Building a Foundation, Pt. II - Seating Position

        The seating position is a basic concept many guitar teachers overlook, but how one sits with the instrument can be an essential part of a player’s development. Of all the styles of guitar playing classical guitarists have the most uniform position in which they hold their instrument. One of the reasons for this is that classical guitarists, as opposed to other styles, have a significant pedagogic tradition (the art or science of teaching). These players recognize that the proper seating position can help: develop technique, easily balance the instrument and give the ability to survey the guitar when playing.

          A traditional classical seating position involves sitting close to the edge of an armless chair and elevating the left leg with a footstool while holding the guitar. 

When the guitar is held correctly it will come in contact with the body at four points: (1) on the side of the guitar where it is placed over the left leg (2) the lower bout as it “rests” against inner thigh of the right leg (3) the back of the guitar as it touches the chest of the player (4) on the top/side of lower bout when the right forearm is in playing position. This playing position enables the guitar neck to be angled upward much like when one is standing and playing allowing more freedom of movement in the fretting hand - the footstool is an important part of the seated position.
         The classical seating position works for any style of guitar playing, it also helps support a “structured” approach to learning for young students.Whereas, each time a student sits down to practice they know how to sit, rather than sitting in a different position each time - it helps create cohesiveness for practice sessions.  I have all my students use this seating position until they have developed a proficient technical facility and then allow them sit in a manner which they like. If your students are not sitting this way already, have them try it. It may seem a bit strange for them at first, but in the end it will prove most beneficial.

Higher Education and the Young Guitarist, Pt. II - Jazz Guitar

      Here is a link to the second article in the series Higher Education and the Young Guitarist - Jazz Guitar which I co-authored for Tempo - the magazine for the New Jersey Music Educators Association.

     This series of articles offers music educators with a limited background in guitar information about studying the instrument at the univeristy level. In this current article we tackle jazz guitar and interview teachers from across the country. The article is on pages 28 -30.

                                   

Building a Foundation, Pt. I - Parts of the Guitar

        The first lesson with a new student is always an interesting one and some teachers are never really sure where to begin. Those walking into your studio for the first time don’t know what to expect either, so it’s your job to put them at ease. These next few posts will deal with the first lesson and the things that we should expect to accomplish. 

       Our gut instinct with a new student is to dazzle them with our vast knowledge and teach them a song right off the bat to get them hooked so they come back again. Let’s start here – FIGHT AGAINST THIS URGE! Your job in the first lesson with a new student is to lay a foundation on which everything you do with them in the future can be referenced back to. Learning a song right from the word go is fun but if they can’t move their fingers, hold the guitar correctly or tell you anything about the instrument they play what’s the point of the lesson? Let’s put aside all the minor chit-chat we have in the first lesson – the introductions, questions about why they want to play guitar and what their favorite bands are and dig right in.

       The first thing your new student needs to know is something about their chosen instrument. So we’ll begin by going through the parts of the guitar, however mundane it may seem it’s a necessity. Begin with the large parts and work your way to the smaller ones - head, neck, body, tuning heads (and various other names), nut, frets and so on. Make sure to point these items out on your diagram (and their guitar) so the student can easily reference them. Moreover, describe what these things do, don’t just tell your students what they are. 
         Mel Bay offers a wall chart which can be displayed in your studio for easy reference in several guitar styles, classical, acoustic, electric, lap steel, resonator as well as banjo and ukulele!

            It may seem like a trivial thing to have a student be able to identify the parts of the guitar, but it takes some of the mystery of the instrument away and empowers them to know what they are talking about. You may be surprised at how many students I have taught from other teachers who could not tell me the parts of the guitar – even after years of playing. Remember your building a foundation and it should start with knowing your instrument.