Sonny Landreth Master Class Lamont 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.

Peddy Wayland Guitar Studio
(661) 393-7882
9903 Valerio Ct
Bakersfield, CA
 
Kyle B.
(877) 231-8505
hough ave,
Lafayette, CA
Subjects
Music Theory, Bass Guitar, Guitar, Classical Guitar, Music Performance
Ages Taught
1 to 99
Specialties
My focus is in classical guitar, but I have my BA in music theory/history.
Education
Oceana High School - - FA 2001-SPR 2005 (High School diploma received) St Mary's College of CA - Performing Arts: Music - FA 2005-SPR 2009 (Bachelor's degree received)
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Thomas K.
(877) 231-8505
Jersey St
San Francisco, CA
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Guitar, Flamenco Guitar, Mandolin, Songwriting, Music Performance, Bass Guitar, Classical Guitar, Music Theory
Ages Taught
1 to 99
Specialties
I am trained in classical guitar but also fluent in modern and classic rock guitar.
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CSUS - Music - 9/2000-5/2008 (Bachelor's degree received) Stony Brook University - Music - 9/2008-12/2010 (Master's degree received)
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Cristopher E.
(877) 231-8505
Pilon Point
San Diego, CA
Subjects
Music Performance, Music Theory, Guitar, Classical Guitar
Ages Taught
5 to 99
Education
North Coast Alternative High School - HS Diploma - 2000-2001 (High School diploma received) Mira Costa Community College - General Ed - 2001-2004 (not complete) UCSD - Music/composition - 2004-present (not complete)
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Pablo S.
(877) 231-8505
Fairford Ave
Downey, CA
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Music Performance, Music Theory, Singing, Guitar
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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
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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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Bill ONeills Guitar Instruction
(661) 858-4397
2455 Pinon Springs Cir
Bakersfield, CA
 
David B.
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North Woodside Ave.
Santee, CA
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Drums, Guitar, Music Theory, Bass Guitar
Ages Taught
11 to 70
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Very versatile both in preferred styles and my ability to adapt to students requests. Can cover anything from jazz to metal, or pop to blues, on guitar, bass or drums.
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Tuxford College - Music, and Physics - 09/01/2000 - 06/01/2002 (Associate degree received) Salford University - Music, Acoustics and Sound Recording (Honors) - 09/01/2002 - 06/01/2005 (Bachelor's degree received)
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David H.
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Bonita Rd.
Bonita, CA
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Flute, Clarinet, Guitar, Saxophone
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7 to 99
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I enjoy teaching classical as well as jazz. I love working with musicians that are getting ready for a big audition or solo coming up, or if you just want to work on a special song for someone and beginning guitar Also, I teach in small and large combo groups/ensembles.
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Southwestern Col - Music, pre law - 76-78 (not complete) Castle Park HS - GE, music - 73-76 (not complete)
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Alexander M.
(877) 231-8505
W. 24th Street
Los Angeles, CA
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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.
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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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Matthew M.
(877) 231-8505
Centralia St.
Lakewood, CA
Subjects
Piano, Singing, Trumpet, Ukulele, Music Theory, French Horn, Percussion, Songwriting, Guitar, Trombone, Bass Guitar, Music Performance
Ages Taught
5 to 99
Specialties
Trumpet methods include (not limited to) Arban's, Clarke, Sachs, Rubank, Getchell, Adam, Schlossberg, Colin, Bai Lin. For instruments outside the trumpet, methods will more closely follow school curriculum, unless student has advanced beyond provided materials. I strongly encourage students of voice, guitar, and piano to pick material of their choosing. Classical and rock are the genres to which I am most attracted
Education
Peabody Conservatory of Johns Hopkins University - Music Education w/Secondary Applied Vocal Instruction - Fall 2003- Spring 2007 (Bachelor's degree received) Peabody Conservatory of Johns Hopkins University - Trumpet Performance - Fall 2003- Spring 2007 (Bachelor's degree received) Bob Cole Conservatory of California State Long Beach - Trumpet Performance - Spring 2008- Present (not complete)
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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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