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Jazz Classes Charlotte NC

Local resource for Jazz classes in Charlotte. 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.

Community School of the Arts
Charlotte, NC
 
Page S.
(877) 231-8505
Peppercorn Lane
Charlotte, NC
Subjects
Music Theory, Theatrical Broadway Singing, Opera Voice, Singing, Dance, Speaking Voice, Music Performance
Ages Taught
13 to 22
Education
Duke University - Music - 8/2005-5/2009 (Bachelor's degree received) Northwest School of the Arts - Music/English - 8/2001-6/2005 (High School diploma received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Joe C.
(877) 231-8505
Moss Rd
Charlotte, NC
Subjects
Drums
Ages Taught
5 to 99
Specialties
All Rudiments, the Moeller Method, Drum set technique and style education: Jazz, Latin, Classic and Contemporary (plus tips on live and studio performances). Matched or orthodox grips welcome.
Education
University of Georgia - Political Science - 2001-2003 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Dusty S.
(877) 231-8505
Sam Newell Rd
Matthews, NC
Subjects
Violin
Ages Taught
3 to 99
Specialties
Suzuki Method
Education
Franklin D Roosevelt Private School - - April 1998 (High School diploma received) Washington Ballet School - Dance - 1999-2002 (Degree received) Duram Tech - Spanish - 2007 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Sheerah P.
(877) 231-8505
Woody Grove Road
Indian Trail, NC
Subjects
Opera Voice, Music Performance, Theatrical Broadway Singing, Music Recording, Singing, Songwriting
Ages Taught
15 to 69
Specialties
Although I have been trained from a more classical foundation including opera singing, I specialize in gospel, Christian, contemporary gospel, choir and contemporary pop vocal styles. I do believe that western/classical music is a proper format and template for all other genres because topics such as breathing and body stance while singing are emphasized, which becomes very important in examining other popular or most-liked genres. i focus on the individual's limits and expansions because unl…
Education
Hampton University - Music: Vocal Performance - Sep. 05-Dec. 09 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Regina Ziliani
15040 Idlewild Road Suite C
Matthews, NC
Instruments
Bassoon, Cello, Chorus, Clarinet, Composition, Drums, Ear Training, Electric Bass, Flute, Guitar, Horn, Mallet, Marimba, Oboe, Other, Percussion, Piano, Piccolo, Recorder, Recording, Saxophone, Stand Up Bass, Suzuki Method, Theory, Trombone, Trumpet, Tuba, Viola, Violin, Voice
Styles
Blues, Classical, Folk - Country - Bluegrass, Jazz, Kids, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
22 Years

Data Provided By:
Rodney B.
(877) 231-8505
Hamilton Street
Charlotte, NC
Subjects
Drums
Ages Taught
5 to 99
Specialties
Rudimental snare drum, Pop/Rock, Jazz, Funk, Brazilian, Caribbean, Afro-Cuban styles.
Education
Drummer's Collective - Private Lessons - various (not complete) Drummer's Collective - Drumming - 2007 (Degree received) Appalachian State Univ - Music - 1992-1995 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Virginia G.
(877) 231-8505
Craftsman Ridge Drive
Matthews, NC
Subjects
Opera Voice, Acting, Singing
Ages Taught
15 to 55
Specialties
I specialize in bel canto technique. I studied at Julliard with Ellen Faull, and with Joanna Levy in her private NYC studio. I have been singing opera for over 25 years and have performed with Eva Marton, Placido Domingo and Justino Diaz among others. For acting, I studied the Stanislavski Method, which has been instrumental during my operatic singing career.
Education
The Juillliard School, New York City - Vocal Performance - September 1986-May 1989 (Master's degree received) Conservatorio de Musica de Puerto Rico - Vocal Performance, Magna Cum Laude - August 1980-May 1986 (Bachelor's degree received) Escuela Libre de Musica, San Juan, Puerto Rico - Music - August 1976-May 1980 (High School diploma received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Joe C.
(877) 231-8505
Sedgeburn Dr.
Charlotte, NC
Subjects
Drums
Ages Taught
5 to 99
Specialties
All Rudiments, the Moeller Method, Drum set technique and style education: Jazz, Latin, Classic and Contemporary (plus tips on live and studio performances). Matched or orthodox grips welcome.
Education
University of Georgia - Political Science - 2001-2003 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Music & Arts
(704) 547-1616
The Shoppes At University Place, 9015 J.M. Keynes Dr
Charlotte, NC
 
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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