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Children's Music Classes Bradenton FL

See below to find children's music classes in Bradenton 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.

Preston B.
(877) 231-8505
Lockwood Ridge Rd
Sarasota, FL
Subjects
Music Theory, Percussion, Music Performance, Piano, Drums, Music Recording
Ages Taught
5 to 99
Specialties
Jazz, Rock, Latin, Orchestral, Band, Classical, rudimental drum line
Education
University of South Florida - Percussion Performance/ Music Composition/ Electronic Music - Fall 2006 - Spring 2010 (Bachelor's degree received) Alan Abel Percussion Seminar at Temple University - Percussion - 5/16/10 - 5/22/10 (Degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Florida West Coast Symphony
(941) 953-4252
Sarasota FL
Sarasota, FL

Data Provided By:
Eastside Music Academy
(941) 708-6595
3938 E State Rd 64
Bradenton, FL

Data Provided By:
Suzuki Institute
(941) 330-9930
3100 S Tamiami Trl
Sarasota, FL

Data Provided By:
University of South Florida
4202 E. Fowler St. FAH 110
Tampa, FL
 
Matthew S.
(877) 231-8505
Stratford Dr
Sarasota, FL
Subjects
Music Theory, Guitar, Music Performance
Ages Taught
10 to 75
Specialties
Rock, and Live performance
Education
Ridgefield Park High School - General - 89-92 (High School diploma received) DeVry Technical - Electronics - 92-94 (Associate degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Pleasant Hill Piano Studio
Located in Sunrise Plaza
Sarasota, FL
 
Manatee Music
(941) 741-8832
2710 Manatee Ave W
Bradenton, FL

Data Provided By:
Mark Bennett
4516 NW 51st St
Coconut Creek, FL
Instruments
Guitar
Styles
Blues, Jazz, Kids, Other, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$40
Years of Experience
11 Years

Data Provided By:
Florida State University - Summer Music Camps
132 N. Copeland Street
Tallahassee, FL
 
Data Provided By:

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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