Sonny Landreth Master Class Inglewood CA

The act of playing slide is a classic example of a physical task that takes a moment to learn but a lifetime to master. From Sonny Landreth Master Class, you can learn every aspect of slide playing quite easily. Read on to know how to do that.

charles s.
(877) 231-8505
S DALTON
Los Angeles, CA
Subjects
Guitar
Ages Taught
5 to 99
Specialties
jazz, blues, soul, gospel, pop and rock.
Education
WISCONSIN CONSERVATORY OF MUSIC - JAZZ MAJOR - 1974-77 (not complete)
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TakeLessons Music Teacher

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Christian D.
(877) 231-8505
Hillcrest St.
El Segundo, CA
Subjects
Flamenco Guitar, Classical Guitar, Guitar
Ages Taught
5 to 99
Specialties
Classical guitar- Contemporary Repertoire Flamenco guitar- Solo playing Steel String Electric or Acoustic- Blues, Rock, and jazz
Education
University of Denver - Music, Guitar performance - 2002-2007 (Bachelor's degree received) University of Southern California - Music, Guitar performance - 2007-2010 (Master's degree received)
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TakeLessons Music Teacher

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Jan P.
(877) 231-8505
W 36th Street
Los Angeles, CA
Subjects
Bass Guitar, Drums, Singing, Guitar, Piano
Ages Taught
5 to 99
Specialties
I am mainly a funky rock and blues guitar player, and have been in bands on bass, drums and with my own project, Audiocination, on guitar and vox. There are so many different styles that get mixed into rock that I find it important to introduce my students to a lot of different styles, so they can find the one that suits them best.
Education
Musicians Institute - Guitar - 1999 -2001 (Degree received) Munich's University of Technology - Electrical Engineering - 1992-1998 (Master's degree received)
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TakeLessons Music Teacher

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Alexander M.
(877) 231-8505
W. 24th Street
Los Angeles, CA
Subjects
Music Performance, Songwriting, Bass Guitar, Saxophone, Tuba, Oboe, Bassoon, Trumpet, Clarinet, Piano, French Horn, Music Theory, Trombone, Music Recording, Guitar, Flute, Classical Guitar, Percussion
Ages Taught
8 to 99
Specialties
I teach nearly every style of guitar: classical, jazz, rock, blues, metal, country, pop/contemporary, and folk. I feel that it is important for students to be able to read music, but I also teach students by rote. This improves their ear-training and can make learning songs much easier.
Education
University of Southern California - Music Performance - August 2010-Present (not complete) University of North Texas - Music Education - August 2006- May 2010 (Bachelor's degree received)
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TakeLessons Music Teacher

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Drew Buzzell
520 S Mariposa Ave
Los Angeles, CA
Instruments
Composition, Guitar, Theory
Styles
Folk - Country - Bluegrass, Other, Rock - Alternative, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$35
Years of Experience
2 Years

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Pablo S.
(877) 231-8505
deane ave
Los Angeles, CA
Subjects
Music Theory, Guitar, Singing, Music Performance
Ages Taught
5 to 60
Specialties
Jazz Rock Tango Bossa Nova and South american styles Orff Schulwerk-Kodaly-Dalcroze- Berklee Guitar Method Alfred's Method-Mel Bay-Hal Leonard etc
Education
Universtiy of El Salvador - Music Therapy - March 2000 (Bachelor's degree received) University of California - Music Therapy - In Progress (not complete)
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TakeLessons Music Teacher

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Brian P.
(877) 231-8505
Canterbury Drive,
Culver City, CA
Subjects
Piano, Music Performance, Classical Guitar, Music Theory, Guitar, Bass Guitar
Ages Taught
5 to 99
Education
California State University, Los Angeles - Music (Piano, Classical Guitar Performance) - 1968-71, 1980-86 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

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Paul T.
(877) 231-8505
Charnock Road
Los Angeles, CA
Subjects
Music Theory, Music Recording, Songwriting, Piano, Guitar, Singing
Ages Taught
5 to 55
Specialties
I excel at popular music genres such as pop, blues, R&B, rock, and jazz. I am also trained classically and enjoy the challenges of standard repertoire from Bach to Chopin. I began studying music as a student of the Suzuki method. However, today I find that my own practice resembles most closely, the Kodály, Dalcroze, and Orff-Schulwerk methodologies in philosophy and application.
Education
Santa Monica College - General Ed., Music - 08-1999 to 06-2001 (Associate degree received) UCLA - Ethnomusicology (World Music) - 09-2002 to 08-2004 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

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Bryan L.
(877) 231-8505
Pershing Dr
Playa del Rey, CA
Subjects
Guitar, Bass Guitar, Classical Guitar, Music Performance, Songwriting, Music Theory
Ages Taught
12 to 21
Specialties
I am particularly proficient in Rock Guitar and Music Theory. I specialize in songwriting as an application of Music Theory.
Education
Musicians Institute - Music/ Guitar - October 2008-September 2009 (Degree received) University Of Oregon - Music/ Science - 2001-2005 (Bachelor's degree received) Wilson - General - 1997-2001 (High School diploma received)
Membership Organizations
TakeLessons Music Teacher

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Dennis D.
(877) 231-8505
N. Genesee Avenue
Los Angeles, CA
Subjects
Guitar, Music Recording, Music Performance, Music Theory
Ages Taught
10 to 99
Specialties
Country, Jazz, Rock, Blues, Folk and combining all to find your own voice!
Education
Manhattan School of Music - Jazz/Commercial Composition - (Master's degree received) City College of New York - Jazz Performance - (Bachelor's degree received) Fordham University - Communications - (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

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Sonny Landreth Master Class

LIKE THOSE FAMOUS FICTIONAL KIDS who discover the gateway to Narnia in the back of a magical wardrobe, Sonny Landreth, too, has stumbled on a portal to another world—not one of lions and witches, but one of inspiring new riffs, approaches, and sounds. And for years this boundless world was hiding in plain sight in back of the slide—a vast timbral frontier that legions of electric slide players before him never thought to explore. You may have heard of some of the new techniques and textures the Louisiana guitarist has pioneered since then—such as ghost notes, ghost harmonics, reverse vibrato, fretted notes, hammer-ons, and pull-offs sounded behind the slide—but if you have never tried them, you’re probably guessing these radical approaches are complex and difficult.

They’re not.

In fact, they couldn’t be more simple— no theory, sight-reading, or Herculean guitar chops required. Like the act of playing slide itself, each of these approaches is a classic example of a physical task that takes a moment to learn but a lifetime to master. All you need to excel at these techniques is a love for cool sounds, and your ears will lead you the rest of the way. And if you also want to brush up on bottleneck basics, we’ve got you covered there too, because before this lesson hops over the glass to the “wild side” of the slide (as Landreth likes to call it), we’ll briefly flash back to Landreth’s insightful series of GP Slide Seminars, as well as his July 2003 Master Class, for a quick crash course on every other aspect of slide playing.

CHOOSING A SLIDE
“I always tell people, whichever slide you decide on, you’ve got to have the right balance between the weight of the slide and the gauge of the strings,” says Landreth. “Personally, I like heavier strings—.013-.056 D’Addarios—because they give you more tension to work with. The type of slide is important, too. I started out using metal, which has a harder and brighter sound that many people prefer, but the first time I tried glass, I was hooked. I instantly loved the smoothness of it and noticed a difference in the harmonics and the overall feel.

“Bottlenecks have a great vibe and a lot of character, and the blues cats really hit on something with that, because that flair on top gives you a much bigger, wider vibrato than other slides and really pushes some air. But it’s hard to play multiple parts at the same time with a bottleneck and maintain proper intonation. I use Dunlop Pyrex glass slides because they’re very exact and perfectly uniform, and their shape enables me to cover all six strings at the 12th fret and beyond, which is crucial for the stuff I play.

STRIKING THE STRINGS
“A thumbpick gives you a lot of power,” says Landreth. “I use a heavy Dunlop Herco combination thumbpick/flat pick a majority of the time. And while I used to use fingerpicks as well—which can give you a big, powerful, machine-gun fast sound—I actually prefer the sound of the fingertips. The combination of fingernail and flesh ope...

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