Started: Age 12
Recordings: Laura Brereton � Leap of Faith (Shouting Hill Records 2005) Remembrance (a tribute to America�s war veterans 2002)
Gear: 30th anniversary custom shop Fender Stratocaster; Steve Andersen Electric Archie custom archtop; Bill Collings OM-1 steel string acoustic; Early 70's silverface Fender Vibrolux; Acoustic Image Clarus 2R head; Roland GI-20 MIDI interface; Raezors Edge stealth 12 cab; Fender Twin '65 reissue; Apple MacBook Pro
Lesson Text: Learn to Play Rock Guitar Songs with Raleigh Green Raleigh's Guitar Song Lessons are for the beginner and intermediate Rock guitar player who wants to learn songs by Green Day, Steppenwolf, Led Zeppelin, the Doobie Brothers and the Grateful Dead. He teaches the different parts of the songs including intro, verse, chorus, solo, and interlude. Learn to play "Holiday," "Wake Me Up When September Ends," "Welcome to Paradise," �Communications Breakdown,� Dazed and Confused,� �Long Train Runnin�,� and �Friend of the Devil.�
Raleigh Green is a versatile artist, active both as a musician and a visual artist, equally skilled in hand painting/drawing and computer design. He currently teaches 40 private guitar students a week at Phillips Andover Academy in Massachusetts, where he was hired in 2004, and plays weekly gigs in the Boston area. From 2003-2004, Raleigh created multiple full-length computer animations, which were projected during numerous live performances by the band Moksha. In his spare time, he creates visual art. During the summer, Raleigh teaches music at Day Jams and the National Guitar Workshop. Besides all these engagements, he spends as much time as he can with his beautiful wife and the world's best cattle dog. As a musician, he has won several awards: In 1999, he was awarded Berklee B.E.S.T scholarship; in 2002, he won the Berklee Quincy Jones Award and the Berklee Professional Music Achievement Award. In the same year, he created Neck Art, a Flash-based scale visualization software for guitar.
When did you start to play? I started playing around with music at age 5 or 6. I can remember as a child living in Indiana, we had an upright piano that I would plunk around on for fun. I'd find simple melodies by ear and try to play with two hands. I remember my friend Kevin from down the block was at my house one day watching me play, and he said "Wow, you are going to be a musician when you grow up!" Well, he was right about one thing, I am now a full time musician. Whether I've grown up or not is another question. When did you start to notice that your playing was different from everyone else's? When did you find your voice as a player? Well, I started formal guitar lessons when I was around 12. I went to a boarding school for junior high and in a stroke of fate, I took my mom's nylon string guitar with me. It was there in the Black mountains of North Carolina that I had my first guitar lessons with this enormously tall dorm counselor named Andy. He showed me my first open chords, and I think we were both surprised when I quickly progressed from tunes like "Puff the Magic Dragon", to songs by the Beatles. The moment I learned to play "Blackbird", I instantly knew I was going to play guitar for the rest of my life. Seeing Stevie Ray Vaughn live in concert in 1990 was a big turning point in finding my voice as a guitarist. I was totally blown away because he played with such conviction. I got home from the show and said to myself, "Man, if I really want to say something with the guitar, I better start playing like I mean it". Sadly, it turned out to be one of Stevie's last performances, but that concert sure had a major impact. How do you keep your playing fresh? By keeping a number of long-term and short-term musical projects going at the same time. However, I think the biggest single thing that has kept things fresh for me is having an interest in many types of music. What do you do when you get stuck? The main thing to do is to have confidence that you can "un-stick" yourself. If I encounter a problem, I will go into problem-solving mode. In fact, it's kind of fun in a strange way because moments like that present the opportunity to put on a detective's hat and figure out what to do to get unstuck. Once the problem is understood, that clarity makes it much easier to head in the right direction. Plus, the more you successfully "un-stick" yourself, the easier it is to do the next time. What do you still find hard to do? 1) Remember songs and arrangements that I haven't played in a long time. 2) Memorize lyrics. 3) Put away the guitar. How often are you surprised by your playing, or what you're listening to, or music in general? I'm surprised by what I listen to all the time. In fact, I am often most surprised by the music that students bring in. There is a great deal of innovation and experimentation going on in the music world right now, and the Internet has made much of it instantly accessible. Do you have a regular practice regimen? Yes, I play my guitar every single day! Do you have a practice "tool-kit" - metronome, tuner, recorder, etc.? It's all in my laptop. Do you have a special place for practice set aside in your home? Usually I practice in my studio (but on the couch in front of the TV is not unheard of either). How do you practice on the road or when you travel? Something I enjoy doing is visualizing the guitar fretboard. That way, I can mentally play along to what ever I want to, wherever I am. Is there a piece of gear you just can't live without? My guitars. Are there one or two core ideas that are central to your teaching that you make sure every student learns? Yes, the most important thing is to enjoy learning to play - and then, enjoy playing what you've learned! Do you find yourself returning to listen to the artists who inspired you when you first started to play? Who are they? Yes, all the time. John Coltrane and J.S. Bach. Does your playing change when you switch instruments? Yes, I believe so. I think playing different instruments brings out different shades of a person's personality. Sometimes it is intentional if you are playing within stylistic boundaries, but I think it happens unintentionally as well, just due to the sound, look, and feel of different instruments. How often, when you're playing, do you find those moments of pure music, when your head is clear, your fingers are working, there are no distractions, and it's just you and the music? For me, I think it's easier to reach that state after playing for long periods of time. After playing for an hour of two, the hands get loose and the ears start to expand. There's still no guarantee that it will happen, but when it does, it sure feels good. We have a feature called "Big Ears", where we suggest interesting music to our members that they might not have heard before. What would you suggest for them? If you haven't already done so, be sure to check out some of the current and past musicians that push the boundaries of music. Here are some of my favorites in no particular order: John Coltrane, Ornette Coleman, Fred Frith, Derek Bailey, Eugene Chadbourne, Henry Kaiser, John Zorn, Steve Reich, Buckethead, Joe Morris, Mike Patton, Eric Dolphy, Matthew Ship, and Marc Ribot are just a few. Give some of these musicians a listen and you might just hear something you like. What are you listening to these days? Do you search out music that's new and unfamiliar to you? I've been on a Henry Kaiser kick recently � he has this fantastic album called "Lemon Fish Tweezer" that is absolutely amazing to listen to. But as far as searching for new artists goes, students bring their favorite new music to their lessons all the time, so that's one way I get exposed to different things. There are also a few great radio stations in the Boston area that play a wide variety of quality music. Of course the Internet comes in pretty handy for finding new music as well. Do you have a musical wish list - other instruments to learn, people to play with, artists or styles to explore? There is always a ton of gear on my wish list. However, the things I have most wanted to get for the last few years are a mandolin, and an AnalogMan King Of Tone Pedal. As far as styles to explore, I'd like to get more into strange experimental music using computers, MIDI guitars, and real-time looping software like Abelton's Live. Have you ever had a really great teacher? What made him/her so good? I have been very lucky to have many wonderful teachers and I'd be happy to tell you about them. My first great teachers were my parents. They were (and still are) musically inclined, and they taught me that music was part of every day life, and it could be enjoyed on a daily basis by doing something as simple as singing, whistling, humming or tapping your feet (not to mention rocking out on a guitar or a piano). Then, I had a series of great teachers through high school and college. In particular, my first Jazz guitar teacher was Steve Grismore, director of jazz studies at the University of Iowa. Steve was the first person to introduce me to music theory and improvisation. Next, upon moving back to Missouri, I studied with a number of amazing musicians, starting with solo jazz guitar master Lyle Harris, then modern jazz guitarist Shawn Hennessey, followed by a few years of excellent piano lessons with jazz great Tom Andes. Keep in mind, all the while, I was spending my summers at the National Guitar Workshop in Connecticut, and I must say, I was (and continue to be) in absolute guitar heaven at that place! It was nearly 18 years ago, when I first experienced the Workshop's music program. As a student at the Workshop, I had so many great teachers I couldn't even try to list them all (however, I will mention that quite a few of them still teach at the Workshop, and many of them also teach here at WorkshopLive!). And that doesn't even include the incredible guest artists � quite an amazing place for a guitarist to be. Then, during the three years I spent at Berklee College of music, I worked with some truly world-class teachers. After studying with monster guitarists Mark White, and Bruce Bartlet, I had the pleasure of studying with the great Jon Damian and Bret Wilmott. After that, I was very fortunate to study with Mr. Goodchord himself, Mick Goodrick (one of the main reasons I moved to Boston was to study with Mick). After graduating from Berklee, I placed myself on a year and a half long waiting list to work with the most brilliant music teacher I've ever met - the legendary pianist Charlie Banacos. And the good news is, I still study with him to this day. Isn't it great to be a student? How do you learn best? When I'm having fun. Do you have any practice tips we can share with our subscribers? Experimentation leads to invention and innovation, so be sure to take the information you learn from WorkshopeLive and make it your own by following your muse. Visualize yourself as your own best student, as well as your own best teacher, and you will find yourself on a direct path toward a lifetime of musical milestones. Be sure to have fun as you practice, because the process of working towards a goal is often as rewarding as the goal itself. Best of luck! Visit Raleigh at www.raleighgreen.net
Lakeside, CT 06758
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