Graduate of Berklee College of Music teaching Guitar, Ukulele, music theory based in Los Angeles

Find out more about Simon

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

  I’ve been passionate about music since I was young. As soon as I got my first iPod, I was listening to music nonstop. My interest in guitar really grew during high school, especially through participating in various band activities. I was never a particularly competitive person, but seeing other students perform better than me didn’t sit right. It motivated me to keep practicing until I improved. That’s when I realized I was truly serious about guitar and about music as a whole.

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

  I am one of those people who have the same music on repeat until I get sick of it. Right now, I am really into this band called “Couch” and I’ve been listening to their album a lot. But in general, any jazz, funk, fusion stuff I can listen to it all day!

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

  There’s a lot I can teach, but some of the most challenging areas are transcribing solos, analyzing them, and reharmonization techniques. I love working on difficult solos because transcription not only develops your technical skills but also inspires creative ideas and helps you think outside the box. It’s one of the fastest ways to improve as a musician. Reharmonization, in particular, was one of my favorite subjects during my time at Berklee, and I believe it’s one of the most interesting and valuable topics for modern musicians.

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

  Probably the voice. It changes over time and can be very difficult to maintain in a consistent condition and perform at a steady level. Every instrument has its own challenges, but the voice may be the most demanding of all, as many factors are often beyond the performer’s control. It’s also particularly prone to strain and injury, which makes it even more challenging to manage. Also finding a great vocalist is always the hardest part in making a band.

• 5) What are your keys to success?

  One of the biggest challenges is dealing with the day-to-day routine and staying consistent. Once you start working professionally, it can be difficult to find time to practice, improve, or even maintain the level you’ve already reached. As a freelancer with an often-unstable schedule, it becomes a constant balancing act managing your time, maintaining your skills, and taking care of your overall health.
  
  Another important thing I focus on is being easy to work with. Sometimes you get hired simply because you’re a good hang of course, you still need to be proficient at your instrument. You might only play for one or two hours, but the rest of the time you’re spending with the musicians you’re touring or working with in the studio. Being someone, people enjoy being around can make a big difference.

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

  Pat Metheny. All guitarists will know why but he is the only guitarist that can make me cry with his playing. The level of musicianship he has is just out of thie world
  
  Pat Martino. I used to study his lines a lot when I was young and that’s how I got in to jazz so he played a big role in helping me make the transition from a rock blues player to a bebop.
  
  Larry Carlton probably the smoothest and most versatile guitar player. As a session musician I respect him a lot. I met him a few times at NAMM and talked to him a few times, but I would love to sit with him and have a longer conversation about anything.

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

  One time my freshmen year at college I was late to an ensemble class few times. When I came in late the 3rd time Ed Tomassi our professor started shouting at me and said, “if the gig’s at 5 and you show up at 4:30 you are one time but if the gig at 5 and you show up 5 you’re Fxxxed!” and I was never late to any gigs ever after that to this day.

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

  What sets me apart as a Superprof in music is that I’m not a naturally gifted “genius” musician. I didn’t grow up in a musical family, and nothing came easily—I had to work through every detail step by step. Because of that, I understand where students struggle and how to help them overcome those challenges, since I was once in their position. During my college years, I had the opportunity to study with many incredibly talented guitarists. What I realized, though, is that being a great player doesn’t always mean being a great teacher. That perspective has shaped the way I teach, allowing me to focus not just on playing well, but on communicating clearly and helping students truly improve.