Over the years I have trained under and trained several classical guitar teachers. I studied the classical guitar for 7 years under a variety of teachers.
I first studied under Mohammed Zuklifee for 2 years, and then under Ernest Kwok for 5 years.
Zuklifee was an excellent teacher who instilled upon me the joy of playing the classical guitar. Under his tutelage I learnt the importance of playing for yourself above all else. The moment you play for ‘other’ reasons such as exams, performances or pressure, your personal relationship with the instrument suffers.
But after spending 2 years with Zuklifee, I wanted some variety. I wanted to learn from one of the best classical guitarists in Singapore. I asked around and every guitarist I approached unanimously pointed me to the esteemed Ernest Kwok.
This classical guitar master would hone and sharpen my technical and musical skills. The 5 years I spent with him was my greatest cycle of growth as a classical guitarist. This is not only due to his excellent instruction, but it is also due to circumstance.
During these 5 years, I would also be mentored by the legendary Alex Abisheganaden. I came to know Alex when I joined Ngee Ann Polytechnic Strings (NPS). There, I became a principal performer, performing as a soloist at every major event I was involved in.
The marriage of Ernest’s technical training, Alex passive mentoring and the burden of being a principal performer for NPS became instrumental in my rapid growth during these 5 years.
I am proud to say that as a performer, I played a wide variety of solo works. This includes Adelita by Tarrega, Dansa Brasilera by Jorge Morel, and perennial favourites of Mark Yong that includes his arrangement of How Deep is Your Love, You’re my Everything and All at Once.
I did not take the easy way out by regurgitating 1 song over and over again (an irritating concept that was pervasive at NPS). I set high standards for myself.
Being surrounded by passionate NPS guitarists was also helpful. James, Sio, Jeremy, Boon Kuang and Yow Heng were excellent contemporaries who selflessly put their ego aside to let me flourish in NPS. They trusted me enough to burden me with the role of a principal performer. For that I am eternally grateful.
Up until that point, I had never thought much of my own abilities as a classical guitarist. I had always assumed that everyone was the same as me. When I joined NPS, I saw otherwise, and apparently so did Alex. After I left NPS, Alex personally requested that NPS hire me as an instructor.
I was completely and utterly flattered. I could not say no to Alex.
So in addition to teaching the classical guitar privately, I also taught at my alma mater. There I would train student instructors and club members. I would also act as an assistant conductor during Alex’s absence. (I find it disrespectful and dishonest to label myself a co-conductor since I did not contribute to the club’s conducting as much as Alex did.)
I oversaw operations of the 30-member strong club, lead the procurement of Niibori instruments and lobbied the school’s management into giving Alex a much deserved raise. I am exceptionally proud of what I achieved there.
But all good things come to an end. My 1-year employment at NPS came to a conclusion when I was drafted into National Service (NS). My commitments to the countryalso forced me to stopped teaching privately.
My NS vocation constantly required me to be ‘on call’ and I could not provide the level of attention and customer service that my students deserved.
During these 2 years, I would still get requests from potential students but I flatly turned down such offers.
A long time would pass before I would continue teaching the classical guitar again.
To be continued.
