a mistake does not have to end or ruin a performance. Most good performances contain a mistake, if not more than one. Chances are that if you have seen a live music performance that you have seen many mistakes, whether you noticed or not.

Instead of being afraid of making a mistake, a practicing musician can follow the following tips to learn how to make mistakes and other “unintentional musical events” a part of a good, smooth musical performance.

1. Practice performing

One of the most important aspects of a good performance is to practice the attitude and experience of the performance. This can be done in many ways. Ask your close friends (whom you feel comfortable around) if you can perform your music for them. This is a great way to experience the sensation and nerves of performing for a group of people, albeit people who you know to be your “musical allies.” Allow the performance to go on, no matter what! This is where most of your mistakes will come to light. Allow your friends to give you honest and constructive feedback and feel free to ask them questions about the performance. Remember that your experience of your performance is not always (or ever) the same as the experience your audience has!
Practice performing can happen while learning a piece of music, even before the entire piece is ready. A musician can be well benefitted by working section by section through a piece for performing. When a certain section seems ready (even when the whole piece isn’t) the musician can enter into “practice performing” by not allowing themselves to stop while playing this section. Making notes of what went well, what felt shaky and what went not according to plan at this stage in the learning process can help to better shape the remainder of the piece.

2. Do not memorize the mistake.

So many times we let a mistake stop us in our tracks. (There will be more about not stopping in the next section.) By stopping, we are actually setting ourselves up to repeat the same activity. Muscle memory plays a huge part in this activity. One great way to remove the muscle memory is to take a break, and begin the learning process of the mistake section again. Good, successful practice sessions allow the musician to not only practice the notes and chords of a tune but also the mental strength and focus necessary for executing the performance with excellence. Mental fatigue can cause mistakes. So get up, grab a glass of water or a piece of fruit, talk to someone for a moment and distance yourself from the learning momentarily. When you return you will see what parts of the piece are memorized both mentally and muscularly. Sometimes slowing down and starting from scratch causes a musician to focus more on the music, and not the expectation of an error.

3. Don’t stop and focus.

Stopping is the most commonly repeated mistake. We stop because we are not expecting what has just happened. Stopping during the performance of a bad note negates the correct rhythm and placement of the note. Do not allow a note to be both bad melodically and rhythmically by stopping! Instead, allow yourself the opportunity to play the unexpected, incorrect note and allow it to be apart of the performance. In most cases, one wrong or bad note is not something your audience will remember or even notice. By not stopping, the performer draws less attention to the unexpected error and more attention to the overall performance.

4. Practice fixing the mistake.

The activity of fixing a mistake is not one that any musician should endeavor to work on during a performance. In fact, while practicing performing, the idea of stopping is completely frowned upon. Instead, continue playing and practice the activity of not stopping when a mistake occurs. What you will learn is akin to an entirely new skill, that of thinking on your feet as a musician. This is where mental focus on the piece is crucial. Knowing your piece can allow you to patch a mistake during a performance without stopping and smoothly guide you to the next section of your work.

5. Make the mistake a part of your playing.

The great Chet Atkins once quipped that, “The first time I do it, it is a mistake. The second time it is my own arrangement.” A performer can benefit from the idea of knowing that some errors actually help the performance to sound unique! Essentially, not all mistakes are bad or contrary to a good, solid performance. There is no such thing as the mythical “perfect performance.” Therefore, allow mistakes to be a part of the overall sound of the performance and do not let them distract from the larger picture, which is a musical, smooth performance.

Using these tips should help your practice time, your performances, and your understanding of how to handle mistakes. Taking each one of these tips and applying them to your daily study will show results quickly and benefit your overall performing, making your instrument much more enjoyable to study.

“Understanding Tempo and Rhythm”

November 9, 2014

Casey

 

 

 

 

 

 

 

 

  

 

 

by Casey Cormier

 

No matter what instrument you choose to study, there is no doubt that at some point you will struggle with the proper timing of a piece.  Of course this is the main focus of any drummer, keeping a steady beat while delivering a solid rhythmic pattern.  But singers need to have a good sense of time too; often in my career I’ve worked with incredible vocalists who would come in at the wrong place in a song, causing us backing musicians to quickly alter our position in the piece and follow our wayward leader.  The importance of understanding tempo and rhythm, and the methods of practicing to improve these skills, cannot be overstated.

 

Tempo is the pace of a piece of music.  In pop songs, most often, the tempo stays the same through out the piece.  In art songs, or classical music, the tempo can change as the music proceeds, in which case a conductor comes in very handy.  Tempos are determined in BPMs, or Beats Per Minute.  The easiest tempo to ascertain is 60 BPMs.  60 beats per minute…60 seconds per minute.  Think “one Mississippi, two Mississippi”, or refer to any analog clock, and you’ll here 60 bpm ticking away.  Tempo ranges can be determined from this source, such as:

 

Largo ~ This is the slowest tempo setting, 60 beats per minute or slower.  Think of a slow, sad ballad.  “Something” by the Beatles is 69 bpm, so even slower than that!

Andante ~ Faster than 60 beats per minute, but not twice as fast.  Think of a walking pace, a straight ahead rock song.  “Down on the Corner” by CCR is 108 bpm, on the edge of andante and…

Allegro ~ Full steam ahead!  120 bmp or higher, heard often in up-tempo dance numbers and punk rock. “Rockaway Beach” by the Ramones clocks in at 168 bpm, more than twice as fast as “Something”!

 

If a guitarist were to count off “Rockaway Beach” at 69 beats per minute, you can bet his or her band mates would be raising some eyebrows.  Of course that doesn’t mean that we all need to bring metronomes to every rehearsal, but it does mean that we should consider the tempo of a piece of music before we jump in.  Practicing scales or exercises with a metronome is a great way of helping to improve innate tempo precision, and using one with a piece of music that you are trying to polish for a performance or recording is guaranteed to make you stronger with it.  In fact, most of what you hear on the radio today was recorded with a click track keeping tempo in the musicians’ ears, to guarantee a steady beat throughout.

 

Once you understand tempo, it’s important to grasp the concept of rhythm, or playing notes in a metric pattern.  What?  Let’s break it down this way.  Most of popular music is played in 4/4 time, or four beats in a measure.  Count “1,2,3,4”, in an even fashion and you’ve got it.  What if we wanted to have those same beats but add a beat in between each.  We’d be creating what are called 8th notes, and count “1&2&3&4&” in the same amount of time.  We could mix and match these to create different patterns, such as “1 2& 3 4&” or “1 2&3& 4”.  Songs often have a signature rhythm attached either to their melody or to the supporting instruments.  For example, “1,2,3(rest)1,2&(rest)(rest)” is the rhythm to the beginning riff of Django Reinhardt’s “Minor Swing”.  If you were to take out those rests and play the same notes, it would cease to be the same song.  Rhythm is the skeletal system of melody, and tempo is its heart beat.

 

So when and how should you practice rhythmic concepts?  I have students break out the metronome to practice a scale they have already conquered melodically; in other words, if they aren’t able to play the pattern properly, then it’s too soon for the metronome.  But once they’re able to maneuver that scale without correction, then we start at 60 bpm, and move up from there.  Any exercise you can do at 60 bpm you’ll eventually be able to do at 120 (twice as fast); I recommend moving up in intervals of 20.  For a song, once the student can read through it accurately, then the metronome is a great polishing tool, but it’s important to take the most difficult part of the piece and determine the playable tempo from there.  If we’re playing “Good Times Bad Times” by Led Zeppelin, we’ll determine the tempo to practice from the guitar solo, the most difficult part of the song, and apply that to the whole thing.  The results for a student of any instrument will be a stronger rhythmic foundation and thus a better all-around musician in the making!

The Importance of Musical Lessons

August 1, 2011

By Mike Furry, Guitar Instructor at The Lesson Studio

Mike Furry, Guitar Instructor at The Lesson Studio

Mike Furry

There are a lot of intriguing studies that show that music training has a significant impact on the development of the brain. Many scholars are becoming more convinced that music lessons are an effective way to stimulate development and cognitive reasoning. Below are some of the most compelling reasons why music lessons are beneficial.

1. Learning The Language

Learning to read music is like learning another language. You have to understand, translate, and respond. Playing an instrument requires the operation of complex physical and mental procedures. These procedures enable the instrumentalist to aurally present the music notation through finger coordination and recognition of symbols.

2. More developed Motor Skills and Brain Connections

Musically trained children show better finger coordination and faster recognition than the non-musicians. According to a study performed by Winner and Schlaug, brain scans of musically trained children show more defined brain connections than those who have not received any music training.

3. Better Overall Performance at School

The recent study of the College Board, the institution that oversees the Scholastic Assessment Test, or SAT, showed that students who are regularly taking music lessons scored, on average, 51 points higher on the verbal portion of the test and 39 points higher on the math portion than non-musician students.

We’ve heard it a lot of times – children’s brains are like sponges. They have the ability to learn a lot more than adults can. Why not start early and give your child a head start in life? There are many theories that are the subject of dispute among educators but there is one thing everyone agrees on – music lessons are beneficial for your children.

Building a Woodshed

July 10, 2011

 by Josh Kossman, Guitar Instructor at The Lesson Studio

Josh Kossman, Guitar Instructor at The Lesson Studio

Josh Kossman

Don’t worry, this is not a blog about carpentry! Wood shedding is musical slang for getting some serious/productive practicing done, and THAT is what this blog is all about. Proper wood shedding can be broken down into three steps: creating a blueprint of what you want to accomplish, locking yourself inside, and shedding your old habits/licks for newer and more improved ones.

The first step to productive practicing is to create a blueprint for yourself; that is set little (and big) goals to accomplish each time you sit down to practice. While it’s definitely beneficial (and fun) to sit down and strum a few tunes, it’s not always the most productive. In order to grow and improve while we play we must narrow down what we play. Instead of aiming to play an entire song, we should only play the sections that we’re struggling with. Say there’s a difficult chord change in a given song; instead of playing the whole song and playing through that change, we should solely focus on that part. Set a little goal (draw a blueprint) for yourself and work at it, and you’ll find yourself able to play that part a lot quicker!

The next step in wood shedding is simple: lock yourself inside! Productive practicing should be devoid of all outside distractions (yes, you’re cell phone is an outside distraction). Once inside the shed you should only be focusing on what it was you went in to work on. You’ll see and hear your mistakes a lot clearer and you’ll find yourself growing and improving a lot faster, trust me.

The last step in productive wood shedding is to accept that the way you’ve always played a certain lick or chord might not be the best way to play it. In order to improve as musicians we have to look how we’re playing and how we can streamline/maximize. Personally, I’m constantly changing my technique and expanding my options for playing certain styles, which means I’m constantly in the wood shed shedding my previous techniques and outlook on musical in general. The best part is, the more we change the easier it gets to change again!

So now when you hear a musician talk about Wood Shedding you’ll know they’re not talking about a strange skin issue or their weekend backyard projects. They’re talking about something we all should do, and we all should do more, practicing! After all the only way to improve and be able to play on whatever stage we wish is to…Practice, Practice, Practice. Happy shedding!

5 Resources That Will Enhance Practice Outside of Your Lesson

April 3, 2011

By Wilson Harwood, Guitar, Banjo & Bass Instructor at The Lesson Studio

Wilson Harwood, Guitar, Banjo & Bass Instructor at The Lesson Studio

Wilson Harwood

 

Many ambitious musicians choose to save a few dollars by teaching themselves.  I, myself, fall into this category as a banjo player. I currently take lessons for classical guitar, but cannot afford/find time for banjo lessons. As a teacher and student I am a huge advocate of learning from a teacher because it speeds up the learning process while also keeping you focused.  However, I also know that due to finances and time, many people choose to teach themselves at some point or another.  Below is a list of five resources that will enhance your lessons or help guide you if your not currently taking lessons.

 

1) Youtube:

 

At the top of the list is everyone’s best friend, Youtube. If you haven’t used it as a tool yet then do a search of your favorite song. Chances are you will find a lesson along with the recording of the song. Youtube is also a great way to get inspired.

 

2) UltimateGuitarTab:

 

Everyone has heard or experienced finding tab online only to realize something just doesn’t sound right.  I recommend this resource with a bit of caution.  I find tab to really speed up the learning process and can help you navigate the fret board when learning by ear fails you.  Use tab as an aid, but not the sole source for learning a song.  Try using the tab to help you while also learning by ear or on Youtube.

 

3) Books, Books, and More Books.

 

It feels overwhelming to step into a music shop and browse the books they have. Many seem either to easy, to hard, or simply don’t make sense.  Some guidelines when choosing a book are:

a)     Look for concise wording with out to much clutter on the pages.

b)     Look for books with CD’s or DVD’s. They really do help.

c)      Hal Leonard and Mel Bay are good beginner publishers, but may seem boring to the advancing musician.

d)     Try to stay away from books with extensive chord diagrams. I find many songbooks derive from piano parts not guitar parts.

 

4) Jam Sessions, Friends, Neighbors, Ensembles

 

Here at the lesson studio we teach ensembles to give students experience playing with others.  Private lessons are great instructional tools, but they will not give you experience playing with people.  Go to jams or open mic nights to play or simply watch.  You might meet others who would like to play on a regular basis.  If you have friends or family that also play, ask them if they would like to start a group or a regular jam session.  Mainly, until you play with others you will not feel the immense improvement it will bring to your playing.

 

5) Blogs and Music Subscription Services:

 

Hey, look, you are reading this blog and learning about some new techniques. Check out some other blogs such as http://www.banjohangout.org/, http://www.bluegrasscollege.org/, http://www.classicalguitarblog.net/. Blogs will introduce you to new music, ideas, and musicians. They are a great way to get connected to the musical style you like.

 

Lastly, if time is your problem than maybe online lessons are the right choice.  More and more teachers are selling tab or full videos online.  I have come across a great site for metal guitarist at http://www.guitarmasterclass.net/. Kristofer Dahl is from Sweden and is a bit of a character, but also a great teacher.

 

Remember, these resources are helpful in enhancing your lessons with a teacher face to face.  I cannot emphasize enough the value in taking regular lessons.  If you have to take a break from lessons, use this advice to help keep you on track until you start lessons again.

 

Working With Others – Some “Do”s and “Don’t”s about making music in a group

May 23, 2010

By Daniel Ondaro, Guitar Instructor at The Lesson Studio

Daniel Ondaro, Guitar Instructor at The Lesson Studio

Daniel Ondaro

Lately I’ve been wondering how great bands work and why so many bands at all levels break up, get in fights, or in many ways are dysfunctional and unhealthy. There are typical problems that many bands go through despite their level of fame and success. Even the Beatles for example, one of the biggest bands in history, couldn’t keep it together. In fact one could probably say that the bigger a band gets the more there is at stake and that the stress level and tension between members can elevate much more easily. Many of the problems within groups may fundamentally be because of personality differences between members. Aside though from the personal issues between each member of the band, it is misunderstandings about each player’s role within the group and miscommunications about each players intention for the music that contribute to the demise of a band.

Behind each band is a shared idea and goal for which each player is contributing in order to create an interesting and effective group sound. If it’s a corporate wedding band, then each member will focus his or her energy on playing corporate wedding music. If it’s a Mariachi band then each member will play Mariachi music. As a band develops and its style becomes more refined, each member of the band begins to play a more specialized and specific role. That’s why, depending on the significance of the role, certain players become more and more valuable within the group. However, unlike a product or parts on a machine where if a simple or valuable part goes you can replace it with another exactly like it, if any member of the band leaves the whole chemistry of the band is affected and needs to be reworked even after that member is replaced. Bands therefore always have to be flexible and open to whatever changes may occur without losing sight of the fundamental element of the band, which should always be centered on the music and each players emotional and technical contribution to it. Even for bands that stay together, if either of those elements, the emotional and technical, are lacking from any member of the group then the band is in danger of creating a poor performance or possibly facing conflict because of dissatisfaction between members. It is therefore essential for every member to have an understanding about the overall intention of the band, and what each player is expected to contribute with his or her unique technical and emotional capabilities.

From my experience it is essential in working with groups to stay humble and cooperative while also being clear about your intentions and needs as an artist and player. If your needs and the overall needs of the group and music are not being meet then the band will suffer. Working in bands as a guitar player, percussionist and vocalist I have found myself in many diverse situations trying to work cooperatively with others. In all of these situations, beyond personal issues, it was miscommunications about the bands intention and the intention of the players that lead to their failure. The successful ones were the groups where we all found a common ground and were satisfied with the group and ourselves. I find it therefore essential to be honest and open with your band mates, instructor, and all of those with whom you try to make music with, about the needs of yourself as an artist and musician and the shared needs of your group in order to create great music with others.

Bass Player Needed!

May 13, 2010
Adam Buer, Bass Guitar Instructor at The Lesson Studio

Adam Buer

By Adam Buer, Bass Guitar Instructor at The Lesson Studio

Bass player needed:  the three most common words on music store bulletin board postings.  Very often people are under the assumption that playing bass is much easier than playing guitar.  Afterall, bass players only have to worry about playing one note at a time while guitarist are playing 3-6 note chords.   Just about every band has a bass player so it’s important to address the importance of the instrument.  In larger bands, if one instrument gets lost and stops playing often, no one notices.  If the drummer or the bass player get lost EVERYONE notices.  One professional bass player understood his role perfectly when he told me “Musically speaking, I am the earth…and everything is built on top of what I play.”  Sure, he was a little odd, but I understood what he was saying. It’s easier to sing, play, or dance when the lowest sounding notes are confidently played.  Furthermore, this bass pro was the kind of player who played the same 1 or 2 lines over and over throughout a song.  One of the difficult things about doing these kinds of bass lines is that it has to be perfect every time or listeners will notice a mistake instantly..

Beginning rock and roll guitarists sometimes start by playing simple chord progressions with the root note only and call this the “bass line.”  Once that is mastered, we add the 5th and octave notes to form a power chord.  Therefore, the beginning guitarist is under the impression that bass is easier than guitar because their only playing 1 note instead of 3.  Then, I point out to them that good bass players “connect the dots.”  What I mean by “connecting the dots” is that bass players need to learn how to add notes in between the basic roots of the chords.   For example, if a guitar is playing from a G chord to a C chord, the bass player can see the G and C on the neck as dots that can be connected with an A and a B.  Once their bass teacher helps them with an appropriate rhythm, they can figure out their own bass line with the pattern G, A, B, C.  Rhythm is a very important aspect of writing bass lines because the C must almost always be played at the exact moment the guitar switches to that chord.  Listening to bass lines and learning basic scales and arpeggios with your instructor is the first step in being able to create your own unique bass lines.

Sure bass players aren’t usually as successful as guitarists playing solo, but they are usually more successful than guitarists finding people to play with.  Again, every band needs a bass player and they are  rare in number compared to guitarists.  You don’t necessarily need to choose between bass and guitar either.   Many great bass players I’ve known also dabble with guitar chords.   If you are interested in playing bass I encourage to give it a try.  It has it’s unique challenges, but is well worth the effort.  Bass players are the earth…musically speaking.

Can You See What You’re Playing? And I’m not talking about the notes on the page.

March 9, 2010

By Hollie Bennett, Intern at The Lesson Studio

You know you’re a true music nerd when you start finding all the similarities between everything you do or see and how it could relate to music. And you know you’re especially bad when you just see something and bam! Now that you watched that special on the Discovery channel about outer space, you know how you can explain vibrato to the twelve year old. But really, finding those parallels between, let’s just call it this for fun, the “real world” and the “music world” can help you understand exactly what you’re doing even more than before.

Imagery is such a staple part in music, at least for me. Hearing a piece of music that really attaches itself to me makes me feel in colors, imagine stories and truly understand the emotion that the composer or performer was trying to convey. Part of me thinks that as a musician that is your true purpose in life is to tell the story, show the audience what is happening, even if you don’t know, you need to show that you do. Sometimes doing crazy things like pulling out your box of 64 Crayola crayons that you haven’t used since the fourth grade and literally coloring your music the color that you thinks conveys each part of your piece can do wonders. Even making up words to go along with what you’re playing or seeing a story that can play out in your head can get the emotional and expressive side to connect with the technical of your playing.

One of my favorite topics to bring up to students is the Olympics. I’ve probably been driving my students crazy trying to convince them to watch everything from figure skating to the super-g to curling. The parallels between musicians and athletes are really interesting to me. How much work each party puts into perfecting their own craft is mind blowing: hours in practice versus hours on the ice or snow. You can find so many similarities. Figure skating spins and trills is one of my own teacher’s favorite analogies. You can also think of the idea of balancing between technique and musicality as the way a speed skater like Apolo Ohno and J.R. Celski balance around their turns with speed skating. So go out and try to find those parallels and start imagining them will you play. It might just help even more than you’d think!

Classical Guitar – Guitars Unsung Hero

March 2, 2010

By Daniel Ondaro

Daniel Ondaro

Daniel Ondaro

Classical guitar is truly the unsung hero of guitar styles. While not nearly given as much praise as other styles, it still provides some of the guitars most complex and fascinating music. Tending to be overshadowed by louder, more in your face music, the classical guitar is constantly shrouded in misconceptions and stereotypes in many realms of music and musicians. The style however, moves on. Expanding the techniques and literature of guitar music in many interesting and organic ways through the ingenious work of excellent composers and performers of many different genres. By conducting a brief survey of the classical guitar’s instrumental, literary, and stylistic history one can gain an enhanced perspective on the guitars richest and oldest tradition while dispelling stereotypes and misconceptions commonly held about the style.

For thousands of years humans have been playing lute and other guitar like instruments but it wasn’t until the 15th century that the classical guitar as we know it started to take shape and gain popularity in Europe. Originally brought to Spain by the moors and redeveloped there, the early classical guitar like instruments attracted lots of attention in high courts and among the people. Early forms contained four of five sets of coursed strings (two strings for each pitch, usually in octaves) made from animal intestines. These instruments were much smaller than the modern classical guitar and were less potent in sound. As the centuries passed the instrument was able to grow larger (because of new technology to brace a large body), course strings were eliminated, nylon materials for strings were invented, and six non-coursed strings (three treble and three bass) became the norm.

As the instrument evolved so did the literature. As in other classical styles the classical guitars literature can be categorized into different periods of classical music history with each period growing out the old one, while reacting to it in different ways. These musical periods for the guitar include the Renaissance (in which early tab systems evolved and were unique to their European country of origin), Baroque (of which Bach was a large contributor to lute/guitar literature), Classical (a prolific time for guitar literature with works by Giuliani, Sor and others), Romantic, and 20th Century. It is however true that the literary evolution of classical guitar was indeed significantly later for each period compared to other western classical instruments and that as an instrument it enjoyed considerably less popularity in conservatories all over the world.

Many people theorize one of the contributing factors to its lack of popularity in classical circles and subsequent delay of stylistic evolution to be because of the public’s perception of the guitar in general as an instrument only used in folk styles. The more we study the stylistic elements of classical guitar, however, the more we can discover similarities to other classical styles and instruments in the western and world classical realms. Many classical guitarists place a great emphasis on tone, volume, etc. in hopes of achieving all the expressive possibilities capable of the instrument. Therefore much of the student’s time is devoted to practice of foundational and progressive exercises. Many methods have been created to build upon aspects of the classical guitar student’s physical and mental capabilities. Accordingly the student is expected to practice his or her skills for sight-reading, scales, and other elements essential to classical guitar playing in addition to repertoire. The apprentice style pedagogical approach remains at the heart of this tradition and is a fundamental aspect to the student’s progression. In general the stylistic and pedagogical approaches to classical guitar compare to many other styles of classical and non-classical music in that practice is done before hand in order to achieve great expressiveness and virtuosity in performance.

Today the style of classical guitar enjoys considerable popularity and recognition in many of the worlds leading conservatories and music programs. It is also being recognized in the public eye more and more by the incredible work of performers and composers such as Andres Segovia, Christopher Parkening, Joaquín Rodrigo and others. These people have indeed popularized the style of classical guitar in both the classical and popular realms and have helped dispel myths on both sides about the classical guitars capabilities and place within the world of music. Many players however still struggle to find a place in the classical realm and to be recognized by the general public. Because of this the style of classical guitar still remains the unsung hero of guitar music. One finds, however that through the historical and instrumental study of classical guitar one can gain an enriched perspective of the guitars evolution, literature and stylistic qualities as well as a deep interest in its oldest tradition.