Guitar Ensemble – Miami Beach Senior High

The Rock Ensemble was established in September of 1972 under the direction of guitar teacher Clark “Doug” Douglas Burris. Since then, the group has won many honors and has been featured in newspaper articles and television feature stories. They’ve traveled to many cities: Lakeland, Florida, Orlando, Florida, New Orleans, Louisiana, Atlanta, Georgia, New York, New York, Chicago, Illinois and Las Vegas, Nevada. In April of 1999, the group was invited to perform at the Rock and Roll Hall of Fame and Museum in Cleveland, Ohio. They were awarded a plaque commending the ensemble for “Rockin’ the Planet Since 1972.”

The Miami Beach High School Guitar Ensemble has established itself as one of the premier high school musical performing groups in the United States. In addition to their many “Superior” ratings and First Place trophies, in October of 2001, they were awarded a grant by the State of Florida, the city of Miami and city of Miami Beach that enabled them to travel to Japan. The ensemble performed concerts in many cities throughout Japan, and participated in the International Peace Summit in Kagoshima. The Guitar Ensemble performed with other groups from Perth, Australia, Milan, Italy, Changsha, China, and Kagoshima, Japan.

Miami Beach Senior High School Rock Ensemble
2231 Prairie Avenue Rm 316
Miami Beach FL 33139
(305) 532-4515 – Ext. 2311 or 2316

Get in touch

General Information:
Sammy@youngmusciansunite.org

Booking:
mmcnamee@dadeschools.net

The Miami Beach Senior High Rock Ensemble is made possible in part by Young Musicians Unite, a local educational non-profit.

Daniel Shearouse, Guitar

Mr. Shearouse, Room 316
Master of Music, Classical Guitar Performance
Chicago College of Performing Arts, Roosevelt University
w/ Denis Asabagić

Bachelor of Music, Classical Guitar
University of Central Florida
w/ Eladio Scharrón, DMA

shearouse@dadeschools.net

(305) 532-4515 (ext 2316)

Mr. Shearouse teaches the Guitar and Music Technology classes at Miami Beach Senior High. He also directs the Classical Guitar Ensemble at MBSH, and in the past has also directed the MDCPS Honors Guitar Ensemble for the MDCPS Superintendent’s Music Honors Festival.

Mr. Shearouse is also the Outreach Coordinator for the Florida Guitar Foundation, a nonprofit based in Miami, Florida.

danielshearouse.com
Florida Guitar Foundation

Mac McNamee

Mr. McNamee, Room 311
Fine Arts Department, Auditorium Stage Crew
Rock Ensemble Assistant Director
ID Cards – Mobile Device Project DSP

Miami Beach Senior High School Alumnus

mmcnamee@dadeschools.net

(305) 532-4515 (ext 2311)

Mr. McNamee is in charge of the Auditorium Stage Technology at Miami Beach Senior High, ID Tech, and the MDCPS Mobile Device Project Designated Site Professional. He is the Assistant Director of the Rock Ensemble at MBSH, a position he has held since 1996.

A Miami Beach native, he was first introduced to the Rock Ensemble at Treasure Island Elementary, and he began to try his hand at music during his years at Nautilus Junior High School. Mac participated in the Rock Ensemble as a student at Miami Beach Senior High, but we won’t reveal exactly when—to spare his feelings.

Since graduating Beach High, Mac has pursued a career in the entertainment industry; primarily behind the scenes as an audio recording engineer and music producer, and recently back on stage as the lead singer and guitarist with Think Like A Key recording artist The Macsters. The Macsters blends power pop and rock, and traces its origins to South Florida where they have exploded onto the scene.

MBSH Rock Ensemble

IMDB

The Macsters

Doug Burris (1942-2016)

Clark Douglas Burris was born in Paterson, New Jersey. He grew up in Monroe, New York where he attended the Monroe-Woodbury Central School system.

On August 18, 1969, Mr. Burris moved to Coconut Grove, Florida, where he continued his education at the University of Miami, Coral Gables, Florida. He received his Masters Degree in Music Education in January of 1971. His principle instrument at this time was the classical guitar. And while at the University of Miami, Mr. Burris studied the guitar with Mr. Ron Maurno, Dr. Rene Gonzalez and Mr. Juan Mercadal.

In June of 1971, Mr. Burris was hired by Dr. Solomon Lichter to teach guitar at Miami Beach High School in Miami Beach, Florida. A guitar ensemble was formed, that year. The guitar ensemble met after school. These students were highly motivated and needed more than what was offered in class. In September of 1972, under Mr. Burris’ direction, the Rock Ensemble was established. Since then, the group has won many honors and has been featured in newspaper articles and television feature stories. They’ve traveled to many cities: Lakeland, Florida, Orlando, Florida, New Orleans, Louisiana, Atlanta, Georgia, New York, New York, Chicago, Illinois and Las Vegas, Nevada. In April of 1999, the group was invited to perform at the Rock and Roll Hall of Fame and Museum in Cleveland, Ohio. They were awarded a plaque commending the ensemble for “Rockin’ the Planet Since 1972.”

Mr. Burris was inducted into the Miami Beach Senior High School Alumni Association Hall of Fame, November 10, 2000, in “Recognition of his Achievements and Contributions to Society.”

Mr. Burris retired from Miami Beach Sr. High in June 2012 after 41 years.

Mr. Burris passed away on January 28, 2016 at age 73. 

His Miami Herald Obituary: http://www.miamiherald.com/news/local/obituaries/article57245358.html

Helpful Links

Here are some helpful links that could provide with more more information about classical guitar, its music and strategies to make your practice more efficient.

Andres Segovia

There is a space created in this website for Segovia in dedication to his influential and beautiful work . This man is considered by many the father of the modern classical guitar movement and almost its savior. Without his efforts the guitar would still be considered “a lowly bar instrument, played only by peasants”.

Segovia’s quest to elevate the guitar to a prominent position in the music world, began at the early age of four. His uncle used to sing songs to him and pretend to strum an imaginary guitar in his lap. Luckily for us, there was a luthier nearby and Segovia took an instant liking to the guitar. Although discouraged by his family (according to them he should play a “real” instrument), he continued to pursue his studies of the guitar. He set a goal for the guitar and himself early in life. It was, to bring Guitar studies to every university in the world, have the guitar played throughout the world, on every major stage, just as the piano and violin were, and lastly, to pass on his love of the guitar to generations to follow. He considered himself to be the messenger that would complete this impossible quest.

He succeeded in all respects.

Segovia gave his first concert in Spain at the age of sixteen, with his professional debut at the age of twenty in Madrid. His original program included transcriptions from Tárrega, as well as his own transcriptions of Bach and others. Many so called “serious” musicians believed that Segovia would be laughed off of the stage, because the guitar could not play classical music. In fact, Segovia astounded the audience. The only problem he had, was that the guitar could not produce enough sound to fill the hall. Over the coming years, Segovia would perfect his technique and push luthiers to experiment with new woods and designs, that could increase the natural amplification of the guitar. With the advent of Nylon strings, the guitar could produce more consistent tones, while also being able to project the sound much farther.

Segovia’s quest lead him to America in 1928 for his first concert in New York. Again he overwhelmed the audience with his technique and musicianship, and converted more dissenters to the classical guitar. His rousing success in New York led to offers for more appearances in America and Europe, and a trip to the Orient in 1929. Segovia, and the classical guitar had arrived.

As Segovia traveled the world, he and the guitar became more and more popular. Composers such as Heitor Villa-Lobos began to compose original pieces specifically for the guitar. With their dark and melancholy mixture of dissonance and cello-like phrasing, Villa-Lobos’ compositions in particular, seemed to fit the guitar perfectly. Segovia had also begun to transpose the masterpieces for the guitar. In fact his transcription of Bach’s Chaconne, has become one of the most famous and difficult pieces to master. His transcription makes the Chaconne seem as if Bach originally intended it to be played on the guitar instead of the violin. Segovia’s repertoire was increasing, as was the guitar’s. His goal was becoming a reality. All that was left was the third and final part of his mission… to pass on the legacy to a new generation.

Segovia had many students throughout his career. Among the more famous are Christopher Parkening, John Williams, Elliot Fisk and Oscar Ghiglia. These students, along with the many others, carry on Segovia’s tradition, while at the same time expanding the classical guitar’s presence, repertoire, and musical boundaries.

Segovia not only taught students himself, he indirectly taught and influenced thousands and thousands of guitarists world wide. He is truly the father of the classical guitar.

His repertoire included masterpieces such as:

G. Frescobaldi: Aria con Variazioni detta “La Frescobalda”
J.S. Bach: Chaconne
J.S. Bach: Gavotte
L. Couperin: Passacaglia
G.F. Händel: Sonata aus “8 Aylesforder Stücke”
D. Scarlatti: Sonata
G. Benda: Sonatine
J.B. Vanhall: Cantabile
J.B. Vanhall: Minuetto
F. Sor: Variationen über “Das klinget so herrlich” aus der Oper “Die Zauberflöte” von W.A. Mozart op.9
R. Schumann: Bittendes Kind
R. Schumann: Fürchtenmachen aus “Kinderszenen” op. 15
J. Brahms: Walzer op.39/8
F. Chopin: Mazurka op.63/3
I. Albéniz: Tango op.165/2
M.M. Ponce: Sonata meridional
M.M. Ponce: Thème varié et Finale
M.M. Ponce: Tres canciones populares mexicanas
J. Turina: Hommage à Tarrega
J. Turina: Fandanguillo
F.M. Torroba: Serenata burlesca
F.M. Torroba: Suite castellana
A. Tansman: Mazurka
A. Segovia: Estudios
A. Segovia: Estudios sin luz
M. Castelnuovo-Tedesco: Tonadilla auf den Namen Andrés Segovia op.170/5

Composers

Matteo Carcassi
Carcassi was one of the leading guitarist-composers of the 19th Century. He was born in Florence, 1792. Musically gifted, he devoted his earliest study to the piano. Then, while still at a tender age, he changed to the guitar, attaining a brilliant technique in a just few years. After years of performing all over Europe, his fame had increased and rivaled Ferdinando Carulli’s in Paris. Carcassi distinguished himself from the Neapolitan musician by using a different instrumental posture, by performing without touching the fingernails on the strings, and by showing a different musical taste. This created more melody and a distinctive palette of effects. Carcassi abandoned his concert activity around 1840. He died in Paris on the 16th of January, 1853. He left almost one hundred-works calling for the guitar, all of romantic taste, brilliant and technically demanding.

Ferdinando Carulli
Ferdinando Maria Meinrado Francesco Pascale Rosario Carulli was one of the most famous composers for classical guitar and the author of the first complete classical guitar method, which continues to be used today. He wrote a variety of works for the guitar, including concertos and chamber works. He was an extremely prolific writer for guitar, writing over 400 works for the instrument in the space of 12 years. Carulli was born in Naples, Kingdom of Naples on February 9, 1770. His father, Michele, was a distinguished literator, secretary to the delegate of the Neapolitan Jurisdiction. Like many of his contemporaries, he was taught music theory by a priest, who was also an amateur musician. Carulli’s first instrument was the cello, but when he was twenty, he discovered the guitar and devoted his life to the study and advancement of the guitar. As there were no professional guitar teachers in Naples at the time, Carulli developed his own style of playing.

Johan Sebastian Bach
Although not a classical guitar composer—thanks to Andres Segovia—his works for other instruments, such as the lute and string ensemble, were transposed to the classical guitar. This made his compositions essential for the guitar repertoire. He was born on March 21, 1685 and grew up in a rather musically prolific family. He was taught by his father to play the violin and the harpsichord. He was later taught by his uncle to play the organ and little Johan became skilled at all of these instruments. In addition to his musical talent, he also learned Latin grammar, Theology, Greek and a great deal of scripture, both in Latin and German. Some of the works transposed for guitar include Bouree in G minor, Sarabande, Violin Partitas, Concertos and Sonatas.

Francisco Tárrega
Francisco Tárrega was born in Villarreal. His home, still preserved, is located beside the Saint Pascual Baylon’s Church. He was so exceptional for his time that even some guitar artists today don’t know him as a classic. He did his musical studies in Castellon, Valencia and Madrid, creating many original compositions that even today are easily understandable. Recognized as the leader of the modern Spanish guitar movement, he played in many European cities, expanding the guitar as an expressive and modern instrument. Some of his greatest and most popular masterpieces include Recuerdos de la Alhambra, Capricho Arabe”, “Lagrima” and “Adelita”. He also did several adaptations for guitar based on compositions from Bach, Mozart, Beethoven, Verdi, Chopin, Schumman, and others. He had several pupils that learned his techniques and ensured the continuity and evolution of the guitar for today’s people joy. He died in Barcelona at the age of 57, being its remains moved to Castellón’s cemetery, where his tomb can be visited.

Dionisio Aguado
Dionisio Aguado (1784-1849) was one of the classic composers for the guitar in the nineteenth century. Born in Spain he later lived for many years in Paris. He is best known today for his method for the guitar. Born in 1784 into a religious family, Aguado showed an early aptitude for music and the guitar. But true to his modest nature, it took him forty years of playing the instrument to become “famous”. This was when he went to live in Paris in 1824. Aguado had inherited his father’s estate some years earlier and had spent the majority of his time there mastering the guitar and music. This stood him in good stead for the rest of his life, as he was both a master player and a very talented composer. This is despite the fact that he is mainly remembered today by his “Method Book”. Aguado’s studies were often considered quite difficult and beyond the average guitarist. His method book was a means of logically and systematically achieving the desired technique to master them. They contained many musical yet didactic works from beginner through advanced. When he played, it is said Aguado played with great speed more suited to the “earthy” sounds of flamenco. Aguado also was a proponent of using the nails on the right hand for greater clarity of tone and dynamics. This was in stark contrast to his housemate Sor, who it is said, played with a slower yet more “beautiful” tone.