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Children's Music Classes Woodbridge VA

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

Jan deHoll
Springfield, VA
Instruments
Autoharps, Banjo, Ear Training, Early Music, Electric Bass, Electronic, Ethnomusicology, Guitar, Mandolin, Musicology, Ukelele
Styles
Blues, Folk - Country - Bluegrass, Kids, Rock - Alternative
Experience Levels
Beginner, Intermediate
Rate
$56
Years of Experience
6 Years

Data Provided By:
Khanh-Vi N.
(877) 231-8505
Sydenstricker Road
Springfield, VA
Subjects
Music Theory, Piano, Songwriting
Ages Taught
5 to 80
Specialties
Classical music/keyboard styles; Piano pedagogy; contempory/jazz composition; Suzuki Method.
Education
Northern Virginia Community College - Annandale Campus - Music Theory, Piano - August 2002-July 2004 (not complete) Virginia Commonwealth University - Music Education - August 2004-Present (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Wade M.
(877) 231-8505
University Drive
Fairfax, VA
Subjects
Music Performance, Music Recording, Songwriting, Music Theory, Piano
Ages Taught
6 to 99
Specialties
Beginning through Advanced/Professional Level Piano; Classical; Introductory Jazz; Music Theory; Composition; Song Writing; Improvisation; Ear Training; Sight Singing; Conducting; Dalcroze method; Orff method; Suzuki method; Artistry at the Piano;
Education
Stetson University - Bachelor of Music in Piano Performance - 2010 George Mason University - Master of Music in Piano Performance - 2012
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Music & Arts
(703) 491-4196
Potomac Festival Shopping Center, 14577 Potomac Mills Rd
Woodbridge, VA
 
Music & Arts
(571) 225-0259
Lake Montclair Center, 5065 Waterway Drive
Dumfries, VA
 
Carol K.
(877) 231-8505
Mallard Pond Ct
Manassas, VA
Subjects
Piano, Music Theory
Ages Taught
1 to 99
Specialties
Mixture of methods, however Alfred, Piano Discoveries, and Faber are the ones I use most often. I teach both classical, pop, and Broadway. I also incorporate music related computer games and for the five and six year olds I use some of the ideas from the Music for Young Children Program
Education
Mary Washington College - Historic Preservation - 1989-1993 (Bachelor's degree received) George Mason Univ. - Music - 1976-1980 (Bachelor's degree received) West Aurora Sr. High - NA - 1968-1971 (High School diploma received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Ivy C.
(877) 231-8505
sanderling drive
Manassas, VA
Subjects
Singing, Speaking Voice, Acting, Music Theory, Opera Voice, Music Performance, Theatrical Broadway Singing
Ages Taught
5 to 60
Specialties
Kodaly method, breathing techniques, relaxation techniques, musical theater, opera, country, rock, alternative, classical, jazz
Education
Mason Gross School of the Arts - Voice Performance - 1994-1997 (Bachelor's degree received) University of Phoenix - Secondary Education - Currently Enrolled (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Ananda N.
(877) 231-8505
Prestancia Pl
Waldorf, MD
Subjects
Music Theory, Percussion, Piano
Ages Taught
6 to 99
Specialties
I use beginner music theory, exercises, scales, arpeggios, sight reading. I like to use books by Bastien and Thompson. I teach classical, jazz and modern piano styles. I personally specialized in Baroque, traditional classical, and modern 20th Century music. I have also used Czerny and Hanon for technique exercises.
Education
Eagan High School - - Sep 1997-June 2001 (High School diploma received) Normandale Community College - Liberal Arts - (Associate degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Music & Arts
(571) 218-8538
Lorton Station Town Center, 9000 Lorton Station Blvd, Suite M
Lorton, VA
 
Music & Arts
(703) 764-1400
Burke Centre, 5735 Burke Centre Parkway
Burke, VA
 
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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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