Profesor de guitarra profesional con más de 10 años de experiencia en la enseñanza de la guitarra y la teoría musical.

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• When did you first develop a passion for music and your favorite instrument?

  My dad has always loved the guitar, so when I was a kid I grew up listening to guitarists like Stevie Ray Vaughan, Gary Moore, Ritchie Blackmore, and many others. I wanted to play guitar from the time I was about five years old, but I really started taking it seriously when I was 12.

• Is there a particular type of music or artist that you listen to on a loop without it driving you crazy?

  Right now, I couldn’t name just one, but when I was a teenager I definitely went through different stages. There was a time when I would listen to Stevie Ray Vaughan on a loop for hours. Later on, it was Yngwie Malmsteen. I could literally listen to the same song over and over for hours without getting tired of it.

• Explain to us the most difficult or riveting course you could personally give to a student of music.

  I think one of the most challenging things to teach is that context is everything in music. Developing your own musical criteria—understanding not only what works, but why it works—is something I really try to help my students with.
  
  I also like to develop a deep understanding of the tonal system: how it works, how the different elements relate to each other, and how tonality preserves its identity even when the harmony becomes more complex. Becoming conscious of these things can completely change the way a musician understands and approaches music.

• What do you think is the most complicated instrument to master and why?

  I think almost any instrument can be the most difficult to master because so much depends on the musician and how far they want to take it. I would say the guitar is certainly one of the most difficult instruments to truly master, but claiming that it is the most difficult would be a little unfair to all the other instruments out there. Every instrument has its own challenges and can take a lifetime to master.

• What are your keys to success?

  I think one of the main keys to success is learning to enjoy the process instead of constantly waiting for results. If you remain committed to the process, keep working, learning, and improving, the results will eventually come. For me, focusing too much on the destination can make you miss the most important part, which is everything you learn along the way.

• Name three musicians you dream of meeting in your favourite bar in the early hours of the morning. Explain why.

  I would say Guthrie Govan first. I love the way he expresses himself on the guitar, but I’m equally interested in the way he thinks about music and the discipline itself. He has an incredible ability to communicate musical ideas, both through the instrument and through words.
  
  The second would be Joe Satriani. Obviously, he’s a fantastic musician, but he also seems to have the mind of a teacher. I think having a conversation with him about music, learning, and teaching would be fascinating.
  
  For the third, I would choose Bill Evans. His understanding of music and harmony was extraordinary, and I’d love to hear him talk about how he approached harmony, improvisation, and musical expression. Having those three people around the same table would make for a pretty interesting night!

• Provide a valuable anecdote related to music or your days at music school.

  When I was about 15, I was playing some virtuoso guitar pieces at a gig. An older man who had worked as a manager with the Allman Brothers saw me play and came over afterward. He told me, “You’re going to succeed, young man.”
  
  I still remember him standing there and talking with my dad for a while afterward. I was very young, but having someone with that kind of experience say something like that to me stayed in my mind. It’s one of those little moments you don’t fully appreciate when they happen, but you remember them years later.

• What are the little touches that make you a Superprof in music?

  I think I’m particularly good at noticing the small details that can make a big difference in a student’s playing and understanding. Sometimes a student doesn’t need more information—they need someone to identify the one thing that’s holding them back or the concept they’re missing.
  
  I’m also very focused on explaining things clearly. I don’t just want a student to memorize a scale, chord, or concept; I want them to understand why it works, where it comes from, and how they can actually use it in a musical context. My goal is ultimately to give students the tools to think for themselves as musicians.