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Featured Guitar Teachers Near Madison, WI

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Here are just a few of the many teachers offering Guitar lessons in Madison . Whether you are looking for beginner guitar lessons for your kids, or are an adult wanting to improve your skills, the instructors in our network are ready to help you now!

Rami A

Instruments: Guitar Classical Guitar Acoustic Guitar

I have a Bachelor’s Degree in Music from the Higher Institute of Music in Damascus, Syria, which is one of the most prestigious music schools in the Middle East, and an Artist Diploma from the Kraków Academy of Music in Poland. I also have a Masters of music in classical guitar performance from California State University Northridge. I have more than twelve years of performing experience and masterclasses with the most known guitarists around the world. Read More

Justin B

Instruments: Guitar Trumpet

My teaching style is very laid back and relaxed. As much as possible, I like lessons to be student driven. Allowing the student to take a measure of control over what they are learning, gives them a bit more ownership of and investment in their lessons. I have found this to keep students more interested and be more successful in their learning. That being said, I do help guide and steer the student, so that we are still able to accomplish the necessary theory and technique. Read More

Ray C

Instruments: Piano Guitar Voice Organ Music Keyboard Acoustic Guitar

Ray has been hailed by Opera News as, "terrific!", the New York Times praised, "Ray C. was effectively cast...a solid professional with vocal elegance." The Taconic Press acclaims him as, an exceptional voiceleaving audiences cheering" with his performances being, ardent and utterly convincing." The New York Sun said of his stage craft: Ray C. makes the most of it, combining savvy stage business with a warm voiceexpertly straddling that razor thin line between parody and poignancyscored a direct hit." While the Berkshire Review simply calls him, "...Perfect!" His travels have led him to make appearances with Grandview Opera (General Co Artistic Director), the Light Opera Company Of Salisbury (General Artistic Director), Prelude to Performance (Associate Conductor), Amore Opera (Principal Conductor), the Opera Orchestra of New York, New York Grand Opera, Connecticut Opera, Connecticut Concert Opera, Greater New Britain Opera, Berkshire Opera, Bardavon Opera, Jacksonville Lyric Opera, Opera Ischia (Italy), Bronx Opera, New Rochelle Opera, Amato Opera, Bleecker Street Opera (Associate Conductor), Regina Opera, Long Island Opera, the New Britain Symphony Orchestra, the Brooklyn Philharmonic, the Staten Island Philharmonic, the Belleayre Music Festival, American Opera Preview, in collaboration with artists and staff of the Metropolitan Opera, at Carnegie Hall, Bechstein Hall, Merkin Hall, Symphony Space, and Avery Fisher Hall at Lincoln Center. Read More

Jimmy B

Instruments: Guitar Flute

Ill have flute/guitar students learn current hits that they love and use them to teach improvisation. It all depends on the student. I teach songwriting. To that end, I may have the student come up with a hook, write a poem, or even an idea for a song about something that is meaningful to them. I help them form the melody, chord structures and song structures. Sometimes, its possible to record what the student has come up with. Read More

Jonathan M

Instruments: Piano Guitar Voice Drums Bass Guitar Keyboard Djembe Acoustic Guitar

As a member of an indie rock band, I understand the importance of being able to play songs on your instrument as quickly as possible! With this in mind, my lesson plan focuses primarily on breaking down songs that we want to learn how to play into their fundamental parts; the chords, the grooves, the fills, what-have-you, until we can put it all together. If there's a song that's particularly difficult and requires sound fundamentals, then we'll pound out those skills until we can get the results we want. Read More

Keith S

Instruments: Piano Guitar Bass Guitar

I have taught from both the FJH and Berklee series of guitar and theory books. My lessons revolve around three parts: 1- Lessons from books of the appropriate level. We choose a book that suits the student, and there are weekly assignments from the book. 2- Theory work, usually focusing on the Blues form. My teaching of pop, rock, country, folk, etc. all goes back to the blues form. The music theory work also supports the students growing musical knowledge. 3- The student's choice of music. Read More

Teacher In Spotlight

Tim A

Instruments: Piano Guitar Violin Cello Viola Bass Guitar Synthesizer Recorder Electric Violin Double Bass Conga Keyboard Electric Guitar Djembe

What is your dream piece to perform and why?
My dream piece of music to perform would probably have to be the Dvorak Cello Concerto in B minor. It is an absolutely phenomenal piece of music and in my opinion showcases almost every different sound that the cello is able to create. It is a very difficult piece of music to perform as well, so if I am able to perform it, it means that I have put a lot of time and energy into an important goal for myself. The piece itself is very triumphant and heroic, and it transmits an idea of eternal victory and joy, which I think is an important message that the world needs.

Why did you choose your primary instrument?
I originally wanted to learn how to play the double bass as my primary instrument. However, at the time my mother told me it was "too big to haul around", so I went with the next instrument down on the size scale, the cello. I fell in love immediately with the rich sound that could be pulled out of the instrument as well as they way it could sing and fill a room with light and joy. It also was a plus that I got to sit down every time I played! After two years of not knowing whether or not I was actually going to commit to the instrument, I saw a performance on the internet of Jacqueline Du Pre playing the Elgar Cello Concerto, and that sealed the deal for me!

When will I start to see results?
After the first lesson. Inspiration is a key component to healthy musical growth, and once the student has had that exposure to knowing how much is out there for them to learn and has a foundation built on their own goals and dreams, it changes the way they practice and they way they think about their instrument. It becomes a part of them rather than just an object in which they are doing something with to create sound. It becomes an extension of their soul and existence and a conduit in which they learn of the universal languages, music.

How do I know if my child is ready to start lessons?
This is a tricky question. A good indicator is if your child is intrinsically motivated to play their instrument without prompting to practice. Another good indicator is if your child is doing well in their school's program but is becoming bored or distracted with the repertoire that their class is working on. They may be ready for a more direct approach to growing their skills as well as the opportunity to push their limits so that they realize that there is a lot more music available to them than they realize.

What advice do you have about practicing effectively?
Acknowledging that practice is well, practice is a vital component to effective practice. A lot of students see practice as a performance, and can easily become frustrated or distracted when mistakes are made or when tedious processes such as scales or etudes are encouraged. Another important aspect of effective practice is breaking down larger elements into smaller "building blocks", so that when you put them all together, you are able to facilitate completeness in the larger piece of music. Most importantly, practice every day, even if you can only do so for 15 minutes!

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Recent Articles from the Musika Blog

Famous Violinists That Inspire Through History

...cello!     Rodolphe Kreutzer (1766-1831)   Composer of the famed and feared violin exercises that are still used by violin teachers worldwide, Kreutzer was more than just a musical exercise composer. Born in Versailles, France, he became the most respected violinist that Beethoven knew. Beethoven dedicated a sonata for piano and violin to this famous violinist; the work is now known as the Kreutzer Sonata. Kreutzer was a solo violinist and also worked as “chamber musician to Napoleon and Louis XVIII of France.” Although his musical performance career was abbreviated by an accident in the early nineteenth century, this composer managed to write... Read More

Mastering the Cello Repertoire: Twinkle Variations, Dvorak Concerto, and What Lies Between

...1 in C Major: Joseph Haydn   At this stage, repertoire will include virtuosic passage work that covers the full range of the instrument, demanding varied bow strokes, double-stops in thumb position, and familiarity with artificial harmonics.   Concerto in B Minor, Op. 104: Antonin Dvo?ák   By now, continued studies will be fully centered on masterworks of the cello repertoire. Students will play pieces that require complete technical mastery, mature artistic interpretations, an understanding of complex rhythmical concepts, and fluency in numerous tonal languages. Due to the demands of both technique and artistry, these pieces are only undertaken by ... Read More

Listening to Jazz: A Beginner's Guide

...a high point of his solo.   7:25 – This is one of my favorite parts of the recording. It’s a prime example of musical miscommunication between players. Not every miscommunication is necessarily someone’s fault, but in this case it seems to be the rhythm section’s fault, maybe the drummer’s fault. The drummer drops out like it’s the beginning of a new solo, while the trumpet player is looking to play eight more bars. In his defense, he could have thought the trumpet player wanted to drop the intensity for his last eight bars. Either way, the trumpet player went in one ... Read More

The Kodály Approach – More than Hand Signs

...through higher order thinking skills. My hope in outlining these tenants of the Kodály approach is to provide context and clarification to the philosophy in general terms. The Kodály approach is more than just “do-re-mi” or hand signs, it is a source of inspiration for music educators to model their curriculum and teaching to facilitate music literacy and creativity. This is in no way a comprehensive list, nor a complete explanation of how the approach evolved or is implemented, but will hopefully prove as a starting point for those who wish to know more. Every good sequence has to start ... Read More

Tips for Beginning Flute Players

...recorder first. The embouchure (the way you form your mouth to play) is completely different, but the fingerings are similar to the flute, so that could give your child an advantage when she or he advances to the flute. A plastic recorder will also be inexpensive so you won’t have to worry about a damaging the instrument. Of the woodwinds, the flute can be a relatively easy instrument for beginners, so it can be an extremely satisfying instrument for adult students interested in starting lessons. In some ways beginning flute as an adult can be advantageous because most have escaped, or already dealt ... Read More
Famous Violinists That Inspire Through History
Mastering the Cello Repertoire: Twinkle Variations, Dvorak Concerto, and What Lies Between
Listening to Jazz: A Beginner's Guide
The Kodály Approach – More than Hand Signs
Tips for Beginning Flute Players

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