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Children's Music Classes Belleville IL

See below to find children's music classes in Belleville that give access to toddler music classes, children's singing classes, kid's movement education, children's dance classes, as well as advice and content on early childhood music education.

Jared Cattoor
1128 Huffendick Ave.
Collinsville, IL
Instruments
Electric Bass, Guitar
Styles
Blues, Jazz, Rock - Alternative
Experience Levels
Beginner, Intermediate
Rate
$34
Years of Experience
2 Years

Data Provided By:
Nicholas S.
(877) 231-8505
Big Bend Blvd
Saint Louis, MO
Subjects
Percussion, Music Performance, Piano, Drums, Music Recording
Ages Taught
5 to 99
Specialties
I specialize in instructing percussion methods, recording performance and live performance.
Education
East Central College - Percussion - 2004-2005 (not complete) Webster University - Jazz Performance - 2006-2008 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Strings Orchestra Camp-Baroque String Academy
(314) 968-5939
St. Louis MO
St. Louis, MO

Data Provided By:
Folk School of St Louis
(314) 727-3355
1600 S Big Bend Blvd
Saint Louis, MO

Data Provided By:
NIU Community School of the Arts
DeKalb, IL
 
Jeremy W.
(877) 231-8505
Sutherland Ave.
Saint Louis, MO
Subjects
Music Performance, Singing
Ages Taught
14 to 0
Specialties
I specialize in vowel placement teaching. a method that involves teaching voice through the idea that vowel placement begins in the throat, therefore causing a more focused open sound.
Education
Northside Methodist Academy - Academic - 1983-1997 (High School diploma received) Central Bible Colege - Church Music/ Vocal Performance - Aug 03-April 06 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Webster University
(314) 968-7039
St. Louis MO
St. Louis, MO

Data Provided By:
Southern Illinois University - Edwardsville (SIUE Department of Music)
(618) 650-2000
6 S State Rte 157
Edwardsville, IL
 
Clete Davis
Fairview Music 418 75th Street
Downers Grove, IL
Instruments
Cello, Ear Training, Early Music, Harpsichord, Musicology, Organ, Theory, Viola, Violin
Styles
Classical, Folk - Country - Bluegrass, Kids
Experience Levels
Advanced, Beginner, Intermediate
Rate
$45
Years of Experience
42 Years

Data Provided By:
Harper College
1200 W. Algonquin Rd.
Palatine, IL
 
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Thoughts from a Robben Ford Masterclass

Thoughts from a Robben Ford Masterclass
By Chris Standring ( www.chrisstandring.com )

I was invited to a masterclass recently at USC featuring guitarist Robben Ford. I was particularly keen to go as Robben was quite an influence on me as a growing musician back in the early 80s. Besides that, it is always nice to hang out with the USC professors, they are all great players in their own right, and always fun to hang out with.

I was expecting to see Robben play more and talk about his approach to playing but there was very little. Mostly he answered questions, and there were plenty of those. He began with quite a disclaimer in that he didn't have any formal training, was completely self taught and improved slowly by beating the s∗∗t out of the guitar! Something I think we all relate to.

He talked about his time with Miles Davis and his start with the Yellowjackets and how he got his first record deal, but then he mentioned something that struck a chord with me (if you pardon the pun!). He talked about the time when it was important to show everyone what he could do on the guitar and the need to get that out of his system. Then, when he was with Miles Davis, it was at a time when he was negotiating his first record deal with Warner Brothers and an opportunity to really start his solo career, something that became a factor in his leaving Miles' band.

Robben then went on to say that that first record with Warners ("Talk To Your Daughter") was a landmark record for him as it took him to a different level as an artist. No longer was it important for him to proove his abilities, but it became important to step up to the next level as a complete artist and find out who he really was.

He then went on to say that what really 'gets him off' was working on his own music, and making it feel good and groove and swing hard. His focus is always on the song itself, what it needs and how to go about serving it.

Then he went on to say that musicians for the most part aren't interested in the notes another musician is playing, but how those notes are being played. Musicians want to hear other players feel the phrase and make it groove hard. That is what the interaction thing is all about.

I should just clarify that I think what Robben is implying here is that musicians should already have a good vocabulary before they take this on board. I'm sure he wouldn't advocate playing all wrong notes. There is certainly a lot of truth in what he says though.

I'm always interested in how an artist arrives at being a truly great artist. Clearly talent is usually there from the beginning but there is always a point where an artist truly becomes great and I think it is around the time that that artist decides it is time to be completely himself or herself. The days of needing to impress others has to go away, the time spent on copying other players' licks and lines needs to be put in perspect...

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