top of page

Introduction To
Music Lessons

Study With Patrick Butler

The foundation of my teaching is rooted in the extensive decade-long apprenticeship I underwent with Harry Leahey, a renowned guitarist who himself had studied under Johnny Smith during his teenage years and later with Dennis Sandole. While my approach is not an exact replica of Johnny Smith's, it incorporates a significant portion of his methodology. It is crucial for my students to familiarize themselves with the teachings of these two influential figures in order to fully grasp and appreciate the journey they are embarking upon. Having dedicated years to studying and performing in various gigs, I have now reached a point in my life where teaching is no longer a necessity for my livelihood. Consequently, I am selective in accepting students, prioritizing those who are genuinely committed to learning a comprehensive method. By adhering to the Harry Leahey technique, students will acquire the ability to effortlessly delve into any genre of music on their own.

 

My teaching encompasses two primary aspects: guitar technique and music theory. While I welcome students from diverse musical backgrounds, it is essential for my music theory students to possess the ability to read sheet music, regardless of the instrument they play. I am open to working with beginners who demonstrate a high level of dedication and are willing to devote a minimum of two hours per day to practice.

UnderstandingGuitar Techniques

Study With Patrick Butler

A student has the ability to acquire technique without the need for music theory. The Harry Leahey method encompasses a variety of exercises that are solely focused on the physical aspect of playing the guitar. Similar to exercises like push-ups, sit-ups, and squats that prepare an individual for any sport, these guitar exercises will equip the student to play in any style. With consistent and dedicated practice, these exercises can be mastered within a timeframe of six months to a year. Furthermore, if the student continues their journey, they will progress to learning every note on each string through a unique chord position method, as well as single note triads, arpeggios, and scales in six different positions and all keys. Once the student has mastered every chord and scale in every key, they will be well-prepared to delve into advanced music theory concepts.

Although it is not imperative to learn to read music I would urge every musician to learn to read. The mathematical concepts and insights of the scales and chords can not be internalized with tablature or by even by ear. Harry assigned the Mel Bay One book as not to waste lesson time wuth something easily learned on ones own

UnderstandingMusic Theory

Study With Patrick Butler

There are two primary genres of music that incorporate advanced Western music theory: Jazz and Classical music. Both genres rely heavily on understanding various modes and chord progressions in all keys. In order to play Jazz, it is essential to have this knowledge. However, for students interested in learning the basic theory behind Celtic, pre-1980s pop, and Spanish music, which are predominantly in open keys, this can be mastered relatively quickly. This theory is based on the Major Scale and its corresponding chords, and can be learned in a few months or less. Jazz can be further categorized into two main theoretical periods: BeBop and the later Coltrane era, while Classical music has its own corresponding eras with composers like Bach and Debussy. 

Students have the option to choose which genre they would like to focus on. Bach, BeBop or Coltrane. It is important to note that a prerequisite for this knowledge is a thorough understanding of all diatonic scales and arpeggios in every key. For those who already possess knowledge of BeBop theory and wish to study the Coltrane modern era, it will only take a few months to learn the fourth chord inversions and three-note scales. However, it is important to remember that actually playing in context will require much more time and practice. At that point, if desired, students can further develop their skills by listening to and analyzing recordings on their own.

John Coltrane along with his pianist Mcoy Tyner’s “Love Supreme” period created a whole new style of Jazz. This style has previously been analyzed as based on Pentatonic scales. This can work but why does Coltrane sound so different? Why is there so much "space" between notes? These Pentatonic analysts are generally folks who transcibed Coltrane solos and were unaware of Sandoles teachings. Of course Coltrane was influenced by the Blues and other Pentatonic music; but in his Sandole lessons he saw the connections and applied Dennis Sandole’s 4rth Chord and 3 Note scales studies to create a whole new style of improvisation that sounds like no other.

Since very few musicians have been exposed to this musical knowledge;  my main purpose for giving lessons at this juncture is handing down this one aspect of Sandole. I also teach Bebop which is my great love; but the Sandole concepts are what sets my lessons apart from the vast numbers of other teachers who teach just the bebop style of jazz.

Sandole had much more to his teachings but I feel alot of this content is guitar fretboard oriented and not particularly "musical". I seek to teach music not excessive fretboard exercises. I take no credit for this knowledge since it was handed down to me by the great Harry Leahey who took lessons from Sandole.

 

 

© 2024 by PATRICK BUTLER GUITAR. Powered & Managed by ADOCYO

bottom of page