Elevate your guitar skills with expert guidance... with over a decade of teaching experience

Learn more about Anele

• When did you develop an interest in music and/or your favourite instrument?

  My love and appreciation for music started when I was around 8 years old. I would listen to songs on the radio and mimic the vocals of different artists, from pop, and classical to jazz. It was around this time that I discovered I could sing; later on, I was to be introduced to the guitar. I was around the age of 13 years old when I fell in love with the guitar. My brother was the one who first taught me my first open chords on the guitar and, from then on, I quickly improved and upskilled myself through reading guitar books and watching video tutorials on how to play guitar. The one book that broadened my understanding of the fretboard and took my playing to a whole new level was Simply Guitar by Steve McKay. I recommend this book to any beginner guitarist.

• Is there a particular type of music or an artist that you could happily listen to on a loop?

  Jazz guitar master Wes Montgomery. My favourite albums are ‘The Incredible Guitar of Wes Montgomery’ and ‘Full House’.

• Explain to us the most difficult or 'riveting' lesson you could personally give to one of your students.

  For any beginner guitarist the most difficult lesson I could give is a lesson on barre(bar) chords. A barre chord is a type of chord that requires one’s index finder to press down on all the strings of the guitar while the remaining fingers press the other notes. Barre chords require an intense finger coordination and strength. These types of chords are extremely difficult to master even for experienced players. It is said that barre chords in the guitar sphere separates “men” for “boys”, it distinguishes “serious” players from chancers and casual players. This is hands down the most challenging concept to master and the most difficult lesson I could give.

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

  Having played both the piano and guitar for many years, I can say, though both complicated to master, the guitar has been the most complicated of the two. Unlike a pianist who has two hands to play chords, melody and bass, the guitarist only has one hand. In a solo jazz guitar setup, the guitarist has to (simultaneously) play the harmony (chords), bass (sometimes walking bass) and the melody on top. All this the virtuoso must achieve using but only one hand on the fretboard. This is why I think, and from experience, that the guitar is the most complicated instrument to master.

• What are your keys to success (aside from do re mi fa sol ...)?

  The number one key to success is right association, and this applies to any endeavour. To succeed in any undertaking you have associate yourself with likeminded individuals, people who challenge your limit mindset and drive you to be your best. In music being around senior musicians or better musicians will make you grow faster. The saying that you will average the number of people you hang around with is true. If you jam, play, and learn from the best, you will be the best because that is what you are exposed to.

• Name three musicians you dream of meeting, and explain why.

  The first one is Australian born guitarist Steve McKay. As stated earlier his book Simply Guitar transformed my playing and my overall understanding of the guitar. From strumming techniques to chord mystery. I would love to meet him and just thank in-person. Second is the Mozambiquan-born guitarist Jimmy Dludlu. Jimmy’s playing has impacted many and influenced innumerable guitarists across Africa and beyond. I am one of those musicians who have been impacted and influenced by Jimmy’s music. His Afro-Smooth Jazz sounds, speed when playing the instrument and charisma is unparalleled. I would one day like to meet and perform with the master. Third is KwaZulu Natal based jazz and mbaqanga guitarist Bab’ Themba Mokoena. Bab’ Themba’s playing has influenced the likes of Jimmy Dludlu, Selaelo Selota and many other household names in the jazz scene. The first time I heard him playing I was like “haa.. this is how a guitar should be played”. I would love to one day meet the old and take a lesson or two from the maestro.

• Could you share an anecdote related to your musical journey or your student days?

  Always be over prepared:
  
  I was preparing for an end year jazz performance at my school. Everyone was there, drinks out, good vibes and the examiners were ready scrutinize our performances. We rehearsed; sound checked – all was in order. Few minutes before we went on stage my the worst happed, my guitar string broke and did not have a spare in my bag. I panicked – I could not find a spare anywhere even from friends. I remember going on stage messing up the melody before of that 1 (important) broken string – safe to say that way my worst performance ever at least to me. From that day on I made a vow and a commitment to always come over prepared, gear, repertoire, everything. Now I always prepare for the worst, ensuring that there’s backup for everything.

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

  Students come with different skills sets and musical knowledge. My first lesson with the student is normally dedicated to understanding the needs of the individual student, their musical goals and aspirations and areas they want to improve. As a Superprof I tailor every lesson to suite their individual challenges, needs to effectively reach their desired musical goals. I believe there is no one size fits all approach to teaching and each student should be afforded patience and the right amount of motivation and push.