This is a great weekend for instrument lovers of all kinds. There are exhibitors showing their handmade instruments and performances all weekend, (including yours truly on a brand new Jeffrey Elliott instrument. (See sidebar under ‘Upcoming Events’ for my performance date and time.)

For more information please go to 2012 NW Handmade Musical Instrument Exhibit

Michael Parsons, manager at Classical Millennium

In-store performances, which are free and open to all.
2:30 – 3:00 – Scott Kritzer, classical guitar
Scott is easily the Northwest’s finest classical guitarist, and a Portland audience favorite. Please join us for his performance of works by J.S. Bach and Fernando Sor. Here is what New York Times critic Bernard Holland has to say about Scott, “…an intelligent and self-assured musician with a sure technique and a rare musical sensitivity.” Scott’s most recent CD release is called “Romance for Guitar.”

3:00 – 3:30 -Joel Belgique, viola and Inez Vogler, violin
Joel is the principal violist of the Oregon Symphony and Inez Vogler is a member of the Oregon Symphony’s second violin section. Their program will include the Handel-Halvorsen: Passacaglia, which is a remarkable show piece, and 3 Lullabies by Northwest composer Tomas Svoboda, which were written as a gift upon the birth of Joel and Inez’s son, Alejandro. Joel recently released his first solo CD, entitled Mid-Century Modern.

Autographed CDs
Oregon Symphony ticket vouchers:
With any $100 purchase at Classical Millennium on Record Store Day, receive a voucher redeemable at the Oregon Symphony box office for a complimentary pair of tickets to hear pianist Arnaldo Cohen perform Tchaikovsky’s Piano Concerto # 1 on Monday, May 14. This terrific offer is limited to 4 ticket vouchers.

Currently On Sale at Classical Millennium:
We are currently featuring the new Deutsche Grammophon series, First Choice, which offers 10 newly reissued titles at mid-price featuring great artists such as the Emerson String Quartet, Anna Netrebko, Bryn Terfel, Trevor Pinnock, James Levine, Helene Grimaud, Gil Shaham, Claudio Abbado, Itzhak Perlman, Krystian Zimermann & Herbert von Karajan. Find all titles in this series on sale for just $8.99 each or 3 for $24.

Value added items and giveaway items
We will have a wonderful selection of items that will be given away free with any classical music purchase on Record Store Day. This is a good day to bring your classical music shopping list in to Classical Millennium and be surprised.
WE LOOK FORWARD TO SEEING YOU SOON!

Michael Parsons
Classical Millennium
3144 E. Burnside
Portland, OR
503-231-8909

David Tanenbaum

I’m excited to announce the next installment of my Fireside Chat series (via SKYPE) with guitarist David Tanenbaum. As a recording artist, concert artist, arranger and educator, David is one of the most important guitarists of the day.

His contribution to the guitar’s repertoire through commissions are unparalleled as evidenced by his recordings (over 25) featuring newly commissioned works by composers such as Steve Reich, Terry Riley, Hans Werner Henze, etc.

David with Hans Werner Henze

“A master of the instrument. Mr. Tanenbaum played so musically and so expressively that the listener was led directly to the essence of each composer.”
Allen Hughes, The New York Times

I remember my first encounter with David as an entering freshman at the San Francisco Conservatory of Music (where he now teaches). I was gleefully pouring over the college catalogue and looked up to see David Tanenbaum walking through the halls. It is hard to describe the excitement I felt.

While I’m no slouch, there are certainly a few players that I still marvel at – David is one of those players. I have a hard time relating to him; he devours new repertoire with amazing reading skills, performs in some of the most high pressured situations with unerring composure (one story had him actually playing for the German composer Henze from the backseat of the composer’s Porsche while flying down the German Autobahn). He approaches his music with an incredible high intellect, producing music that simply sparkles. Here’s a fun video of David with Manuel Barrueco, Sergio and Adair Assad and David Russell at Barrueco’s guitar party.

Although his recordings consist mostly of modern works, David is a great interpreter of the music of the Baroque. One project I remember him doing back in our SFCM days was scouring over the entire 550 Domenico Scarlatti Sonatas, arranging many of them for the classical guitar. Here’s a recording of David playing Scarlatti Sonata K336.

So join me for our meeting – make your reservation early, there is limited space – and enjoy an afternoon with one of the greatest players you’ll ever get to meet! As an added bonus all those who register for this will get David’s article on how he approaches learning a new work: Putting the eyebrows on it…

Mark your calendars for Saturday, May 12th from 2:00-3:30 pm PDT and contact me directly to reserve your spot. A limited number of SKYPE users will be permitted. You should update your SKYPE account and send me your SKYPE username if I don’t already have you in the system!

David Tanenbaum

Kritzer Bros at Euphoria Studios

I hope to post every few days – I hope you’ll follow along and keep up….I know, you’re busy, so am I….

So let’s jump ahead. I’d like to ask you what you’d like to get out of your next performance, (and let’s say it’s a minimum of 8 weeks away, any shorter and I can only throw you a lifesaver, at best, and the closer the performance the smaller the flotation device). But let’s say you’ve just finished your performance, what could you realistically hope for? Go ahead. I’m looking forward to hearing your response! And if you could add one skill to that to your playing between now and your performance what would it be; vibrato? Clean slurs? Phrasing, (through dynamics and rhythm)? Left hand thumb placement? Tone? Accuracy, relaxation? Let me know that too – pick one!

Okay, so as to not waste any time let me make sure that you are not setting your technique practice aside. Often when we get ready for a performance we’ll sneak right over that which has provided us a steady and solid foundation.

So your assignment, if you should decide to take it:

1. Practice 10 minutes of scales and arpeggios each practice day.
2. Picture yourself just after your performance, what would you have liked to accomplish?
3. What new skill (please see above) would you like to add to your skill set for this performance? (I’ll call these Secondary Skills).

Okay, here we go!

Scott

April 3rd, 2012 – in response to Charlie

I think I’ll respond to all posts through the addition of this blog. Your questions will drive this discussion! I’m going to be addressing Charlie’s questions here but you may be able to apply the same concepts.

Okay, now let’s talk a little bit about the categories of practice that we’ll briefly explore here over the next few months. I like to divide the guitar practice into 3 major categories called Primary Skills, Secondary Skills, Directives (SSD) Repertoire Practice Directives(RPD) and Performance Practice Directives (PPD). I’ll be delving a bit into the Secondary Skills in today’s posting and responding to Charlie’s questions.

The Primary Skills are the skills learned that are necessary to play the classical guitar with regards to positioning and movement forms, otherwise known as technique. Not something within the scope of this blog. If one is struggling with the basic technical demands of playing the guitar it will be difficult to perform with any sense of security or command.

Secondary Skills are those skills that can be acquired and can also be lost. I’ve experienced peaks in my ability to execute vibrato, tone, slurs, etc only to have them slip away. I guess I thought like many that once you have a skill it will always stay within your skill sets. I haven’t found this to be true.

Here’s a parital list of what I call Secondary Skills:
• Finger Independence (the ability to balance melody over accompaniment)
• Tone Production
• Expressive Tools (dynamics, rhythm, timbre)
• Left Hand Thumb Placement
• Slurs
• Vibrato

I recommend that at least twice a year a player should work on developing a new secondary skill. Consistent practice of a particular skill set over a 3 month period should insure that the skill is learned. Once a secondary skill set is acquired it can be practiced less frequently, say two weeks for every eight weeks of practice.

So Charlie’s new skill that he wants to develop is the ability to phrase. Phrasing is t two fold issue Charlie. Part one is developing skills regarding the expressive tools, (dynamics, rhythm and timbre). Part two is determining the phrasing in the music you’re playing and then applying the expressive tools.

I happen to know what your technique practice should be Charlie and we can be proactive by applying these skills to your scales and arpeggios. Take one of your scales and go from mp to fff to ppp and back to mp. You can also begin the scale slowly, speed up as you increase the volume and then as you come down in dynamics apply a nice retard. In your arpeggios (compound motion) you can do the same but using a subito dynamic change. I wouldn’t worry about timbre at this time though.

With regards to phrasing let’s take a few of the Repertoire Practice Directives. I would suggest working on conducting and singing one of your pieces. I would also employ the Counting Measures RPD. Determine if your piece is in a 4 or 8 measure phrase. Actually learn to count the measures as you play them. This takes about a week to be able to do – the following week simply notice the similarities of the music from phrase to phrase. Can you hear a moment in each phrase where the activity is at it’s greatest? Can you hear a moment when the phrase comes to a relative rest? Eventually you’ll be able to hear the relative activity and rest between the phrases and ultimately sections, giving you a map of how to move through the piece using the expressive tools mentioned above.

As mentioned before Charlie’s concern over memory is a very common one – Bacward Sectionals (play a piece from the last phrase to the first, by memory) and Left Hand Sequencing (the simple act of ‘noticing’ the left hand movements and fingerings while playing the piece very slowly) will help this issue greatly! But, you can wait until next month to apply those –

I hope that doesn’t sound too complicated. Please post any questions….

Thanks!

Scott

April 4th, 2012 – in response to Tom

Great work on the technique. Often we don’t feel the effect of notpracticing our scales and arpeggios for about 3 weeks. So good job Tom.

When working on expressive tools it’s always good to record oneself. Often we think we’re doing something drastic when in truth it’s not as dramatic as we hear. That’s not necessarily bad, just good to know you have much more room than you think. I remember one performance where, like you, it was my goal to be very expressive, using big dynamic contrasts, timbre, rhythm. “Wow”, I thought “I really laid it out there tonight”. After the concert an audience member told my playing was so wonderfully subtle. There you go.

Your more pressing issue is then the idea of feeling comfortable before the concert. So let’s think about this; what’s the worse that can happen? Perhaps you have such a bad memory issue that you have to cut the piece short? Okay, let’s say that’s happened. Now what would you do? Probably be bummed out but (especially knowing you Tom), you’d pick yourself up and reevaluate your process and likely even learn from the experience. And really, how likely is that to happen?

But understand, you will make mistakes, yes, everyone, (well almost everyone) does. So most importantly you want to make specific goals for your performance. Let’s use your example of being expressive. Great – now what would you be willing to give up to gain that? Maybe make a few mistakes that you wouldn’t normally? Perhaps, but that’s okay, you’ll learn tremendously by taking the calculated risk.

And let’s look at the past – a good example of what you can do. Last year at CGI you opened the program with Valse, Opus 8 by Barrios. And you nailed it! Holy cow Tom, how many great classical guitarists open with that work. Mike did an equally amazing job with the Allegroby the same composer. So from that you need to take a realistic look at what you are capable of!

So set that goal in stone Tom and apply the practice directives of Conducting, Counting Measures and the Performance Practice Directive of “Letting go to the Ridiculous” -make wildy exaggerated expressive gestures. You will be surprised at what you have within!!!

Acoustically yours,

Scott

April 5th, 2012

If you’re near 6 weeks to a performance here’s another concept that I suggest you apply. Practice like you want to perform and here’s what I mean by that: As you practice your piece you may experience a memory slip.

..a note from my kids while I worked..

Also, keep your guitar in tune. Start by tuning your instrument and if you find yourself out of tune while practicing attempt to ascertain which string is out of tune and if it’s sharp or flat. When you find a break in the music try to make the appropriate adjustment.

These are great skills to develop and are best done so first in practice.

Okay, happy preparation!

Scott

April 16th, 2012
Since perception is often our reality and our ears while practicing are not the best judges I think its time to start audio recording your pieces for the upcoming recital.

Record yourself and then after a day or two listen back and ask yourself what are the three top things you’d like to improve. Later, closer to our recital date we’ll talk about video recording and the differences between that and audio recording.

Remember, perfect practice makes perfect!

Scott

May 7, 2012

Now is a great time to set your performance tempos. Find a good metronome marking, (one where the music sings but you can execute the skills you possess). If you haven’t worked specifically on Secondary Skills then just make sure you can play at a tempo where the musical phrasing is in place, the rhythm and ‘feel’ is maintained. Play the piece at this new tempo for 1-2 weeks. You may need to push a bit at first to get these skills up but if you’ve been doing your slow practice they will come.

Okay – let me know how it goes!

Scott

May 8th, 2012

Performance preparation is best tackled in three different areas; Preparation, Goals, Attitude. Preparation is your practice. We’ve already talked a lot about that. Goals. If you don’t set a goal for your performance then the default usually goes like this:I’m going to play the best, no mistake, performance of this piece that has every been performed. Even on a subtle level this is what you are shooting for. Stop it – we’re all going to make mistakes so drop that noise. So let’s set some realistic goals. But remember, for every goal there is something you’ll need to give up. Tempo – maybe you want to make sure to control the tempo of the piece, eliminating some mistakes that may be made at a faster tempo. Good, now what are you going to give up? Maybe a little in terms of interpretation (if your tempo is under tempo a bit). Tone – good accurate tone is always a goal. What would you give up? Maybe speed. So set some goals!

Attitude. One of the big problems of performing is stage fright. Remember the equation from The Inner Game of Music, Performance=potential-interference. Being the focus of attention can cause you to become distracted from the task at hand. The way to stop this is to focus on something in your environment. If you’re walking down the street and you notice a group of people watching you it can be hard to ‘be natural’. Our fear of public humiliation runs deep and exists in a particular part of the brain. In the past we learned to deal with this situation, often in a less than mature manner. In fact, if you become embarrassed you can recall every embarrassing moment of your past. That’s in fact what happens when you experience performance anxiety. So how do you break it? Just focus your attention on something in your environment; a tree, the sound of traffic, the feel of your feet on the ground. In performance redirect your attention to the tone, the sound of the guitar or the red shoes in the front row. If you do this you’ll break the pattern and the effects of PA will be eliminated.

So, you can practice this while in public over the next few weeks. Let me know what you find!

Scott

PAR Workshop

Join me on Saturday, March 24th from 2:00-3:00 PDT for an informal open discussion on the topic. All instruments welcome! Have you experienced PA? Have you found any solutions that you’d like to share? Please join me then to discuss these issues and your experiences. (SKYPE attendees welcome.)

And if you’d like to work more on this issue then please consider attending my Performance Anxiety Rehab Workshopthis spring from April 7-May 19th, 2-4 PDT. For more information or registration please go to my Workshops and Master Classes page and see Performance Anxiety Rehab.

Michael Lorimer

I’d suggest reading my post My Experience Studying with and Assisting Master Classical Guitarist Michael Lorimer

Arrive no later than 3:00 pm (the studio will be open 15 minutes prior) and we’ll watch a few Lorimer Videos and then log on with Michael from New York City.

Kritzer Studio

So post some questions here that you’d like to ask! I’ll pick a few that will help get our discussion rolling on the 18th.

Jeffrey Elliott and Cyndy Burton in the new Kritzer Studio

It was an exciting night – thanks everyone for your participation. It was a nice mix of students, friends, and fans! I welcomed everyone in the main area of the building, and shared some of the upcoming events.

Part of what made this evening special was the performance I was able to share with my first teacher, my brother Jack Kritzer. Beginning a week-long family visit was a nice way to share some exciting studio news and at the same time give my brother the nod he deserves for igniting my interest in the guitar, an interest that grew into an obsession and eventually a career. When I began my classical guitar lessons, Jack joined me, and for a year we’d drive and study together, working on the same technical exercises and assignments.

Jack and Scott

On the night of the Opening, we performed a mix of classical and pop music in the Euphoria Studios down the hall (the home of future Kritzer Studio Student Recitals). We spent so much time catching up that day that we didn’t set the order until people filed in for the performance. I jokingly reached over to correct his right hand position after he played, but I couldn’t seem to rattle my older brother. (I even tried psyching him out earlier in the day, but the guy has nerves of steel!) People commented that they noticed the brotherly rivalry – something that just comes as naturally to us as does the signature Kritzer silver hair (we were both redheads in our youth).
We had a nice time chatting with those who stayed afterwards. And then we were off to Clark Lewis for a great post-event reception with my wife, my boys Andrew and David, my brother, and my best friends from high school, Phil Morford, Robin Bieker, and Joe Keller.

Post Event Reception at Clark Lewis in Portland' Produce Row

I hoped to express my thanks to those who have helped me get where I am today. I don’t believe anyone achieves success without the help of others, and I’ve had a number of ‘angels’ who have made that happen. In addition to my personal friends who have come through for me, I thanked my teachers and especially my students, who have given me the inspiration to define a new method for the classical guitar: which I’ll soon be releasing and will hopefully have finished by the end of this year. For those who didn’t make it, let me get you up to speed on the new Kritzer Studio news – there something for everybody, including new classes, performances, and special appearances in the studio. Here are some of the highlights:

The Kritzer Method – Phase I, Primary Skills Development for the Classical Guitarist will be released in a beta version beginning March 31st, 2012 and in its final version on June 1st. I will post much of the information here on my website, so please subscribe. For those wanting a strong technical foundation, Phase I is just the ticket. Phase I delivers a conscise and thorough application of bio-mechanical principles with regards to sitting, hand position, and mastery of the two primary movement forms required to master the instrument: sympathetic motion and alternation. The student will recieve written and video instruction as well as a ‘Practice-Along-With-Scott’ video for each of the 15 chapters in Phase I. What makes this approach unique is the delivery system. A student can study with me directly, or work with me remotely by sending in videotaped homework for each chapter of Phase I (or, just one at the final stage of Phase I). Also, this method will be available in PDF book form, with accompanying DVD, sometime later this summer. Contact me if you’d like participate!

Performance Anxiety Rehab Meeting and Workshop

Student Recital Preparation

I’ll be holding an open Q & A on performance anxiety issues on Saturday, March 24th, at 2:00 pm PDT both for local and remote students. This is free and open to the first to respond. I’ll also be holding my popular Performance Anxiety Rehab Workshop beginning on Saturdays April 7th-May 19th, culminating in a Student Recital on Saturday, June 2nd at Euphoria Studios. Cost is $195.00. For more information, you can go to Workshop or contact me directly.

Chvatal/Kritzer Duo Reunion Tour The C/K Duo will be joined by Marc Gremm for a series of concerts in the Pacific Northwest in October 2012. This popular Duo has performed throughout the United States, Canada and Europe to sold-out crowds and standing ovations. So we’re excited to announce our return to the very first venue we played, Long Beach Washington and the Water Music Festival on the Long Beach Peninusula on Friday, October 12th, followed the next day by my solo performance (October 13th, 1:30 pm).

Janet and Scott

  In conjunction with the Water Music Festival we are offering a weekend package that will include a two-night stay at the historic Shelburne Inn, as well as admission to all performances and the private reception held on Saturday night. For more information you can go to the Water Music Festival website. Also, we are scheduled for a Portland appearance, which will take place at the Newmark Theatre on Tuesday, October 9th, at 7:30 pm.

Kickstarter is a funding clearing house for a wide variety of projects. I have applied and have been accepted for a special project slated for the fall of 2012. I am planning on recording a live DVD and CD of concerts with music by

St. Thomas Church, Leipzig

Bach and Weiss in the last two churches where Bach was last employed in Leipzig and Cothen.

Saturday Fireside Chats – Okay, so I have an electronic fireplace, but I’m sure you’ll warm to the idea of having some of the top classical guitarists available via SKYPE for an informal Q & A. Our first guest is none other than Michael Lorimer, favorite protege of Andres Segovia, on Sunday, March 18th at 2:00-4:00 pm PDT. This is available on a first-come basis for my students, so reserve your spot A.S.A.P.!

Michael Lorimer

Space will be very limited, so those who are students will be given first priority and others as space becomes available. There will be no charge. If you want to keep informed, please Subscribe to this website.

Classial Guitar Immersion 2012 is scheduled for June 15-22 at the Menucha Retreat Center on the Columbia River Gorge. Space is available for this popular week-long immersion into classical guitar technique, practice techniques and performance skills. CGI ends with a public performance in Portland, Oregon. For more information, go to Classical Guitar Immersion. Contact me if you’d like to join!.

CGI 2011 Participants

KSGQ Meeting on the third Tuesday of each month the Kritzer Studio Guitar Quartet will be working up some popular ensemble pieces to be performed on the June Student Recital. This is perfect for those who are

KSGQ hard at work.

uncomfortable with playing solo works in recital and who want to enjoy the wonderful music making that comes with ensemble playing. Our first meeting is Tuesday, March 20th at 7:30 pm.

Kritzer Studio Student Recital
Join the stage with other students and ensemlbe in the Kritzer Studio Recital on Saturday, June 2nd at 7:00 pm at the Euphoria Studios. It’s highly recommended that those wishing to participate enroll in the Performance Anxiety Rehab Workshop mentioned above. 

2009 Scott Kritzer Rimini, Italy Student Recital Performers

One day Tom Page was telling me his thoughts on the effects of adrenaline on performance anxiety – which I found very revealing – so I asked him and Doug Campbell (an MD) to lead a discussion on the subject. Tom explained that his expertise was what he could garner from his wife (she does research on stress and immunity at Johns Hopkins University), and Doug shared that he’d retired from practicing medicine years ago, but that he had a brain iPhone app (funny guys, to boot.)

CGI Attendees

Tom discussed the idea of the guitarist’s hands shaking while playing and that it possibly comes from the effects of adrenaline. When the mind finds itself in an adrenaline producing condition, the well-known ‘fight-or-flight’ syndrome kicks in. Adrenaline signals the brain to send a signal to the large muscle groups (flexors and extensors) to fire, or ready themselves for action. Since muscles only contract by brain impulse, this causes a near-simultaneous firing of the two muscle groups. This is to allow for the ability to defend by pushing away (with the extensors) or to engage a more offensive move by pulling something inward (flexors). The rapid, near-simultaneous firing of these muscle groups in the arm also cause the hand to shake.

Notice the Spaniel's Left Paw Shaking

As soon as Tom mentioned this, I remembered early in my performing my career that my hand used to shake, and the cure I’d found. When I found my hand bouncing or shaking a bit, I used to concentrate on digging into the ‘spot’ (where nail and flesh hit the string), and depress the string a bit more from my MP joint, which causes a stronger sound. This caused my hand to stop shaking, but I remembered another thing that happened that I could never explain: my nervousness would also go away.

It’s my humble hypothesis that the latter effect (disappearance of the original anxiety) was due to the fact that I was using one muscle group over the other (the flexors over the extensors), in effect, negating the need for the extensors to fire. I’m thinking that this might have sent a signal to my brain that the danger was over, thus dissipating the adrenaline. Ultimately, this caused the original symptom to disappear, and my anxiety was greatly diminished.

So, am I wrong? Does anyone have any information on why this would happen or on the original precept? I’m curious.
Thanks – Scott

Table of Contents for Getting More

1. Getting More out of Your Guitar Lessons

In our last installment, we discussed how to get more out of your practice time.  Next, we’ll discuss how to get more out of your guitar lessons. While lessons can be expensive, they can also move your playing forward much more quickly than if you study on your own. This post will cover how to get more for your money. Also, I’ll briefly cover supplemental forms of study that the Kritzer Studio provides which will work as a substitute for those who can’t afford private lessons.

Schedule Regular Lesson Times

As discussed in the last installment, consistency in practice is an important factor in your improvement. Consistency of lessons is also important. Make sure you have a regularly scheduled lesson and that you keep them, even if you don’t feel prepared. Some of my best lessons were the ones where I came in with my tail between my legs.

Consistent Lessons Build Consistent Progress

And remember, just because you don’t feel prepared doesn’t mean you haven’t made important progress. In fact, it’s very hard to monitor your own progress—but your teacher can. It’s like watching your lawn grow. It does so in-discernibly, but in a week, it’s time to mow the lawn! And if you truly aren’t prepared, your teacher can help you with a ‘restart.’

So, the bottom line is don’t miss your lesson!

Arrive Ready

Before your lesson, take a little time to review your week and preview what you’d like to accomplish in the lesson. Is there a piece that’s given you special difficulty? Is there a question that you’ve been meaning to ask?

Scott Ponders Charlie's Question

Arrive a few minutes early so that you can check that you’re tuned to A=440 and that your nails are nicely buffed. Also, have your check filled out and hand it to your teacher upon entering; you’ll more likely receive the ‘velvet glove’ treatment.

When you sit down, take a little time to make sure that your sitting position represents the one you use at home. In my studio I offer three different-sized benches, as well as fixed and adjustable footstools. So, get yourself comfortable.

Start slowly—make sure you start playing slower than you think you do in practice. Often you don’t realize that you are nervous until you miss a few notes, the rhythm feels rushed, and you don’t feel that you are playing at your best. Well, you’re not. If you want to be judged on your best playing, take a few breaths, and keep your tempos a bit on the slow side.

Make it a habit to bring all your music to your lesson. Many of my students copy their music from books and carry it in a folder to save space. Also, don’t forget to take your music home with you!

If You Think of It, Write It Down

As you practice, questions and ideas will arise. It’s natural. Keep pencil and paper handy and jot them down. Often, by the time you arrive at class, you will have forgotten them, so keep a small journal with you and bring it to class. Sometimes the best learning comes from asking the hardest questions. Don’t miss an opportunity to stretch your creative learning even farther.

Don’t Trust the Memory! Record Your Lessons

When listening, the brain tends to filter out some details, and some of these can be very important instructions! You hear about 60% of what your teacher says and retain about 40% of that. Recording your lesson is a simple way of retaining 100% of your lesson. First, ask your guitar teacher if you can record your lesson. My students listen while driving home from the lesson, while working out, or even as they drop off to sleep. I think the best way is to take notes while listening. If your time is short, you can use a practice session to accomplish this important task. You can archive the notes and thereby revisit the lessons.

There are a variety of digital recorders available. Choose one which will easily record, replay, and manage the digital sound clips on your computer or on disks. Some devices will allow you to listen back at a faster speed. Learn how to use the device before your lesson—and check your batteries.

Here’s another benefit: recording your lesson keeps your teacher on his or her toes! (C’mon, we’re only human!)

If you’d like to see what some of my students are using for recording devices, go to my forum and read Recording Devices for Learning Tools.

Ask your Teacher to Recap

Ask your teacher to help you recap your lesson. Asking the teacher what he or she expects to see at the next lesson is a good starting point. If you need clarity, ask how best to achieve those expectations, including how often you should practice and for how long. I send my students home with a detailed practice log, one that they use daily, and that I use to review our previous lesson. This keeps us both on track!

Alternative Forms of Learning

Lessons can be expensive. I like to offer students an alternative through my Phases. These are designed to allow the student to learn progressively, beginning with technique, then continuing on to tone production, expressive elements, how to learn music, practice directives and practice management, and finally, how to deal with performance anxiety.  I send written and videotaped instruction to the student, who then responds with his or her own video. I then comment and add the next step!

Scott Teaching on the Internet

If you’d like to learn a specific subject, such as technique or performance skills then you can take one of my six week courses. Its great for those who don’t want to lay out the time and money for regular lessons but do want to improve their skill sets. To learn more about my workshops go to Workshops. Some of the most popular ones are listed and include Technique, Performance Anxiety Rehab and How to Learn Music. These workshops can be taken by the local as well as remote student.

If you are currently looking for a teacher, I want to invite you to take a look at the Kritzer Studio. Lessons (in person or remotely), PAR PODS (free performance-anxiety-rehab meetings), Ensembles, and Master Classes will keep you active with the classical guitar. And if you want to put it all together, in one intense week, I’d highly recommend that you join me for my Classical Guitar Immersion.

Next up, Getting More our of Your Master Class Experience…..

Artclectic PDX Interview of Scott Kritzer