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Jazz Classes Collierville TN

Local resource for Jazz classes in Collierville. 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.

University of Memphis
129 Music Building
Memphis, TN
 
John S.
(877) 231-8505
West Almadale Ct
Collierville, TN
Subjects
Guitar, Piano, Flute, Clarinet, Music Theory, Saxophone, Songwriting, Music Performance
Ages Taught
5 to 99
Specialties
I play keyboards professionally in jazz, RnB, rock, reggae, Latin rock and other styles. I can help the student who has only had traditional lessons branch out and learn how to read chord charts, which in turn teaches them theory. I am a certified Orff teacher as well.
Education
Univ of Memphis - Music Composttion - 1980 - 1983 (Master's degree received) East Texas State Univ - Music Composition - 1977 - 1980 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Owen B.
(877) 231-8505
Angelin Cove
Memphis, TN
Subjects
Piano, Music Theory, Music Performance
Ages Taught
5 to 99
Specialties
I have been trained in Suzuki and traditional styles. I can teach in either method.
Education
University of Memphis - Piano Performance - fall 2005 spring 2009 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Judith Bays
Bristol Tennessee City Schools 615 Martin Luther King Junior BLVD 736 Austi
Bristol, TN
Instruments
Chorus, Composition, Conducting, Ear Training, Early Music, Music Therapy, Musicology, Piano, Recording, Suzuki Method, Theory, Voice
Styles
Blues, Classical, Jazz, Kids
Experience Levels
Advanced, Beginner, Intermediate
Rate
$25
Years of Experience
21 Years

Data Provided By:
Amy Frederick
124 Jesse Brown Drive
Goodlettsville, TN
Instruments
Ear Training, Piano
Styles
Blues, Classical, Folk - Country - Bluegrass, Jazz, Rock - Alternative
Experience Levels
Beginner, Intermediate
Rate
$0
Years of Experience
15 Years

Data Provided By:
Charlotte Wilson
1116 Whitten Road
Memphis, TN
Instruments
Composition, Ear Training, Electronic, Piano, Theory, Voice
Styles
Classical, Electronic, Folk - Country - Bluegrass, Jazz, Kids, Other, Rock - Alternative, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$24
Years of Experience
20 Years

Data Provided By:
Russell R.
(877) 231-8505
Poplar Ridge
Memphis, TN
Subjects
Music Theory, Guitar, Music Performance, Songwriting, Bass Guitar, Music Recording
Ages Taught
10 to 99
Specialties
Rock/Pop, Blues
Education
Harding Academy - Liberal Atrs - 1980-1985 (High School diploma received) University of Memphis - Performing Arts - 1986-1988 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Kevin F.
(877) 231-8505
Meadow Glade Lane
Memphis, TN
Subjects
Music Theory, Theatrical Broadway Singing, Songwriting, Piano, Speaking Voice, Music Performance, Singing, Opera Voice
Ages Taught
10 to 60
Specialties
I am much more familiar with classical styles and broadway. My music writing style tends to be somewhere between neo-classical and avant-garde.
Education
Lincoln HS - n/a - 1996-1999 (High School diploma received) Harding University - music - 1999-2003 (Bachelor's degree received) Azusa Pacific Univ. - music - 2004-2006 (Master's degree received) Union Univ. - teaching - 2008-2009 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Jim Fox
P.O. Box 111665
Nashville, TN
Instruments
Piano
Styles
Blues, Classical, Jazz
Experience Levels
Advanced, Beginner, Intermediate
Rate
$40
Years of Experience
25 Years

Data Provided By:
Charlotte Wilson
1116 Whitten Road
Memphis, TN
Instruments
Composition, Ear Training, Electronic, Piano, Theory, Voice
Styles
Classical, Electronic, Folk - Country - Bluegrass, Jazz, Kids, Other, Rock - Alternative, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$24
Years of Experience
20 Years

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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