How do the guitar family instruments fit into your teaching? As music educators, we really teach critical thinking,
problem-solving, and collaboration through music, don’t we? We teach reading, writing, and listening skills. These young musicians are learning to collaborate with one an- other, read and write in the language of music, impro- vise and experiment, and appreciate beauty in sound. We teach them how to set goals, how to be organized, and how to practice to improve at something. The guitar and the notes on the page are the medium I use to teach all these skills.
What obstacles did you face when you were first
hired at your school? When I was hired in Edison, it was my first teaching
job. So I faced the same obstacles as most new teach- ers trying to find their way through those first few cha- otic years in the classroom. In addition to being a new teacher, there was the daunting task of growing the Gui- tar and Music Technology programs, which were both in their infancy. I’m so proud of what these students have accomplished over the last 5 years, and how much they’ve contributed to the success and growth of the program to date; they constantly amaze me.
composition, DAWs, recording techniques, and lots of electric guitar and bass!
What would you like to say to the non-guitarist music educator that is about to or interested in incor- porating the guitar into their program?
Try it! Teaching guitar is a great way to “hook” stu-
dents. Being one of the most ubiquitous instruments out there, the guitar has found its way into almost every genre. You’ll be giving those students that didn’t gravitate towards traditional band and orchestral instruments an- other option; a different path to explore music. I know it can sound daunting for a non-guitarist, but the benefits are worth it. If you’re worried about your own abilities, reach out to a guitar teacher or maybe take a few lessons over the summer.
What do you tell your talented students who are planning to pursue music or guitar studies in high school, college after they finish with you?
Usually a lot of philosophy. I try to draw from my
professional experiences before I started teaching. These are a few things I try to get them to think about:
Versatility is key. Don’t be a “one-trick-pony.” Explore all styles that interest you, and get good at as many of them as you can. You’ll be that chameleon of a musician, someone that can jump into any situation and contrib- ute, whether that’s a classical guitar quartet rehearsal, a last-minute jazz gig, a musical pit rehearsal, or whatever the situation is. For working musicians in today’s indus- try, that’s an extremely valuable skill.
What kind of classes related to the guitar/mando-
lin do you teach? We offer three levels of Guitar and two levels of
Music Technology and Composition. Guitar 1 is truly a beginners’ course, while Guitar 2 and 3 focus more on classical technique, standard solo repertoire, and ensem- ble playing. Music Tech is a lot of fun too, and a great extension of what we do in Guitar class. We work with a lot of electronic instruments, pop music analysis and
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Collaborate. Play with other musicians, and not just other guitarists. Open your ears when you do. You can learn so much by listening to and playing with other musicians. Maybe that “tasty blues lick” your friend just played on trumpet will find its way into your guitar solo next time.
Be prepared. Preparation can avoid so many problems
before they grow into big problems: whether it’s learn- ing your music for an upcoming lesson, prepping for a recital, or working on a collaborative project. Aim to be the most prepared person in the room. Personally, as an extremely nervous performer, I’ve found that the confi- dence I gain from being well prepared is often exactly what I need to overcome my own performance anxiety. continued on next page
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