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Jazz Classes Auburn WA

Local resource for Jazz classes in Auburn. Includes detailed information on local music schools and music instructors that provide access to blues lessons, Jazz lessons, and instruction in Jazz music, Jazz improvisation, Jazz theory, Jazz chords, Jazz styles, and Jazz harmony, as well as advice and content on playing Jazz music.

Tim Cromwell
Northwest Christian School 904 Shaw Road
Puyallup, WA
Instruments
Chorus, Clarinet, Flute, Handbells, Horn, Percussion, Piano, Recorder, Saxophone, Theory, Trombone, Trumpet, Tuba, Voice
Styles
Blues, Classical, Electronic, Folk - Country - Bluegrass, Jazz, Kids, Other, Rock - Alternative, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$45
Years of Experience
5 Years

Data Provided By:
Ashley Brockett
206 39th Ave SW Suite A1
Puyallup, WA
Instruments
Cello, Ear Training, Suzuki Method, Theory, Viola, Violin
Styles
Classical, Folk - Country - Bluegrass, Kids
Experience Levels
Advanced, Beginner, Intermediate
Rate
$40
Years of Experience
5 Years

Data Provided By:
University of Puget Sound
1500 N. Warner
Tacoma, WA
 
Dennis Pierret
3424 97th Ave SE
Mercer Island, WA
Instruments
Piano
Styles
Classical, Other
Experience Levels
Advanced, Beginner, Intermediate
Rate
$60
Years of Experience
6 Years

Data Provided By:
Angeline Y.
(877) 231-8505
110th Ave. SE
Kent, WA
Subjects
Music Theory, Piano
Ages Taught
5 to 99
Education
West Coast Baptist College - Secondary Education - 2003-2007 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Conservatory of Music at Highline Community College
2400 S. 240th St.
Des Moines, WA
 
April Swansiger
17949 Riviera Pl SW
Normandy Park (Burien, Des Moines, Kent, West Seattle), WA
Instruments
Ear Training, Suzuki Method, Theory, Viola, Violin
Styles
Classical, Kids
Experience Levels
Advanced, Beginner, Intermediate
Rate
$70
Years of Experience
28 Years

Data Provided By:
Pacific Lutheran University
Tacoma, WA
 
Daniel P.
(877) 231-8505
100th Ave SE
Kent, WA
Subjects
Music Theory, Opera Voice, Bass Guitar, Guitar, Songwriting, Drums
Ages Taught
6 to 99
Specialties
I've received instruction in classical singing (opera). I understand basic form and technique for that style of singing. I'm well rehearsed in rock-pop guitar methods (rhythms, chord progressions, lead, strumming patterns, scales and arpeggios, etc.) Music theory, ear training, and rhythm are things I feel are important to teach no matter what instrument is being taught.
Education
Moses Lake High School - General requirements - 1998 - 2002 (degree received) Big Bend Community College - AAS courses - '03 - '04 / '06 - '07 (not complete) Brigham Young University - Idaho - Music Education (choral) - 2007 - 2008 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Emiliya M.
(877) 231-8505
111th Place SE
Kent, WA
Subjects
Music Performance, Piano
Ages Taught
1 to 99
Specialties
Music, piano, piano performance, ear training, and music appreciation. Styles, specialties and genres are specific to each student based on preferences and background. Special training in classical music.
Education
Harmony - HIgh School - 2001-2004 (High School diploma received) Musci School - Piano - 1992-2003 (High School diploma received) Music College - Piano - 2003-2005 (Bachelor's degree received) University of Washington - Piano - 2008-2009 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Data Provided By:

Playing With Conviction

Playing With Conviction
By Chris Standring ( www.chrisstandring.com )

I'm very often disappointed when I go and hear straight-ahead jazz guitarists play in a club, no matter how good they may be. Many have practiced their technique and have a knowledge of harmony that is clearly impressive. They have good time and play well with the other band members. But 9 times out of 10 I am disappointed and for the most part I think I know why.

Most of these players spend countless hours in the bedroom practicing, working on stuff, perfecting things, analyzing chord changes, working on harmonic ideas and so on, something that no one recommends more highly than I, but it seems that so often these musicians lack the ability to communicate musically.

It actually reminds me a little of when I used to live in London and I'd be having a drink with a few horn players at the bar during an intermission (in the UK, horn players particularly from the north of England seem to enjoy a pint or two!) and I'd listen to them say how much they had no time at all for the 'punters' in the audience. With this attitude, those horn players put themselves on a pedestal, instantly separating themselves, drawing an imaginary line at the end of the stage. More like an electric fence! I never understood it, it was almost a way of justifying how little work they were prepared to do to really get their musical point across. What they said musically might have been very clever, even impressive, but whatever it was remained on the stage. No one in the audience was invited to experience that musical conversation. The audience was the last thing that mattered it seemed.

Now I'm not suggesting that we as artists entertain with tap dancing, plate spinning, telling jokes and so on, I'm talking about finding a way to connect with the audience, and the first step to doing this is through sound projection with our instrument. Don't forget, as instrumentalists we have to try that much harder to communicate with the listener because there is no vocalist to do that for us. We have to make sure our instrumental voice carries.

And I find, going back to my disappointment with so many jazz guitarists in clubs, that they simply are not concerned with that communication between themselves and the audience. I do not believe it has been an issue with most of them and I believe it is extremely important.

I am talking about playing with real conviction. So many players lack that strength, everything is quiet and timid and they seem like they are looking for the right notes, meandering away, somewhat apologetically. This does not translate to an audience, very often does not translate to other musicians. Too many hours in the bedroom practicing obsessively and not enough time in coffee shops talking to other human beings about THEIR lives! Musicians can be horribly insular and those completely obsessed with their instruments usually end up as the bigges...

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