 After studying with some of the world's top classical guitarists including Sergio Assad, Dr. Brian Torosian and Denis Azabagic, Chicago guitarist Brad Conroy is beginning to make a name for himself on the Midwest concert and educational scene. Currently teaching at the Metropolis School of the Performing Arts in Chicago, Conroy is also an active performer on both the classical and electric guitar and can be heard in many of the cities top performance venues as a soloist or member of one of his working bands.
Brad took time off of his busy schedule as a performer and educator to talk about his upbringing and how his teachers have affected his current teaching approach.
MW: How did you get your start as a guitar teacher?
BC: I began teaching when I was in my first year of college. I was working behind the counter at a local music shop, and my friend who was teaching at the store told the owner that I was getting good and that he should let me take on some students. He agreed to this and that’s how I got my start, and I haven’t stopped teaching or looked back since.
MW: Did any of your teachers have an influence on your private teaching approach?
BC: There is no question about it. All of my teachers have played a huge role in my teaching style. I’ve had four primary teachers throughout my education and each one had a different teaching method, they all focused on different elements of playing, technique, and music.
Each teacher was able to push me in a different way and each helped me to overcome different obstacles. I have always felt that this experience helped me to achieve more than if I only studied with one teacher during my scholastic education. It is without a doubt that all of these different influences and different opinions have had a huge impact on my playing, approach toward learning, vision, and teaching method.
In my teaching style I draw on these four influences greatly and I can usually present my students with a few different ideas toward solving one problem. I always catch myself saying the same things to my students that my teachers had said to me.
MW: As someone who draws from many influences in their playing how do you encourage students to explore different genres and styles of music?
BC: I’m constantly trying to turn my students onto music that they wouldn’t normally listen to. For a while I was only listening to Indian Classical Music, and during this time, and to this day for that matter, I’m inspired to give a lot of lessons on droning modal improvisation, one and two chord grooves, and I play a lot of Ravi Shankar recordings for students.
At first some might think it is weird, but once I begin to explain it a little and show some excitement toward it, a few get hooked. My latest phase is Flamenco and I have been teaching a lot of right hand rasgueado techniques. The students will hear a little bit as they come into their lesson and some are inspired to inquire about it. I guess what ever music I am into at the moment happens to always find its way into the teaching studio.
MW: In your opinion how has technology, especially the internet, changed the landscape of guitar education in recent years and where do you see it headed in the future?
BC: The internet is an incredible resource for young players. There are a variety of lessons a student can learn from on YouTube and by some of the finest players around too. I am surprised at the amount of video clips that I’ve seen online. This is a tremendous advantage for a young player, I never had the opportunity to see Julian Bream perform when I was younger, but with the internet he is available anytime.
The student can use these videos as a reference to check out fingerings, learn new techniques, and they can also be a great source of inspiration. There is also a wealth of free music, tablatures, and online forums that can really be an aid to any level of player.
The internet can also distract a lot of young players too. I feel that some of my students might spend too much time watching guitar videos and not enough time practicing. Like with anything there needs to be a balance, and there is no substitute for a good private teacher and lots of time spent practicing.
MW: You are such an experienced and accomplished performer as well as an educator. How has your teaching experience influenced your performing and vice-versa?
BC: My performing influences my teaching in many ways, and one example from last year comes to mind. I was playing some gigs where I had to learn four sets of popular rock tunes in a relatively short period. I was limited on time so I was teaching a lot of these tunes to my students because I had to work on them and learn them too. The same thing goes for new licks and new ideas, if I want to make sure that I have a new concept solid, I will work on it with a few students.
Teaching helps my performing in a variety of ways. During lessons my ear is always being exercised, my knowledge of technique and theory is always sharp. I am constantly sight reading through new repertoire to work on with students and I do a lot of improvisation with students during lessons too. All these areas help enhance each other and keep me prepared for what might happen on stage.
MW: What advice do you have for people who are just starting to teach guitar?
BC: Teach what you know, take your time, be patient, be an inspiration, be strict, be encouraging, be a good role model, be funny and entertaining, and learn what good effortless technique means.
MW: What advice do you have for students when they are looking for a private teacher?
BC: The serious student with high aspirations should find a teacher with good credentials, a good reputation, and good students. I would recommend taking a few lessons with a few different teachers and choose the teacher that you like the best and feel the most comfortable with, and never be scared to get another opinion.
MW: Thanks for talking with us today.
BC: No problem, anytime.
|
Educational Articles 
