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Children's Music Classes Evansville IN

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

University of Evansville
Evansville, IN
 
University of Southern Indiana (USI - College of Liberal Arts)
812/464-8600
8600 University Boulevard
Evansville, IN
 
Rick Wilhelm
56 Knoll Ct. Apt. B
Carmel, IN
Instruments
Ear Training, Electric Bass, Guitar, Theory
Styles
Blues, Folk - Country - Bluegrass, Jazz, Kids, Other, Rock - Alternative
Experience Levels
Beginner, Intermediate
Rate
$0
Years of Experience
6 Years

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University of Evansville
Evansville, IN
 
David P.
(877) 231-8505
Challenger Dr
Noblesville, IN
Subjects
Percussion, Drums
Ages Taught
5 to 99
Specialties
DRUM SET,Rock, Pop, Alternative, Country, Punk rock
Membership Organizations
TakeLessons Music Teacher

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University of Evansville
800.423.8633 x2468
Evansville, IN

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Indiana University - Bloomington
1201 E. Third St
Bloomington, IN
 
St. Mary of the Woods College
St Mary of the Woods, IN
 
Butler University
Indianapolis, IN
 
Melissa M.
(877) 231-8505
E. 56th Street
Indianapolis, IN
Subjects
Piano, Opera Voice, Singing, Theatrical Broadway Singing, Music Theory
Ages Taught
5 to 99
Specialties
Although my voice is particularly suited for classical music and classic music theater, I have also successfully taught students interested in more modern music theater, folk/acoustic rock, jazz, and gospel. I believe that students thrive when they’re allowed to sing the kind of music they prefer, as well as encouraged to broaden their scope.
Education
Illinois State University - music - August 2007-May 2009 (Master's degree received) Illinois Wesleyan University - music - August 2003-May 2007 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

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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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