Sonny Landreth Master Class Saugerties NY

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.

Michael L.
(877) 231-8505
Main St
Stone Ridge, NY
Subjects
Classical Guitar, Music Theory, Music Performance, Guitar, Mandolin, Singing, Songwriting, Music Recording
Ages Taught
10 to 16
Specialties
Acoustic christian rock classic rock, metal, folk, blues, you name it! If I dont know it I will
Education
Suny at Albany - Sociology - 1982-1985 (Bachelor's degree received)
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Barcones Music
(845) 331-6089
528 Broadway
Kingston, NY
 
Jessica D.
(877) 231-8505
Bowery
New York, NY
Subjects
Guitar, Ukulele, Singing, Music Performance, Songwriting, Music Recording
Ages Taught
5 to 99
Specialties
I am interested in teaching unusual instruments such as ukulele, singing saw, electronic autoharp (and regular autoharp). I can also teach guitar (I have been playing myself for about 18 years), singing and songwriting. I have a very easy going style which consists of the two of us sitting one on one and starting with the basics, then moving on to learn others' songs (The Beatles or other stand by classics are a good place to start) and then trying to compose our own songs, as well, if there …
Education
Lincoln Academy - - 9/90 - 6/94 (High School diploma received) University of Maine, Augusta - Fine Art - 9/96 - 6/97 (not complete) Art Institute of Philadelphia - Animation - 9/98 - 6/00 (Associate degree received)
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Jay H.
(877) 231-8505
42nd St.
Brooklyn, NY
Subjects
Guitar
Ages Taught
5 to 99
Specialties
I use the Mel Bay guitar method with my beginner to intermediate students, and the Berklee method with my more advanced students. This is generally the reading/theory portion of the lesson. If the student is of the proper age, the other half of the lesson is more tailored to the student’s interests/goals.
Education
Berklee College of Music - Jazz Guitar Performance - September 2002 - May 2006 (Bachelor's degree received)
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jeffrey k.
(877) 231-8505
ovington ave
Brooklyn, NY
Subjects
Piano, Music Theory, Organ, Songwriting, Bass Guitar, Guitar, Music Recording, Music Performance
Ages Taught
5 to 99
Specialties
I like to find out what styles of music and songs the student is interested in learning and teach them according to that. I've found that this keeps the student interested and makes them learn faster. I have a very good ear and can play almost anything.
Education
SUNY Purchase - Music composition - 88-92 (Bachelor's degree received)
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The Musicworks
(845) 246-3910
4 Twin Maples Plz
Saugerties, NY
 
Planet Woodstock Music
(845) 336-5599
1084 Morton Blvd
Kingston, NY
 
Mike L.
(877) 231-8505
Odell Place
New Rochelle, NY
Subjects
Music Theory, Cello, Music Recording, Music Performance, Guitar, Piano
Ages Taught
8 to 99
Specialties
Cello - Classical, Improvisational Rock/Metal & Jazz Training/Experience. Piano - Classical, Improvisation. Guitar - Rock/Metal, Improvisation.
Education
Manhattanville College - Music/Psychology - 2005-2009 (Bachelor's degree received)
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Kay Barlow
369 West Main St.
Fredonia, NY
Instruments
Guitar, Piano, Voice
Experience Levels
Beginner
Rate
$0

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Tom H.
(877) 231-8505
West 142 Street
New York, NY
Subjects
Music Performance, Saxophone, Piano, Classical Guitar, Bass Guitar, Flute, Music Theory, Guitar, Drums
Ages Taught
5 to 99
Specialties
I have developed my own method for teaching guitar to large groups. I am a Jazz specialist and can teach improvisation and advanced harmony.
Education
CUNNY City College - Music - 1997-1999 (not complete) SUNNY Empire State - Music - 1999-2000 (Bachelor's degree received)
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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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