Message From Jamie: I grimace as I remember my early years of teaching classical/fingerstyle students, and dreading turning the page to introduce a new and particularly difficult technical skill. The only problem was, just about all the necessary skills fell into that category! I grimace even more when I think of how many new students walked into my studio, and announced they had been playing for a few years (sometimes many years) and had lessons and teachers, and in fact studied some of the very same method books and pieces that I use. And then they would play for me.

As I would listen to the disfigured music, and watch the crippled contortions of the body that was producing it and matching it in clumsiness, I would shudder to think that their teachers had let this happen to them. But I knew all too well how difficult it was to teach the average aspirant of this style of playing to attain any more than the status of "struggler" of the guitar, and not "player".

Sure, I knew even at that time that I had a higher level of success with a greater number of students than other teachers, and the proof of that walked regularly into my studio, but there were still some students to whom it seemed next to impossible to train to play well. I was constantly motivated to try to improve this situation.

When I formulated the practice methods and foundation exercises in "The Principles Of Correct Practice For Guitar", I finally had a way of eliminating, indeed preventing, all of the worst things that happen to guitar students, and stop them dead in their tracks as they try to learn guitar. Many of those exercises set the stage for the effective learning of the most difficult skills used in fingerstyle guitar, such as gaining complete independence of the right hand fingers with the "fingerdipping exercises".

But there are many specialized and specific techniques needed to play fingerstyle well, and especially the classical repertoire. And so, for those students wishing to pursue this course of development, and learn to play fingerstyle, and even the classical repertoire the way it should be played, I developed the "Online Classical/Fingerstyle Course". Since its release, the response to this course has been overwhelming.

The power of this course is far, far, beyond anything else out there. It accomplishes exactly what I intended: it provides a means for the "casualties" of classical training, those earnest pursuers of this complex and beautiful style of guitar who have been literally crippled by previous so-called lessons, to play, and to play with solid, beautiful technique that will continue to grow even stronger.

This is not hype, it is fact. I am going to tell you a bit about one of the students of this course, someone who exemplifies everything I have just said, in terms of what happens to the usual classical student receiving the usual training, and the difference the "GuitarPrinciples Online Classical/Fingerstyle Course" makes with the very same student. Here is the inspiring story of Ray Dempsey.....

Ray's Story

GP: Are you, or have you, taken lessons other than this course.

Ray: I took private lessons for six months in 1978. My teacher was using the Shearer book (the same book the GP course is based on). At that time I practiced 2-4 hrs/day. Then I moved. Nevertheless, I finished the Shearer Vol.1 on my own. But I never knew if I was getting it right.

I never memorized anything, so my repertoire was non-existent, and I always needed the book. Sometimes I sang like a bird, other times and most, I croaked like a frog!

I always wanted to play all over the fingerboard,...but alas, I just never knew what to do or where to go, or how to get there. I never got back into it until I retired, put my foot down and said "I am going to learn this guitar!". And finally I found your site and course by pure accident while searching the net.

GP: Any comments regarding the value of those lessons compared to the value of the GuitarPrinciples "Online Classical/Fingerstyle" course?

Ray: There is none! My 1978 lessons could not even come close to the instructional value of your material, including your web site. If I had it in 1978...I would be teaching you! (ha!).

GP: How much do you practice?

Ray: Since commencing your course (Sept, 2006) I usually practice one hour/day. But lately, it seems the guitar is calling me and wants more....so......I am going to try and double that practice time.

I have a library of guitar books that I have collected over the years, that I never tried. Nevertheless, I am disciplining myself and have committed to finish the Shearer Vol. I under your instruction before opening any other book. I want to ensure I get a solid foundation before moving on. It seems my inner guitar soul is screaming out for more, but I have to slow it down, at least until I get the foundations down pat.

GP: Any comments, observations, interesting experiences about the course.

Ray: The greatest lesson, thus far, is the knowledge of the Basic Practice Approach (from "The Principles Of Correct Practice, Chap 5 ). . It taught me how to focus, what to focus, where to focus, and the results are incredible not only in terms of progress, but in terms of whole body awareness and the value of being relaxed.

Recently, I have been working on the tremolo and felt pretty good to get it to 144M at 8th notes. But began to realize a limitation, and couldn't get beyond, as my right hand started to cramp, especially my little finger side. So in good BPA fashion I started going back down, analyzing and finally ended up at 50bpm realizing that I wasn't bringing my middle finger back to the string as I played with the index.

When I started doing this, I could feel the tension leave the right side of my right hand and my little finger didn't contract unnecessarily. So now, I'm gradually increasing speed, and the whole process feels so darn rewarding! It is not instant results, but quick results with efficiency!

I really look forward to your comments on the site. For instance, I am still working the 6-note arpeggio in accordance with your comments on my posting. At first I thought you were crazy as I had found your instruction (my execution thereof) awkward at first, but as I focused the BPA, it became very clear that you were right! How silly of me to think otherwise! I guess that's the value of trusting your teacher!

Which really points to the danger of bad teachers giving bad, little, or no instruction: i.e., if the student is trusting and unquestioning, the bad teacher has started him/her out on the wrong fork in the road! The other valuable component is the recording and posting on your site. Being basically a shy, reserved sort of guy, it took me one week, attempting my recordings every morning, all morning, to do my first one. Now there was a challenge! Man it felt good, once accomplished! That I believe is a very valuable component of the course.

Also, watching my hand in the mirror is also a valuable tip that I learned only in this course. In terms of the Forum itself, I pick up some great info, as well it gives me the ability to gauge my progress against some of the other students. I find the Forum very positive, no nonsense, and advice from some wonderful professional musicians. And the other beauty of the course is your demonstration of "how" the piece should sound - something to strive towards. I could never figure out, in all those other books I have, why a CD of examples were never included. In essence, your course is complete, in comparison to most others.

GP: Would you recommend this course to others wanting to learn classical or fingerstlye guitar?

Ray: Without any hesitation, I would (and have) recommended your site and this course to many others.