Guitarist John Wunsch has enjoyed a highly successful career as both a performer and educator. After spending his formative years performing throughout North America, Europe and Japan, John was appointed to the faculty at the Interlochen Arts Academy. As the Academy’s guitar instructor, and director of the Interlochen Guitar Festival Workshop, John works with some of the finest up and coming classical and jazz guitarists on the planet.

John took time out of his busy schedule at Interlochen to talk about his experiences as the guitar instructor at one of the world’s leading high-school music programs.

MW: How did you get your start as a guitar teacher?

JW: When I left NYC, and intended to limit my touring schedule, I really wanted to start teaching. So I advertised in a local paper and managed to get an article about my moving to Traverse City and how I was looking to take on private students. I also submitted my resume to both Northwestern Michigan College and the Interlochen Center for the Arts.

It was years before I finally got my opportunity at Interlochen. Though in the meantime all the press, my performance career and local students had helped me develop a profile that brought me to the attention of the school. So when the guitar instructor resigned, Interlochen called me the week classes were starting and it has all built up from there.

MW: Did any of your teachers have an influence on your private teaching approach?

JW: Certainly I think everyone from my very first teacher on up has had an effect on me in some way. From certain teachers I have taken their style, others their actual technical approach, and in a few cases an example of what to avoid. One of my biggest influences was Jesus Silva at the North Carolina School of the Arts, from whom I learned much about artistry and style. He also influenced the way I help students develop a sense of self worth and confidence. From him I learned to enhance the artistry of my students and to give them an appreciation of beauty in the world.

Nick Goluses at the Manhattan School of Music was another influential teacher of mine. From him I primarily took much of my technical approach to skill development, as well as some important historical perspectives on interpretation. The lessons that I learned from Nick, or in master classes with David Russell and others, I apply in terms of methods for technical improvement, that then carry forward to new applications and more universal approaches. A good example of this is the way I use classical guitar techniques with my jazz students, who play electric guitars. 

MW: As someone who draws from many influences in their playing how do you encourage students to explore different genres and styles of music?

JW: I base it around listening. They need to hear it first, better still see it played live, and then they are truly fired up to play. If something does not inspire them then the listening may be as far as it needs to go. One may make small gains by playing a piece or two from a repertoire that they respect, but do not enjoy, however it is my experience that students learn best when they are motivated to do so.

I simply believe we cannot make consistent and significant progress unless we are inspired by, and honestly in touch with, the essence of the style we are playing. For example, I try to insure that students who come to study at Interlochen really know the classical or traditional jazz styles. Even if they are more advanced technically, they need to have listened to the repertoire and in their heart of hearts have the desire to learn these pieces. Of course for classical that can range form the music of Bach through the works of Garoto to Andrew York. For jazz, there is also a pretty wide range, but honestly our Academy jazz program is centered on the classic jazz style. So, incoming jazz guitar students will need to have spent some serious time listening to the music of Duke Ellington and Count Basie through the Miles Davis cool period.

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?

JW: Well I may not be the best person to ask that question. I am blessed to be a part of  the program at the Interlochen Arts Academy in which I spend up to 8 hours each week with each of my students, much of that in a group. Because I have so much direct contact with my student I do not work much on the internet as an educator. So in regards to the area of internet music education I am rather poorly informed.

But, I can say that it is much easier to access biographical information about artists, historical information about repertoire, to see examples of performances, and to communicate with others of like mind since the evolution of the internet. In that sense I see it as a great advantage.

In the future, I could see more opportunities emerging for online distance education. Though we have to realize that online education does diminish direct personal contact, which can hold valuable, subtle cues about how we handle ourselves as human beings and artists. I think we need to maintain as many opportunities for live master classes, private lessons and performances as possible, alongside any online teaching that we pursue. However, I could see in tough times how using the internet to hold master classes and private guest lessons at an institution such as Interlochen would help with budget issues.

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?

JW: Well I have known for the longest time that I became a better player once I gained some teaching experience. There is nothing like explaining “how” to better know “how”. I have found that I have grown a lot as a teacher and player from the contact I have had with the many great touring artists, educators and guest performers I have been able to bring into both Interlochen and Northwestern Michigan College over the years. That contact has made me a better teacher, and therefore a better musician.

Performance wise, as I need to help my students be better performers, better handling their lives around playing and their preparation, I have needed to become clearer on what works for me and what does not work for me. I think that has definitely improved my own performing.

Then looking at it the other way, my experiences as a performer have greatly improved my ability to prepare my students for their musical careers.

MW: What advice do you have for people who are just starting to teach guitar?

JW: Be flexible, each person learns differently, try to adapt. For some students you really need to help them practice the material in the lesson, for others you just need to put it in front of them and away they go. Then there are those who just need see things performed for visual and audible confirmation. Some students need help with the physical aspect of playing and others need help learning how to focus or organize their practice time, while others need help organizing their lives to make the time for practice.

Don’t be too hard on yourself. If a lesson does not go well realize that you get another start with that student next week. Finally, when you find something that works, put it in a handout form. This will save time in subsequent lessons and allow you to not waste time helping that student in their study. Not every person will need every handout, but it is nice to have them in a file ready to go when you need them. It takes time to get your act together as a teacher, just as it takes time to learn to play. They are not one and the same.

MW: What advice do you have for students when they are looking for a private teacher?

JW: I guess the most important thing is finding your own interest and inspiration. First try to find someone who plays the style you want to learn to play in the long run. Then as the old saying goes, “if at first you don’t succeed……… “ If you find that you are not inspired, or making progress, don’t be afraid to try another teacher. I also feel that it is usually best to learn some reading as you go along, not just tablature, but notation. Granted it may not be completely necessary for every style of guitar, but if you have any professional aspirations reading is a must.

And this is a bit off of the question, but in the end keep in mind that musical fulfillment can come in small bites. Goals are great, but keep perspective. Rather than pushing yourself and feeling bad, or discoursed, if you don’t get to a certain point in your playing, acknowledge whatever progress you make and try to appreciate each step of the journey.

The ability of a person to strum chords to a simple song is really a marvel of the beauty of existence and human creativity. When you do that simple act you are participating in an art form that has been developing for many, many centuries.

MW: Thanks for talking with us today.

JW: Anytime.