Pedagogy
Beyond
"Tricks and Licks"
As an undergraduate junior at Duquesne University, I remember feeling nervous about my first teaching gig. I went to my teacher, Thomas Kikta, for advice. He put it simply: "You may not have experience yet, but what you already know is better than 90% of what's out there. It's all 'tricks and licks' teaching."
That framing gave me the confidence to get started. Over years of teaching, the patterns I saw in self-taught players and transfer students painted a clear picture: their previous lessons lacked structure, clear goals, and an understanding of the biomechanics of the guitar. As I leaned into my methods and built a 5-star reputation, the common theme from those reviews was the clarity and structure I brought with my teaching.
Every student is unique, which makes this job incredibly rewarding, but the core mechanics of interfacing with an instrument are eternal. Having a solid, structured curriculum provides reliable material for students to apply those lessons against, rather than aimlessly chasing unfinished song after unfinished song. Below are the core texts that hold a permanent place on my bookshelf, selected specifically for each student's instrument and individual goals.
Why Aren't Tabs Enough?
I don't judge guitarists who can only read tablature. At the end of the day, this business of placing fingers on strings ends up being about making music. Music is king, and the audience won't know what etchings were on the paper that lead to the music if the music is solid.
However,
There's a huge difference in the kind of internal experience you will have as a player, and the capacity to understand what you are doing and both how and why it works that way, if you learn to read. There's a different sense of intent and direction that's available to a player who understands say, the dramatic import and harmonic tension of the flat five in a blues scale, than a player who simply followed the directions and got their fingers to the right string/fret combo.
Further, literacy actually opens up the imaginal plane of guitar practice, both for improvisation and composition. Paradoxically, you have to be literate (to some degree) to have optimal instincts when playing away from the page.
Yes, there are geniuses and legends whose abilities perhaps defy this. I don't argue with them and I also don't need to teach them lessons. We have an equilibrium.
As an educator, it's simply not enough for me to direct your fingers to the numbers on the tablature page. There's not as much for you to gain, and it reduces the world of music to something far too small.
Tabs are a great tool. They have a historical basis as old as Lute Tablature. I teach on tabs when they're the better tool for the job (certain fingerstyle arrangements for beginners, and lead guitar with high density of shifting and bends).
But, all of my students read.
Core Curricula
Every student walks their own path.
These texts have proven time and again to be reliable companions on the journey to mastery.
The Shearer Method
The Approach:
A foundational pillar of American classical guitar pedagogy, this method emphasizes healthy, tension-free physical mechanics and rigorous reading skills. It aligns perfectly with the principles of the Alexander Technique and directly prepares students for the Royal Conservatory of Music (RCM) syllabus and state adjudications.
Who It Is For:
Classical guitar students, transfer students struggling with right-hand tension, and those preparing for college auditions or MMEA evaluations.
Berklee Modern Method for Guitar by William Leavitt
The Approach:
The undisputed gold standard for collegiate jazz and pick-style sight-reading. This method aggressively cures "tablature dependency" by unlocking true sight-reading, comprehensive fretboard logic, and advanced harmonic theory.
Who It Is For:
Advanced-track pick-style players, aspiring jazz musicians, and serious students looking to bridge the gap between playing by ear and true musical literacy with theory.
Sound Innovations for Guitar
The Approach:
A structured, highly predictable framework that establishes a rock-solid foundation in rhythm, basic reading, and technique. It offers a highly rewarding pacing structure that keeps new students engaged without skipping critical foundational steps.
Who It Is For:
Standard adult beginners and teen students who benefit from a methodical, clear, and unhurried approach to the guitar.
Royal Conservatory of Music (RCM)
The Approach:
The internationally recognized gold standard for classical music assessment. This comprehensive syllabus provides a meticulously graded progression of repertoire, etudes, sight-reading, and ear training, ensuring complete musical development without any pedagogical gaps.
Who It Is For:
Highly driven classical students, those who like to climb 'levels', and anyone preparing for MMEA evaluations or collegiate conservatory auditions.
RockSchool (RSL Awards) Syllabus
The Approach:
The contemporary counterpart to classical grading systems. RockSchool provides rigorous, benchmarked levels for modern styles (rock, pop, funk, and R&B). It emphasizes practical performance skills, stylistic authenticity, and playing tight with backing tracks.
Who It Is For:
Contemporary pick-style and bass students who want a structured, goal-oriented path of advancement but prefer modern repertoire over traditional classical pieces.
FJH Young Beginner Guitar Method
The Approach:
Specifically engineered for younger hands and developing attention spans. This series uses large notation, manageable physical steps, and engaging exercises to build early musical confidence without the frustration that often accompanies standard beginner books.
Who It Is For:
Children (typically ages 6 to 11) taking their very first steps into guitar playing, requiring a customized, patient pacing structure.
Faber Piano Adventures
The Approach:
A time-tested, comprehensive piano curriculum that balances technical exercises with engaging repertoire, ensuring students develop strong sight-reading skills and proper hand position from day one.
Who It Is For:
Beginner to intermediate piano students of all ages looking for a structured, sequential path to keyboard fluency.
Hal Leonard Bass Method
The Approach:
The industry standard for building a rock-solid foundation on the bass guitar. It moves students past the trap of memorizing tabs by focusing strictly on reading bass clef, locking in with a rhythm section, and developing the proper left-hand finger independence required for clean low-end grooves.
Who It Is For:
Beginner to intermediate bassists who want to understand fretboard harmony and their true role as the harmonic foundation of a band.
Hal Leonard Ukulele Method
The Approach:
An accessible, highly structured introduction to fretted instruments. It teaches proper strumming mechanics, clean chord transitions, and standard notation reading while preserving the inherent fun and approachability of the instrument.
Who It Is For:
Beginners of all ages seeking an inviting, structured entry point into music, or younger students building dexterity before transitioning to the guitar.
Moving Beyond the Page
As students progress in my curriculum, their individuality naturally grows out of their ability to face and solve musical problems on their instrument. As our lessons advance, I place more of an individual spin on the curriculum, helping select specific projects and repertoire that align directly with their personal interests and ability. By this stage, they have the foundational tools to successfully tackle and complete these pieces within a reasonable, focused timeframe of 4 to 6 weeks.