BYRON THE TEACHER
BYRON THE TEACHER
"If you want to learn how to play the guitar through understanding
and music literacy, there could possibly be no better teacher."
(TO CHECK OUT SOME STUDENT TESTIMONIALS, SCROLL TO THE BOTTOM)
Byron has taught many hundreds of musicians, from beginner to working professionals in every genre and on almost every instrument, as a contract artist for the State of California, at the academically elite Deep Springs College as well as in clinics in schools and colleges and privately.
His teaching style is accellerated and geared toward bringing out the best in the student by providing the nuts-and-bolts reality the student needs for musical expression and to compete in todays world, whether the subject be Theory, Composing / Arranging / Orchestration, Filmscoring, Improvisation or any style of Guitar, or...or...or.
He's on faculty at CCM in Pasadena, and also teaches THE WORLD'S BEST PRIVATE LESSONS ONLINE. Go to 'CONTACTS' to inquire.
...Here's most of what's on the curricular menu:
A) THE BASICS:
1) The Master (AKA 'Grand') Staff
2) Scales, key signatures, modes
3) 3rds and 7ths in Chords; how chord symbols work
4) Rhythmic Note Values
B) BUILDING BLOCKS OF THE UNIVERSE MUSICAL---HARMONY:
(This is an in-depth look at all eleven harmonic structures in conventional Western harmony, including all of the chordal functions, interior 3, 4, 5 and 6-part chords, some special voicings, improv tricks, stylistic considerations and the trouble-shooting of faulty chord symbols.)
1) The I MA13(#11) chord in Major
2) The ii mi13 chord in Major
3) The V 13 chord in Major
4) "ii-V-I: What is chordal function, REALLY?"
5) The i mi MA 13 chord in minor
6) The ii mi7 (b5) in minor
7) The IV 13(#11) chord in minor
8) The V13(b9) in Major and in minor
9) The V7(b9 b13) in minor
10) The altered dominant / tri-tone subs
11) The so-called diminished structure and the 8-note dominant scale
12) The V9 (b13) in Major and in minor
C) BUILDING BLOCKS OF THE UNIVERSE MUSICAL---RHYTHM :
1) Basics of time signatures
3) Rhythmic sightreading
4) recommendations on how to become fluent in Rhythm
5) Metronome practice techniques
6) Klaves! They drive everything!
D) COMPOSING AND ARRANGING:
1) The Score
2) The 'Envelope'
3) Thematic development
4) The Arranger's toolbox (entrances, harmonizing the melody, obligato, ostinato, pedals, counter-melody, thumb lines, bass line 101, master rhythm charts, etc.)
5) Stylistic considerations to applying the 11 chords in arrangement
6) Special harmonic techniques---12-tone, reharmonization, parallel, etc.
7) Stylistic considerations of applying Rhythm to arrangement
8) Music Copying / Transcribing / Notation
1) Introduction to the instrument families
2) Writing for Woodwinds
3) Writing for Strings
4) Writing for Brass
5) Writing for Mallets, Percussion and Rhythm Section
6) Developing an 'orchestral ear'
1) Pre-Production; midi, the DAW and such
2) Signal flow theory
4) The Mix
1 through 11) An in-depth look, chord-by-chord, at how to fly with the 11 harmonic structures
12) Superimposing tonalities; polychords
13) Composing a solo; more on the 'envelope'
14) Comping (Accompaniment---if you're a guitar player, this is the most important skill set you'll ever build.)
H) PHYSICAL ASPECTS OF PLAYING GUITAR :
1) Litany on motor skill development; building motor engrams; exercises for building independence, synchronization, speed & accuracy
2) Tuning; string winding / headstock 101; instrument care and feeding
3) Care and feeding of the forearm flexor / extensor muscle / tendon / ligament machinery
I) TIPS ON APPLYING GUITAR IN THE WORKPLACE :
1) Understanding your function
2) Studio protocol / stage protocol
3) Tracking Guitar---the basic track, overdubs, obligatos, ostinatos, the fill track, the solo track, the acoustic track, engineer psychology 101, producer psychology, FX theory
J) PLAYING DIFFERENT STYLES ON GUITAR:
2) Straight-ahead Jazz
6) AAA (that 'polished' sound)
7) Hard Rock
8) Old school rock
9) Psychedelic tricks
10) Finger-style / Travis Fingerpicking
12) Scatting / singing harmony with your guitar
K) MISCELLANY :
1) Listening and responding to the music around you
2) Ear training tips
3) More polyrhythms
4) The science---and love---of stupid, inane parts we must play
5) Bandleader psychology
6) Audition strategies
7) Packaging yourself
"Byron has provided me amazing tools for improvization and techniques on the fretboard (both chordal and lead) that have enabled me to experience a freedom not sensed since my early days some 35 years ago. My understanding of music has increased exponentially and I have broken out of 25 years of worn out licks and bad technique. Most importantly, the ability to express myself through the unique and fulfilling art of music and the personal fulfillment that brings has given me a true appreciation of Byron and his ability to teach!"
"I had been playing guitar for almost 20 years before meeting Byron. I can remember the first time hearing him, and seeing him play live in Mammoth thinking to myself "Wow, if only."
To have him become a friend and mentor has changed the way I listen to music and given me hope that I could start to understand. Not only unlocking the mystery of music, he swung the door open wide and pushed me through. His endless patience and motivation over the past five years catapulted me towards my goals; I now cannot find enough time in the day to pick up my guitar and play."
"I have been taking guitar lessons from Bryon Fry for just over two years. Before that I had very little experience with any musical instrument. Byron's instruction has allowed me to vastly improve my guitar playing and my knowledge of music theory. I recently met with one of my long time friends that plays guitar in a band. He was amazed at how much music theory I knew after only two years of instruction. He felt that I had made as much progress in two years as he had in six years. I still have much to learn but I know that I am in the best possible situation because I am a student of Byron Fry."
"If you want to learn how to play the guitar through understanding and music literacy, there could possibly be no better teacher. I was trained classically, but found myself yearning for a more sophisticated and outgoing expression, and I am learning it from Byron. He has opened up my head and soul, and is growing me to be unafraid of reaching and finding the musical best in me through the guitar and his teaching."
"Byron made me feel like I could actually be the next Stevie Ray Vaughn if I was willing to put in the effort and had my fingers doing the guitar version of P90X."