I enjoy teaching all levels of guitar from novice to professional level. My teaching strengths lie in the improvisational styles, primarily jazz, blues and rock-influenced genres. I bring a deep commitment to helping my students achieve their musical goals. With the student's genuine desire to learn, I will find an approach that works for him or her.
My approach to instruction has been shaped by over twenty-five years of private teaching experience and studies with several different guitar masters, including:
• Barry Galbraith: NY studio player who worked through the entire era of electric guitar.
• Chuck Wayne: NY player who performed with Charlie Parker, from the be-bop school. Read more about Chuck
• Mick Goodrick: modern school, expert at the psychology of improvising.
• Gene Bertoncini: modern school, expert with linear approach, specific voicings, played on the Tonight Show with Johnny Carson for many years.
• Charlie Banacos: improvisation & technique, primary influence for many contemporary players including Mike Stern.
• Robert Paul Sullivan: classical teacher, expert at left hand technique.
In the first few lessons, the basics of chord voicings, scales, blues comping and soloing, sightreading, technique and music theory as applied to the guitar are covered. Establishing this foundation corrects misunderstandings and fills in gaps in any previous musical education.
Next, we blend in logical extensions of study that are in line with the student's goals. I encourage the student to bring in recordings of material they'd like to learn. I prefer to tailor and write out specific assignments for each student rather than work from method books which I find too general.
I think it's important that everything the student learns has a practical focus. As early as possible in our work together, I look for repertoire that is consistent with the student's interests and also works well for learning the technical aspects we cover. Each new concept is applied to a standard tune, blues or frequently encountered chord progression. I highly recommend students practice with a digital looping pedal, pc or cassette deck to provide their own practice accompaniment tracks. Hearing yourself played back also provides a great "mirror" from which you can judge your true progress.
Learning the technical aspects of performing improvised music is pointless without an accompanying aesthetic consideration. What makes us say "Wow, that was a fantastic solo!"? Usually, it has a lot to do with knowing when to play something or when to omit, when to hold back or let it rip, as well as being intimately familiar with the style at hand. The one-on-one teaching tradition is the best way I know to communicate what constitutes great music-making and I have devoted myself to communicating that to my students for many years.
I always enjoy developing a working rapport with every student and the opportunity for each of us to grow through the student's inquiries and our common goals.
Please feel free to contact me to discuss your interests and questions at pshumsky@gmail.com or call (860)569-7799.
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