How did you find your guitar teacher??
 

Hey everyone, I would say I'm in the beginner/intermediate range in my playing and my goal in 2018 is to make a point to take lessons and really focus on progressing.

My issue.....how do you go about finding a good teacher? And, what do you look for when selecting a teacher?

I have a GC and Sam Ash near me but I haven't really heard good things about taking lessons at the retail shops. I'm sure there are good teachers at each, I just haven't received any feedback pointing me to one or another.

Are there other ways/options to locate possible teachers?

Any feedback would be greatly appreciated. Thanks in advance for the advice.

All you can really do IMO is ask about locally for teacher recommendations. Other than that it is really trial and error. Interview them before the first lesson. I've utilized 3 different teachers over the course of 12 years of formal lessons. Each had a different forte, something different and something good to offer me. But in my life I've had many other teachers in that trial and error process that I "fired" after just a few lessons. Some were fired because they were incompetent, some good players, but lousy teachers, some borderline psychopaths, some fairly decent, but simply no good chemistry or communication between us. Good Luck.

Word of mouth is the best way to find a teacher.

The best teachers of private music lessons have great student retention rates, inviting lesson studios and sensible policies, an evolving and personalized curriculum, and they will be able to motivate and mentor.

Current and former students, parents and families, will eagerly and enthusiastically tell you about their best experiences. If a teacher has been in the business long enough, it shouldn't be too hard to find a web presence for them, and working musicians who were their students.

In my case, I do advertise a little, posters and cards in music stores, a website and Facebook page (both of which I keep relatively private, as in private lessons), brochures, swag with the business logo, and so on, but what really matters is what people say about me. It's cool to see my book bags, case stickers, and baseball caps around town, and I've also given out water bottles, travel mugs, pencils, and picks, all emblazoned with my logo. But again, none of that would have value if people didn't like me...word of mouth is first.

So, ask at shops and schools, ask teachers/coaches of other instruments/things (we do refer to each other), ask local musicians and bands where they got their instruction, talk to parents of school age kids, put out an all call on social networks, ask one teacher who taught them...etc.

Good advice so far... check message boards at music stores, talk with your friends who play, paying close attention to any of them who are BETTER players than you!

I am from the era that learned as we went... back in the early 60's, there weren't videos and dvds, no Youtube instructionals... and I learned by listening - both to records and to players who knew how to do things I did not...

When I'd hear someone playing something that caught my ear, I'd make the time to find an appropriate moment to ask them if htey'd show me "how?" they did what I wanted to do... most would oblige and give me a quick lesson; then, I would go home and practise that until I had it down, then I'd go find them again!

In many ways, it was a far more regarding and valuable method of learning; it forced me to LISTEN and PAY ATTENTION, it made me aware of the importance of having relationships with other musicians, and it always gave me a good dose of humility as I realized "my place" in the hierarchy of guitar players! These are things that are lacking in the "online" approach...

It's important to realize that you can (and do) learn from a multitude of sources; if you keep your eyes and ears open, you will find them along your way.

It is VERY important for you to know what direction in which you wish to go with your playing...

I found mine on lessons.com

I got back 5 or 6 very informative replies within a day or 2 of posting. They were all very qualified "on paper" with degrees and lots of gigging and teaching experience.

Picked my guy based on chemistry in the initial phone call. It has been about 3 and half months now, every week for half an hour. I'm very pleased.

I went down to the local music store and was introduced to Mel Bay. It was all downhill from there.

It really all depends on what you have locally available for you or how far you want to drive. I found mine on Craigslist and he teaches lessons locally at the cultural arts center and it has worked out great for me.

I believe a telephone conversation with a prospect with a few questions of what your expectations are would be a place to start. If it doesn't work out you can always end the lessons and find another instructor.

Good luck.

I found my current teacher at a local jam. Great teacher and I have learned a lot. When I first moved here I went to a music store for lessons. This guy was horrible. I don't think he could teach a fish to swim. You have to do your homework and ask around. Best advise I can give is don't sign up for any sets of lessons. Pay as you go. You will know in a couple lessons if it will work out for you. Go with a list of goals you would like to reach and what you like to play.

Teachers like guitars and guitar strings are hit-or-miss. Of course recommendation are always a good place to start. But ultimately you need to find a guy that specializes in the kind of music you aspire to play but can provide a step-by-step pathway and strategy for you to improve. Cost and frequency come into play as well.

Not to digress, but in terms of frequency, I always found it interesting (if not appalling) that serious sports guys are expected to get coaching every day, while we musician (especially developing musician) feel that once a week is considered "frequent". Heck, a beginning skier would go to a resort and have lessons every day for a week (or more). Where did we ever come up with our concept of lesson frequency?

When you find a teacher you have to make sure his teaching skill matches his playing skill; that he will have a lesson plan for you from week to week; that the cost is such that you have adequate time in each lesson to cover what needs to be covered. I would also suggest that whomever you select you give them and opportunity to give you 3 or 4 lessons before deciding. That first lesson is only a "getting to know you" session. Lessons 2-4 will be the deciding factor. If you're not seeing it in 3 lessons, look for someone else.

Don't think I've ever had a formal teacher. I took a folk guitar class way back in high school, and that was it. Self-taught ever since; I use books, vids, and learn from other players by watching them live whenever possible. I've been friends with great players (the late Sean Costello, for example) and have had them show me things now and then. Mostly I use CDs and a slow-downer application (Anytune) to learn tunes.

You live in a big metro area w/probably at least a few really good, independent guitar shops. Go to each one and ask for their advice.

Also, depending on your genre of interest, I can highly recommend Artistworks online lessons. You can study with a national level pro, with a comprehensive curriculum. Cost is very reasonable, cheaper than lots of local lessons, with some cool perks. Not associated, but was enrolled for a while.

I found him to be quite arrogant and a always showing off what he can do. Had much better luck with instructional books and videos that let me learn at my own pace. :D

I got super lucky. My wife got me some Guitar lessons as a gift for Xmas last year and she picked out a fantastic teacher by luck.

But.. there are a bunch of fantastic teachers at the same place. Some things I've noticed they have in common:

- Most have been playing 30 years or more. They're either older, or they have been continuously playing since they were little kids.

- Most have a degree

- Most toured in bands and had record deals, and still record and/or play with bands

- Most of them play both acoustic and electric

- Familiar with playing both by ear and sight reading with deep knowledge of theory

- Have actually been trained on how to teach

Those are the things I'd look for. I had several piano teachers when I was taking piano lessons before I picked up guitar, both my teachers would not have been able to check off most of the list I just mentioned, and the lessons were not as good IMO.

It probably helps to be in a metro area near some colleges/universities with well known music programs.

My experience was similar to what Ditch described.

The best success I had was signing up for a workshop that was run by two teachers. One of them turned out to be a good match for what I was hoping to accomplish with lessons.

Be prepared for differences in how individual teachers approach lessons, and have an idea of the challenges you are facing that you want a teacher to help you conquer.

check the phone book, search online, stop at every music store in a 25 mile radius, no matter how small it is - I believe everyone music store knows at least one teacher and that teacher is likely to know another one.

word of mouth will ultimately be your best friend I suspect.

good luck

I had a couple of teachers but didn't make the progress I was hoping for. I then started taking lessons with an old friend from high school who is a great player. I have made more progress with him than with any of the other teachers and I think part of it is how comfortable I am with him. I bring this up in order to ask - do you have any friends who are good players who might give you lessons?

Finding a good teacher is trial and error. There are world class performers who are better at attracting students than they are at teaching. There are players with relatively modest abilities that have a knack for teaching. There are people with advanced prestigious degrees or even sitting in those universities who can't teach. Some of the finest teachers have no degrees. Look at colleges and universities. Look to the local guitar community. Look at music schools. Look at music stores. In all of these places you will find some of the best and worst teachers. So, you can't really judge a teacher by either where they teach or what pieces of paper they hold in their hands.

On the other side of the coin, you can't really judge a teacher by their students either. Some teachers are very good at attracting lots of students. Some places and teachers attract lots of advanced students, some of which might not even remember exactly how they learned to play. I actually kind of disagree with my own statement here. Perhaps you can learn something from the students. I wouldn't pay much attention to the best students. Rather, I would focus on the weakest students. Looking at the weakest students, you should see lots of consistency. You should see students who have good tone that are developing good slow and careful practice and study habits. You should see students playing very simple music with security and confidence rather than struggling with music too difficult for them.

And then there is the problem of teacher and student. The teacher is the one that is supposed to have the knowledge. How can a student (without the knowledge yet) effectively evaluate a good teacher?

In the most simple way, if you are working and making progress, then you are getting something good from the teacher. That is a good place to start. I will tell you something I repeat many times to my own students: I may ask you to do things that are difficult. But you should rarely be confused. If you are confused, then I am the one that is at fault. I mean, it isn't like you are sitting in a classroom, and I am having to teach to the "middle student."

A good teacher will frequently talk about the importance of habits in lessons. It will be more than just lip service. It will be more than just assigning you material. It will involve getting in the trenches, and working on the material with you. A good teacher will show you how to work more effectively and efficiently. And the role of habits in all of this will be emphasized frequently and often. This is why some of my best lessons as a student myself happened when I went to a lesson the least prepared.

And further, a good teacher will be able to develop trust with you, to motivate you to do what they want you to do. But it is far more than them just getting you to do what they want you to do. It is about them developing enough trust in order to develop a conscious change in how you approach everything.

A good teacher will also be able to show the pay off. Of course a long term pay off is important, but that isn't only what I mean. I mean very short term, clear specific examples. For example, they might insist that you play a very easy exercise with more of an arch in your right wrist and repeatedly insist that P needs to separate from the hand more. In addition, they also need to show you a piece that is pretty close to your current abilities, but uses lots of M, and A. They will be able to show you how that, if you work the way they want you to work, it will build a foundation to allow you to play a particular piece very soon, and many others just like it. This type of showing the pay off isn't absolutely necessary. But it can be very important in the beginning of the relationship to help develop trust.

A good teacher will ask you to make changes. It might be the right hand. It might be the left hand. It might be the 4th finger. It might be your seated position. It could be anything. It should be something. But they need to give you something in return. In at least some limited way, you need to be made to understand the purpose of the change.

Tone. A good teacher will help you get an amazingly wonderful tone almost immediately. They will help you to understand how to get it and why it works.

Too many times, the most motivated students may choose to spend many hours a day in the practice room. And there will be no shortage of teachers keeping them busy with assignment after assignment. A good teacher would quickly hone in on the situation and insist that you two practice together. They will show you how to make good use of your time. And right then and there in the lesson, you will learn to play a section of music well. You will learn to play it very well because they guided your practice. They may apologize for not getting to sit with you every single day, but they will remind you to go home and do your best to work in the same way you worked in the lesson so that you can get more of those excellent results they just helped you to see that you are capable of.

A good teacher will revolutionize you work. They won't insist on X amount of hours. Contrary, they may tell you just the opposite. Regardless, they will assure you that you are learning to work in an effective and efficient way. Because of this, you learn to get a lot done in a very short amount of time. They will remind you that it feels just the opposite as the mind learns to work in a new way. They will tell you that, even after a few minutes of working in this new way, you might get bored or tired. Your mind might wander, you might start repeatedly making sill mistakes. Your wheels will start to spin. Instead of insisting on my more practice, they will insist that you respect the fatigue and move on to something else or even set the guitar aside. They will even assure that by respecting the fatigue, it is the key to learning how to concentrate for longer and longer periods of time.

After a short while, you will begin learning to play easier music with a high level of security and confidence. You will gradually begin making some of your goals and a lot more.

When you find a teacher that does these things, you have found something golden. And keep it simple. If you start working with someone and you get some read flags, trust your instincts. On the other hand, if you immediately hear some of what I have written above, hang on for a while and see what happens. After a while, if you aren't making progress, but are putting in the work, then it is time to find someone else.

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Oops, I didn't answer the question: How did I find MY first great teacher? It was a TOTAL accident. I actually initially dropped out of college the first time due to an incompetent teacher. Discouraged by my hard work and lack of progress, I almost made ANOTHER mistake: I made the false assumption that a teacher must be good just because they wrote a book. Haha. Turns out that man was great, but NOT because he wrote a book. It was a happy accident. I auditioned for a very particular music school headed by this man. I failed the audition miserably! Desperate to find a competent teacher, I dropped out of school, packed everything I owned into my car and drove to the city of the school where I just failed my audition. I saw an apartment complex with an office, gave them my money and got an apartment. With all my belongings still in the car, I hooked my phone up, borrowed a phone book (this was back in the day), and called the guy asking for help. He recommended my first great teacher to me. I called my new teacher, got my first lesson set up, and then I went to unload my car. Honest to God true story.

That's a superb post up above.

Perhaps in addition to figuring out how to find a teacher, there should also be some discussion of what should be taught or how it should be taught. Should you be shown scales, exercises, techniques, etc.? Should you be taught how to play songs, and by playing them also learn techniques?

Another thing that you should think about is practice, specifically how to practice. I wish I had been taught how to practice properly and/or effectively as my practice routines are still sorely lacking. All the best teaching in the world won't help if you are not practicing in an efficient manner.

This can be a very loaded question. There are many fine teachers who have many ways of doing things. One of my favorite quotes was told to me by Jeffrey Van:

"A good teacher will teach well regardless of the theory he suffers from"
-- John Barth, The Sot-Weed Factor

What I can tell you is some of what I do and why I do it. A significant portion of my students are strictly classical. But over half of my students "cross train." It isn't so much about learning particular styles of music. Rather, it is about learning how to work. How to use the body. The mind. Everything is comprehensive.

Personally, I am frustrated with some classical teachers who pretend no other styles of music exist, or pretend other styles of music have nothing to teach them. Hopefully, this idea will continue to go away. On the other hand, I am personally frustrated with what is sometimes a lack of structure in other styles of music. That too is beginning to go away.

In my studio, I fully bridge the gap to the best of my ability? Why? For many reasons:

1. We are learning how to use our bodies, our arms, hands, and fingers. Understanding good default positions gives us the freedom to explore many other positions on many types of instruments as we seek the music that interests us.

2. We are learning how to work. It doesn't matter if it is a new student repeatedly confusing a G for a B or if you are trying to learn an advanced solo tablature. The principles of knowing how to practice is the key from just starting a piece to actually completing the piece, and ultimately learning to perform it with security and confidence.

3. Our tastes will evolve. We probably can't predict how this will happen. But when we start making significant progress on our instrument, it will begin to start making unexpected changes in what we choose to listen to, and what we desire to play.

For those reasons, I develop a good strong foundation with all of beginning students regardless of what type of music they are interested in. I also use the material as needed with students in need of remedial work, or where basic foundations are lack. The process takes a few weeks, or a couple of months. Everyone is different.

A rank beginner with me first learns a good default seated position, a rough glance at how the entire arms of both hands work, and how we find a compromise in order to allow optimum potential with both hands working together. One of the first things I do is shape the right hand and have a student focus on tone and accuracy with P (thumb). Reading isn't a problem because we only focus on two notes and two rhythms. Very gradually, and most thoughtfully, we learn a new note or two also teaching a new fundamental for each hand.

At the very beginning, students are usually able to sight read the material. That is, they are able to play it correctly the first time they see it. Soon though, there comes a time when the student hesitates. This is a key moment, where we begin learning how to practice by isolated the passage in a very particular way.

After a few weeks (everyone is different), a rank beginner has made many accomplishments that will save them time for the rest of their lives. They have learned to read the 17 basic notes in open position with a few accidentals. They have established a good right hand foundation with both rest and free strokes. They are playing repertoire and exercises that utilizes all of the right hand fingers, P, I, M, A (well, maybe not C yet).

After a few weeks, they have established a good left hand foundation for maximum leverage using the shoulder, elbow, and wrist. Left hand finger independence and dexterity has gradually unfolded and developed. A few scale patterns have already been learned. A good tone has been developed. Students have established a respectful amount of control over dynamics. Students are able to achieve various tone colors.

Strong practice skills have been developed with me in the trenches working with them. Repeatedly, students have quickly gotten results in the practice chair, during the lesson with my reinforcing that I am merely showing them how I want them to try to work when they are home.

With a rank beginner, I work with some of Aaron Shearer's Learning the Classic Guitar" Part Two. This is the primary book that allows the left and right hand fundamentals to gradually unfold in a logical way. After a week or two, I use Julio Sagreras Guitar lessons, Book 1, lessons 1-37 in a very particular way in order to assist in the reading and speed up the process.

This is a somewhat detailed, and somewhat rough snapshot of those first crucial few weeks. I've no doubt left things out. As you can see, it is no short list of accomplishments. After a few weeks, a student has a good foundation to begin venturing out on their own.

At this point, I shift most of my attention on repertoire, and various exercises gradually unfold. This is where things start to become different depending on the students' goals. For classical repertoire, I start with The Bridges Royal Conservatory of music series. Specifically, the preparatory book. The title is misleading as this really is a second level of work. (The later Book 1 is really a third level). All students, regardless of interests, are in love with the carefully handpicked modern pieces we begin working on! The more of this I can get them to enthusiastically do, the stronger the foundation. The repertoire is a delight to learn how to play, and it is a delight to play for others.

Assuming someone was a rank beginner and is a cross trainer, this is where we branch out and begin learning other things guided by a student's interest. For many, this is where the pay off really begins. Students begin approaching the various types of music that interest them, with my guidance. Students begin building more foundations as begin exploring the easiest of the music they love so much. Students begin seeing more chord diagrams, scale forms, tablature, song books, etc. The things that they may have already been somewhat familiar with are suddenly approached again in a far more effective and intelligent way due to the past building of basic foundations. Many of my students learn differnet things from various fingerstyle to death metal...LOL

Again, this is what I do in MY studio, and it is some of what I do specifically with a rank beginner, someone needing remedial training, or just quickly reinforcing some forgotten or never taught foundations.

More important, if someone only remembers one thing, it might be this right here: Their wheels might spin at home. But when they get in the lesson, the teacher and the student actually work together. The teacher shows the student how to get great results almost immediately. Significant progress is made right then and there in the lesson (sort of the opposite of "just keep working and you will eventually get it"). What I mean exactly is, a teacher has guided a student in a very particular way isolating small passages, and putting them together with the teacher as the guide. The student, in the lesson after working for several minutes, learns to play a section of a piece of music well. Very well. The teacher reminds the student to try to use what has been learned every day at home. Not the work, but how the work is done. If a teacher does that, you have something very precious. Not only is the student learning how to practice, they are accidentally nominating themselves as band leader in the near future...LOL ;)

Short answer. I promise! :)

A gem of a book is Ricardo Iznaola on Practicing: A Manual for Students of Guitar. It is smaller than a comic book and has lots of very useful information. The title is misleading as most of the information is extremely helpful for anyone.

I certainly consider once a week lessons too frequent for me. To practice and incorporate what's covered in a half or hour long lesson will take me longer than a week.

I found people whose playing I liked, and I pestered them to give me lessons.

Great question, and a lot of great responses.

Here’s my take: Its much easier to find fabulous musicians who teach than it is to find fabulous teachers who can play. As an example, I’ve now spoken with several guitarists who studied with Joe Pass the legendary jazz guitarist. Both of his students described him as a lousy teacher. They both quit after taking enough lessons to be able to put ‘I’ve studied with Joe Pass’ on their resumes.

So how do you determine if their passion for teaching rivals their passion for playing? Start with interviewing them on their teaching method. Do they get really excited when talking about their teaching techniques? What is their approach to learning the instrument and learning music? Judge their passion for the teaching profession.

I’ve noticed that teachers fall into two categories: “Tell me what you want to learn and I’ll teach that”. OR. “This is what you must know if you want to play a certain way.” Let’s call these two styles: Song vs. Method teaching style. It’s been my experience that the method approach is more suitable for the more advanced students, those who are after a certain type of mastery of the instrument.

I’ve had both types of teachers after many decades of taking lessons. For example, I was on an extended 6 month business trip, went to the local music store got a teacher and told him I wanted to learn some Beatles tunes. Bingo! He had prepared music and lessons that was exactly what I wanted.

My current teacher I picked because I wanted to learn to improvise over key changes, and get a more complete knowledge of the fretboard, reading charts and knowledge of music. For the long haul, this teacher is the one I want to study with. He’s written several ‘method’ books, is working on a third text, and is also a gigging musician playing in both a rock/pop cover band, as well as a 1940’s type big band.

My current Skype teacher is the author of the fingerstyle course I was working through. He offered Skype lessons so I decided to give it a try and it has worked out extremely well. I feel very fortunate to have the opportunity to work with him.

I once asked a prospective teacher via email about their teaching style/method. I mentioned that I am a professor who teaches academic subjects that have nothing to do with music, but that because of my job I am familiar with pedagogy. I said that I just wanted to see if his teaching methods were the type that meshed with my learning style because. The guy freaking lost it over that question and went on a rant about how he had developed his teaching methods over years of practice and how he wouldn't tell me about them because all I wanted to do was to steal them to use in my own teaching. Needless to say, I didn't hire him as a teacher.