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Guitar Classes Belton MO

See below to find local guitar classes in Belton that give access to instruction on guitar for beginners, blue guitar basics, fingerstyle guitar basics, intermediate acoustic techniques, and lead guitar basics, as well as advice and content on bass guitar classes and more.

John Svoboda Guitar Studio
(816) 322-6785
710 S Fox Ridge Dr
Raymore, MO
 
Antioch Music Center
(816) 455-2800
6004 NE Antioch Rd
Kansas City, MO
 
Larry Beekman Guitar Studio
(816) 523-0090
5726 Kenwood Ave
Kansas City, MO
 
Yesterdays Guitars
1905 Gaslight Dr
Harrisonville, MO
 
Emily Elliott
8602 Buckingham Lane Apt. 17
Kansas City, MO
Instruments
Chorus, Conducting, Ear Training, Early Music, Other, Piano, Voice
Styles
Blues, Classical, Folk - Country - Bluegrass, Kids, Other, World
Experience Levels
Beginner, Intermediate
Rate
$30
Years of Experience
10 Years

Data Provided By:
Heartland Music Academy SUPPLY
(816) 554-4999
618 SW 3rd St Ste E
Lees Summit, MO
 
Fitzer Guitar Bass & Keyboard
(913) 649-5678
9107 W 100th Ter
Overland Park, KS
 
Kansas City Young Audiences
(816) 531-4022
5601 Wyandotte Street, # 3
Kansas City, MO
 
Kathryn D.
(877) 231-8505
Jackson
Kansas City, MO
Subjects
Music Performance, Singing, Opera Voice
Ages Taught
12 to 99
Specialties
Classical, Broadway, folk, sacred music, vocal technique, voice training, speaking (speakers), music theory, musical theatre, singing, theatrical singing, adults, audition prep, breathing technique, children, theatre singing, healthy phonation, building vocal tone, sight singing, singers' diction in Italian, Spanish, French, Latin, German
Education
Massaponax - Advanced Studies - 1998-2001 (degree received) Brigham Young University- Idaho - Vocal Performance, Italian, Philosophy - 2001-2007 (degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Thomas G.
(877) 231-8505
W. 61st Terrace
Kansas City, MO
Subjects
Piano, Theatrical Broadway Singing, Singing, Opera Voice
Ages Taught
16 to 99
Specialties
classical bel canto styel
Education
Ball State Univ - Music Education - 1967-1971 (Bachelor's degree received) Univ. of Bridgeport - Music Education - 1973-1975 (Master's degree received) Ball State Uni - Music - 1975-1978 (PhD degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
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The Art Of Practicing

The Art Of Practicing
By Chris Standring ( www.chrisstandring.com )

I have always believed that success, in practically any subject you can think of, is a direct result of "clear thinking". That is, the ability to understand very clearly what needs to be achieved and the action to set about surmounting very necessary hurdles in order to reach those goals. Less than successful people are either not clear in their goals or for one reason or another give up along the way. It's leveling that rough terrain, along with a clearly defined end result in mind that will get you there in the end. The success roadmap might go something like this:

Visualize goal => Surmount problems => Score

Sounds simple doesn't it? However, this clear thinking is all very well but it's usually the thought required before step 1 (visualization) that causes problems. Very often the goal does not manifest in mind because the process is so overwhelming.

And so it is with practicing the guitar, or any instrument for that matter. In more laymen's terms it's more like "What the hell should I be practicing?".

Practice is a constant struggle for many people. There is so much to learn and often so little time to allocate to it. For the jazz musician, clear thinking can be as simple as "I really like that Charlie Parker 2, 5 - how does he do that?". Then transcribing the line, practicing it in all keys and working the phrase into your own vocabulary. The 'score' as I like to call it is the ability to work it in to your own playing. I want to talk a little about that in a minute.

First, I think the most important thing to talk about is how to make best use of your practice time. There was a time when I started playing where I used to sit in my room and allocate 15 minutes to practicing scales and arpeggios, 10 minutes on technique exercises, 20 minutes on sight reading and 1/2 an hour on practicing my classical guitar repertoire. Why? because my teacher told me I had to. Years later once I started to study jazz guitar on my own I didn't feel the need to be practicing this way. It wasn't really benefiting me fully. I started to have my own goals in mind that I wanted to reach. I wanted to learn to play like one or two of my heroes, but more importantly because I liked what they played. Even more under the microscope were certain melodic lines and licks that tweaked my ear and fueled me to transcribe or simply copy the way they phrased or 'felt' a phrase. Once I clearly had in mind what I wanted to achieve I could go about achieving it - I knew what I had to do.

It's important to sit down to practice and be really clear about what you are going to do during that practice time. Now, one thing that helped me tremendously was when I made a huge commitment to scheduled practicing. In other words, deciding that every single day, no matter what, I would sit down and dedicate exactly one hour...

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