Bass Guitar Classes Avondale AZ
N 44th Drive
Viola, Songwriting, Oboe, Opera Voice, Clarinet, Saxophone, Trumpet, Music Performance, Piano, Cello, Trombone, Violin, Percussion, Organ, Theatrical Broadway Singing, Guitar, Upright Bass, French Horn, Music Theory, Singing, Classical Guitar, Flute
3 to 60
I use methods commonly known where the students can recognize the pieces. I like to teach the students to create their own music. Besides teaching regular methods I like to supplement my teaching with songs that they like to play.
Los Angeles State College - Music - 1/1963-7/1964 (Bachelor's degree received) California State University at Los Angeles - Music - 9/1964-7/1965 (Master's degree received)
TakeLessons Music Teacher
Data Provided By:
Classic Guitar for Occasions
Music & ARTS
5350 W Bell Rd
Daniel Michael Guitar and Vocal Instruction
S 48th St AT E Baseline Rd
15229 N Cave Creek Rd
A 2 G Sharp Guitar Instruction
15627 N 59th Ln
Cheryls Guitar Instruction
19828 N 78th Ln
18356 N 111th Dr
The Music Hall
11001 N 99th Ave
Best Guitar Lessons & Repair
3625 W Sierra St
Data Provided By:
Developing Good Time
Developing Good Time
By Chris Standring ( www.chrisstandring.com )
Guitar players have a terrible tendency to rush. I would say, as a general rule, it is guitar players that need to work on their time more than any other musician. I think it is easy to forget how important the concept of time is, and moreover, I think so many players aren't willing to face up to the fact that they need to work on it, if they are even aware of the problem at all!
Now, let's get one thing a little clear. I can be quite hard on musicians from an observational standpoint. But that is only because I am EXTREMELY hard on myself. I strive for greatness and I get excited when others do too.
Jazz guitar players are possibly the worst culprits when it comes to the concept of time. And I am not just talking about beginners or intermediates. I could mention right now a number of highly respected players who in my opinion do not have good time. Many think that the idea of bopping in 'double' time is simply a matter of stringing a flurry of notes together as fast as possible, and the idea of a few clams, well, "it's jazz isn't it?". My response to this: NO NO NO!!
In order to explore this facet of music further, we need to break down the concept of 'time' and how musicians define it.
I like to think of 'time' as referring to the following:
1) Time Feel
2) Playing in time
3) Subconsciously knowing where the time is
Let's look at each briefly.
First, playing with a good 'time feel' can be understood as swinging hard in a rhythm section. The musician has good energy and can play well with others, putting a smile on the bass player and drummer's faces because they all understand that indescribable 'thing' that they all have, and relate to. Now, it is also important to know that there are musicians who have good time who do not play well with others. There is none of that 'give and take' flow of energy. They have a concept of time but it is not one that is necessarily shared. This is usually a product of too many hours practicing in the bedroom and not enough listening to others and feeding off them musically.
Having a good time feel can also be interpreted as someone who plays good rhythm. Someone who can support a soloist, make them feel good and provide inspiration for ideas. Usually someone who has a good time feel rhythmically is one who actually enjoys supporting a soloist, making the rhythm section feel good so the soloist can spark off it. This is an art in itself. We all know, when the band feels good, there is nothing quite like it.
Playing in time
Playing in time is something that can be learned, but from a soloist's standpoint, there is much discipline involved. It is here that in a perfect world, the craft of playing in time merges with the art of playing with a good time feel. Let me try to explain further...
I recently bought an album by Joe Pass called &...
Click here to read the rest of this article from Play Jazz Guitar