JEREMY LYONS

GUITAR

Guitarist, Jeremy Lyons has been performing, teaching, and living in Baltimore for more than ten years. He regularly performs as a soloist and with ensembles of all sizes. In an effort to present both contemporary and period works of art, he collaborates with many different kinds of musicians and performs in a variety of venues. As a teacher, Jeremy leads classes that focus on rhythm, harmony, ear training, and guitar technique. He works with children and adults both privately and in groups settings. In addition to independent projects, Jeremy is a member of two Baltimore-based contemporary music ensembles: Mind on Fire and Pique Collective, and he also applies his extensive background in Renaissance and Baroque music by performing on period instruments such as the Renaissance lute, Baroque guitar, and viola da gamba. As a composer, Jeremy works on projects that combine music and other artistic mediums such as poetry, theater, and sculpture.

For more information, you can visit his website:  http://www.jeremylyonsguitar.com

TEACHING PHILOSOPHY

My goal as a guitar teacher is to help students make music while learning how to play the instrument. I am ultimately striving to motivate my students to get the best possible sound from their instrument while expending the least amount of energy. While there are numerous schools of thought concerning the proper way to position the hands in relation to the guitar and how to execute finger movement, I have found the teaching of Manuel Barrueco to be the most effective guidance. He has always advised me to be economical in motion and to never use unnecessary tension, but he is most insistent upon singing through the guitar. Often technical issues become clear when we sing a line of music and then attempt to play the guitar in the same way. In doing this, I find technical demands are usually dictated by musical decisions. Although developing technique from an early age is paramount to a student’s ability to learn repertoire with ease, an understanding of expression in music is not something that must wait until later in life. I believe that every student can find something very human and natural through making music, and the sooner they experience this part of music, the sooner they become excited by possible results.

With most students, I work through a graded series of method books or at least a collection of etudes to continuously improve technique and present appropriate challenges. Different methods work better for certain students varying in age, ability, and commitment. I also tend to supplement my methods with individually selected repertoire pieces that focus on a particular area of study that the student is engrossed in. I make sure to incorporate an understanding of music theory concepts and I heavily focus on rhythm exercises because these areas are imperative to the development of a complete musician. There are plenty of styles of music associated with the guitar, but the classical guitar has the highest level of repertoire available, thus demanding the highest level of technique. My approach to teaching is that every student should learn the guitar in the classical tradition in order to be prepared to tackle all levels of music. The student may wish to focus on another style of music, but I still request of my students to study classical technique as well. An introduction to music history as it applies to the guitar is a great way to spark interest in an aspiring student. Regular concert attendance also assures exposure to the vast repertoire available and the extent of abilities that a professional guitarist possesses. Finally, by providing and encouraging concert opportunities, the student learns the value of practicing towards a goal and gains experience presenting a body of work in front of an audience.