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Featured Guitar Teachers Near Sunnyvale, CA

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Here are just a few of the many teachers offering Guitar lessons in Sunnyvale . 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!

Jacob M

Instruments: Piano Guitar Voice Drums Bass Guitar Conga Latin Percussion

I like my students to work on their performance personas, as well as technique and repertoire. I want my students to be engaged and excited about the music they are working on and to practice performing it like the rock star they are! Read More

Robert G

Instruments: Guitar Voice Ukulele Acoustic Guitar

My teaching style flows from my teaching philosophy: Whole-heatedly meet a student where they are, and THEN, respectfully lead them to where you as the educator know that they need to go...Establishing a true RELATIONSHIP with a student, where they know that you have THEIR best interests in mind is absolutely fundamental. As in any relationship, trust and respect are essential, and establishing a firm foundation in those areas should be just as important as the academic and skill development aspects of teaching. Read More

Alex C

Instruments: Guitar

I like to focus on the music with a relaxed approach and help create a positive and supportive environment with apatient, easy going manner. I'm comfortable going over small sections of music, looking at new material, exercises, practicing songs, explaining concepts that help the student gain insight and improve on the guitar. For assessment purposes I like toask a few questions pertaining to the music, styles and particular artists that the student has an interest in to shape a individual lesson with custom material.I believe inemphasizing musicianship and practical aspects of learning guitar while realizing that aspirations, inspiration and individual creativity are so important.Music lessons areenjoyable! Read More

Jonathan H

Instruments: Piano Guitar Keyboard Acoustic Guitar

My teaching style is one of deep listening to the student in their musical process, and from this creating the conditions for them to expand into new dimensions of musicality. I am an expert in creative process, and love working with students especially on songwriting, composition, electronic music production, and other such creative domains. In addition, my professional work is focused on a leading edge of musical education that is just emerging and beginning to be understood: developing the listening faculty as a pathway to musical excellence; for as the perceptual foci is polished, so does the sensori-motor engagement discover new possibilities. Read More

Rick D

Instruments: Guitar Voice

I have always loved music and have sung many kinds of music throughout my life from choral and musical theater to folk, jazz, and even opera. I learned to play several instruments along the way but came to playing guitar as my primary instrument because of its versatility and portability. My clear tenor voice led to my becoming a member of two nationally known folk groups that toured the U.S. and Japan. Read More

Diego M

Instruments: Guitar Music Electric Guitar Classical Guitar Acoustic Guitar

As said above, number one in my mind is meet the student where they are. I want to find a way to be not only a teacher for a student, but a way to be a mentor. Students spend years with teachers and they can very quickly become such an important component and role model. If there's a single thing I want my students to learn, is to love music. Read More

Nicolo L

Instruments: Guitar

Before moving to the United States I took classes from another teacher of the CPM in Milan, who helped me correct my mistakes. I think there's always something to learn or to correct. In the meantime I played and recorded some demos with different bands, an experience that certainly enriched me as a guitar player and gave me some personal satisfaction like being in a band recommended by a Heavy Metal magazine called Metal Shock. Read More

Teacher In Spotlight

Jonathan S

Instruments: Trumpet

If you play more than one instrument, how did you decide to start playing the second? (Or 3rd, 4th, 5th, etc)!
In addition to playing the trumpet, I also play ukulele. In my first year at Juilliard, I had a hard time improving at Ear Training. Taking up a chordal instrument like the ukulele allowed me to hear music in a completely different way and advance my ear training skills much more quickly. I think it's very important if you play a single line instrument to learn a chordal instrument; whether it's harp, piano, ukulele, guitar etc. After getting better at ukulele, I formed a band with a colleague from school. Now, I write songs for my band and have a lot of fun playing and performing a different genre of music!

When did you decide to become a professional musician? Was it a gradual decision or was there a defining moment for you?
I have enjoyed playing music since I was very young. When I got to high school, I started taking music seriously and ended up attending the summer music camp at Interlochen Arts Academy. At Interlochen, I gained some of my first experience playing in orchestra which quickly became one of my biggest passions. Near the end of camp, we performed Mahler’s second symphony. I was captivated by this piece, and from the first rehearsal, I decided that I wanted to play and perform music for the rest of my life.

What does a normal practice session look like for you?
A normal practice session for me starts off with about ten minutes of long tones and breathing exercises, resting as much as I play and going very slowly (38 beats per minute). After this, I work out of the Stamp book to play pedal tones and slur up above the staff. Then, I work on technical exercises, which include intervallic slurs, multiple tonguing, articulation and other things from Bai Lin, Shuebruk, Arbans, Flexus or Franquin. I write down everything that I do and how it went. I typically work on a single exercise for about a week and then move on to the next one. After I get my warm up and technical exercises out of the way and take a break, I work on the music that I have to play for any upcoming auditions or performances. It's important to me to start the day off as relaxed as possible, making sure that all of the technical aspects of my playing are in the proper place before I move on to my music. It makes playing difficult music much easier!

What advice do you have about practicing effectively?
Since the trumpet has a max practice time of around two or three hours, it is incredibly important that students use their time effectively. We can't spend two or three hours on a single passage of music like a violinist or pianist, so every note we play should have our complete attention. Trumpet players must also not overplay anything, as it's very easy to sustain a injury or to lose that mental focus. Resting as much as we play and breaking up practice sessions into thirty-minute blocks is a very effective strategy to working around these issues.

When will I start to see results?
Results can vary student to student. For example, a student working on articulation will see results much faster, a few days to a week, than a student working on an embouchure change, which could take anywhere from month to a year. However, since my lesson plans involve writing everything down (what the exercise or etude the student is working on, what is good and bad about it, time spent on material, what to improve, etc.) students should be able to easily document their progress day by day. When starting out with lessons, it’s typical to see a great deal of improvement in a short amount of time.

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Recent Articles from the Musika Blog

Guitar Speed Exercises

...effort to develop. This exercise is designed to get your right hand comfortable skipping strings at a fast pace. You’ll need to develop a good amount of spatial awareness and muscle memory if you want to be able to skip strings quickly and accurately.   Starting on the 12th fret of the 5th string, play that note, skip the 4th string and play the 10th fret of the third string. Repeat this sequence down a fret until you reach the bottom of the guitar. Feel free to tailor this exercise to fit your specific needs. Increase the metronome speed as you... Read More

Choosing a Saxophone Mouthpiece

...saxophone/mouthpiece/reed set-up on their websites. If they don’t, chances are someone that has worked with them or has taken lessons from them has posted their set-up on one forum or another. But, that information is not necessarily useful. Some people say they mimic their favorite player’s set-up because “then the only limitation holding me back from sounding exactly like them is me.” In a way, that’s true. But it’s much more complicated than it sounds. If you play the exact horn, mouthpiece, and reed that your favorite player had just played on, then technically you would be the only limitation. But there’s not much you ... Read More

Soloing Over Blues Changes

...discussed earlier in the article to get fully acquainted with each progression. Conclusion When I was in grad school, the trumpet player Tim Hagans came and did a week-long residency. He worked with the students in a variety of settings. One of those settings was him working with a small jazz combo that I was in. He had us do an exercise in which we played the blues, but with no harmony. The instructions were as simple as that: “Play a 12-bar blues, but don’t play it in any key… ok, go.” So we tried it out. It wasn’t perfect. But what ... Read More

Listening to Jazz: A Beginner's Guide

...to the piano/guitar, I mean to listen to what they do during the melody or during other solos. Listen to how they comp. Listen for sparse, one-note textures vs. large open-chord figures. Listen for when they decide to play vs. when they decide to lay out. For the bass, listen for when they walk in two vs. when they walk in four, listen for what range they decide to play in. Listening to the drums can be several listens on its own. You could listen for what textures drummers decide to use as a whole, whether they decide to play sparse or ... Read More

Reading Music and Reading Words Are Very Similar

...used for higher pitched voices and instruments. Piano students will need to learn to read both clefs since their music spans several octaves and is written in both at the same time. It can be helpful to use mnemonic devices to remember the note names. The example below shows mnemonic devices that can be used for the lines and spaces of bass and treble clef, but the possibilities are endless. Find something that will stick for you and soon you’ll be able to name the notes without even having to think about it! In addition to learning note names and how they relate to your instrument, it’s also a ... Read More
Guitar Speed Exercises
Choosing a Saxophone Mouthpiece
Soloing Over Blues Changes
Listening to Jazz: A Beginner's Guide
Reading Music and Reading Words Are Very Similar

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