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Children's Music Classes Broken Arrow OK

See below to find children's music classes in Broken Arrow 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.

Barthelmes Conservatory
708 S. Boston Ave
Tusla, OK
 
University of Tulsa
(800) 331-3050
Tulsa OK
Tulsa, OK

Data Provided By:
Leslie Zieren
Tulsa, Oklahoma, near downtown
Tulsa, OK
Instruments
Flute, Piccolo
Styles
Classical
Experience Levels
Advanced, Beginner, Intermediate
Rate
$0
Years of Experience
40 Years

Data Provided By:
Barthelmes Conservatory
708 S. Boston Ave
Tusla, OK
 
Barthelmes Conservatory
(918) 794-0330
Tusla OK
Tusla, OK

Data Provided By:
Leslie Zieren
Tulsa, Oklahoma, near downtown
Tulsa, OK
Instruments
Flute, Piccolo
Styles
Classical
Experience Levels
Advanced, Beginner, Intermediate
Rate
$0
Years of Experience
40 Years

Data Provided By:
Barthelmes Conservatory
(918) 794-0330
Tusla OK
Tusla, OK

Data Provided By:
Michael Brooks
8513 NW 91st
Oklahoma City, OK
Instruments
Audio Recording, Composition, Conducting, Ear Training, Guitar, Other, Recording, Stand Up Bass, Theory
Styles
Blues, Classical, Electronic, Folk - Country - Bluegrass, Jazz, Kids, Other, Rock - Alternative, World
Experience Levels
Beginner, Intermediate
Rate
$30
Years of Experience
1 Year

Data Provided By:
Beverly M.
(877) 231-8505
S. Jensen Ave.
El Reno, OK
Subjects
Music Theory, Piano, Songwriting
Ages Taught
4 to 99
Specialties
Classical, Country Gospel, Floyd Cramer Country, Black Gospel, Easy Listening, Easy Rock, Contemporary Christian, Latin, Pop. By note and by ear.
Education
Southwestern Assemblies of God College - Elementary Education and Music - August 1971-February 1973 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
University of Oklahoma
(405) 325-2252
Norman OK
Norman, OK

Data Provided By:
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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