Filipe Capitão
About
I completed my Bachelor's degree in classical guitar performance at the Conservatório Superior de Vigo (2019–2021), studying under renowned guitarist Margarita Escarpa. I then spent a year on exchange at the Royal Conservatoire of Scotland (2021–2022) under Matthew McAllister, broadening my perspective on performance and pedagogy in a different musical environment. I went on to complete my Master of Music at the Royal Conservatoire of The Hague (2023–2025), studying under renowned guitarist Pavel Steidl, where I refined my technique, tone, and interpretation of classical repertoire at an advanced level.
Classical guitar performance is my specialty, and this training forms the core of how I teach. In November 2024, I led a workshop at Escola de Música de Vila do Conde in Portugal, focused on overcoming performance anxiety and improving performance skills — helping young musicians build confidence and stage presence. I've been teaching privately for the past 3 years through my own guitar school, Filipe Capitão Guitar Lessons, and since 2025 I've also taught at Choy Lessons in Rotterdam. Alongside my classical specialty, I also teach blues guitar. I work with students of all ages and levels, supporting exam preparation and performance opportunities along the way.
Teaching Style
My teaching style is patient, structured, and tailored to each student. I adapt to what each student needs: some want to dive deep into classical repertoire and theory, others are more focused on building confidence, preparing for an exam, or simply wanting to learn how to play by ear and have fun with the guitar. I break down pieces and techniques into manageable steps, so progress always feels achievable rather than overwhelming. I like to also pay close attention to the mental side of playing — building focus, calm, and confidence, especially when preparing for performances or exams.
Curriculum
My teaching method depends on the style and the student's level.
For classical guitar, we begin with the fundamentals of the fretboard and simple pieces that let the student build a solid technical foundation from the start — proper posture, hand position, and clean tone production. As these fundamentals settle in, we gradually increase the difficulty of the repertoire, so within just a few weeks the student is already playing real music, not just exercises.
For blues guitar, the approach is a bit different. We still work through the fretboard, but early on I introduce shapes like the pentatonic scale, which lets students start improvising almost right away. This hands-on approach keeps things engaging while still building technical understanding underneath.
For more advanced students, lessons shift toward refining technique through more targeted, technique-derived exercises, along with developing stage presence and performance confidence — preparing them not just to play well, but to perform well.
For classical guitar students I would suggest "A Modern Approach to Classical Guitar" by Charles Duncan, and for blues guitar I would suggest "The Blues Guitar Handbook" by Adan St. James.