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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!

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

Jordan M

Instruments: Guitar Bass Guitar

I prefer tailoring my teaching approach to suit the individual's interests. When I initially began taking lessons, my primary focus was on learning how to play Death Metal. However, my instructors were unable or uninterested in guiding me through that genre. Unfortunately, this led me to discontinue formal lessons for a while. It was only years later, through my own musical experiences, that I started recognizing the close relationships between different genres. Read More

Nicolo L

Instruments: Guitar

I'm an open minded teacher and musician whose aim is sharing his skills and experience in order to give his students one more inspiration. I started with the classical guitar in 1994 and attended the Music School in Garlasco (PV), Italy, earning a merit certificate. After some years being self-taught, I attended the Lizard Academy and took lessons from teacher Fabio Casali, a Jazz musician, and I earned a merit certificate. Read More

Jacob P

Instruments: Piano Guitar

I tailor each lesson to the unique self and stage of musical development of the student and actively create custom lesson plans and materials to best suit their progress and musical curiousities. Improvisation and rhythm games, music theory essentials, and instrumental basics are core components of my teaching practice. Read More

Travis Y

Instruments: Guitar Synthesizer Electric Guitar Acoustic Guitar

I have over 16 years of playing experience and 10 years teaching both privately and in schools and programs, so I possess a perfect combination of musical and educational experience to best teach you. I have taught privately since studying at Berklee, offering tailored lessons to my students based on their goals, taste in music and unique personality. I'm comfortable teaching all ages, having had extensive experience with both K-12 and teaching adults, I know how to scale lessons back and scaffold for younger students and how to expand and challenge older, more experienced students. Read More

Michael L

Instruments: Guitar Trumpet

I have played and taught a wide range of styles throughout my life. I graduated from the University of Washington in 2010, majoring in Guitar performance. I have had the opportunity to play in rock bands, jazz ensembles and as a solo performer. I am currently getting my music ed credential at SJSU. I still play frequently in town with my jazz ensemble. Read More

Christopher A

Instruments: Guitar Trumpet Trombone Euphonium Tuba Classical Guitar Acoustic Guitar

There are many great method books out there for young students. Typically, I use whatever material the school provides, be it Standard of Excellence or Hal Leonard's Essential Elements. I like to incorporate other methods for more advanced students, such as the Conservatory Method by Jean-Baptiste Arban, Michael Davis's many offerings, and/or any of the great etude books out there. I feel it is best to use a well-rounded approach, especially considering the students needs as it pertains to their goals. Read More

Teacher In Spotlight

Peter R

Instruments: Drums Music

Do you use specific teaching methods or books? (Ex: Alfred, Bastion, Suzuki, Hal Leonard) Why did you choose them if you did?
It's important for beginners and intermediate drummers to learn from the same basic books that have been the staple for teachers and students for time and memorial. I make sure I incorporate lessons from: 1) George Lawrence Stone's Stick Control 2) Ted Reed' Progressive Steps to Syncopation for the Modern Drummer 3) Joe Morello's Master Studies 1 & 2, 4) Podemski's Standard Snare Drum Method 5) George Lawrence Stone's Accents and Rebounds 6) Rubank Elementary Method I use so many other books that are too numerous to list.

What do you think is the hardest thing to master on your instrument?
The drums never cease to amaze me. There is always something new to learn or improve on. This instrument requires musicianship, strength, endurance, and 4-way independence unlike any other instrument. As a drummer, you need to "get out of your head", and let yourself go. Once you overthink something, your playing can start to sound academic. You must be able to execute without tripping over yourself. Unless you're ambidextrous, getting your non-dominant hand to do what your dominant hand does is the single hardest thing to achieve and maintain. Every one of my professional drum colleagues says the same thing, "it's a constant struggle and a lifelong challenge to build control with a non-dominant hand."

Why did you choose your primary instrument?
Like many children of the sixties and seventies, Rock n Roll was very popular. The English music revolution had taken hold. When I saw The Beatles, The Rolling Stones, Herman's Hermits, the Kinks, and more, that did it for me. But it was the Dave Clark Five that pushed me over the top. Dave Clark was the lead singer and the drummer. That, too me, was the coolest thing I'd ever seen, and that's when I knew I wanted to be a drummer. I needed to be a drummer!

What musical accomplishments are you most proud of?
Being endorsed by HingeStix Practice Drumsticks was monumental for me. I knew I had arrived as a player and a drum teacher when I got that endorsement. But I also knew I had accomplished being a drummer when fellow musicians would tell me that I was a great drummer, perhaps the best drummer they had ever heard or played with. I know that I'm not as good as some, or better than others. But I appreciate the positive feedback. I've also written and produced music projects over the years that borrow from my percussion background to create driving music beds and themes for television and cable broadcast, and streaming digital platforms.

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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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