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Jazz Classes Covington KY

Local resource for Jazz classes in Covington. 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.

Conducting Tchaikovsky: Overture Concerto Symphony
PO Box 210003
Cincinnati, OH
 
College-Conservatory of Music
PO Box 210003
Cincinnati, OH
 
Elizabeth Hickerson
Florence Music Academy 240 Main St.
Florence, KY
Instruments
Chorus, Clarinet, Euphonium, Flute, Guitar, Harp, Horn, Piano, Saxophone, Trombone, Trumpet, Tuba, Viola, Violin, Voice
Styles
Classical, Folk - Country - Bluegrass, Jazz, Kids, Other, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$0
Years of Experience
11 Years

Data Provided By:
James F.
(877) 231-8505
West 9th Street
Cincinnati, OH
Subjects
Viola, Violin, Music Theory
Ages Taught
5 to 18
Specialties
I am a huge fan of the Suzuki method for violin and viola. That being said, I also integrate a very traditional teaching style, that when combined with Suzuki's tiered repertoire, yields rapid growth and facility on the instrument.
Education
University of Cincinnati College-Conservatory of Music - Viola Performance - September 2008 - June 2012 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Jennifer Y.
(877) 231-8505
Memorial Hall
Cincinnati, OH
Subjects
Violin
Ages Taught
5 to 99
Specialties
I was trained for 11 years in the Suzuki method, and I am a certified teacher of the Sassmannshaus Tradition violin method (Early Start on the Violin). I am classically trained and am most experienced teaching in that style, but I also enjoy fiddle and folk music and could teach in those styles as well.
Education
University of Cincinnati, College-Conservatory of Music - violin performance - 2006-2010 (Bachelor's degree received) University of Cincinnati, College-Conservatory of Music - violin performance - 2010-2012 (present) (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
University of Cincinnati
PO Box 210003
Cincinnati, OH
 
The Center for the Arts
322 Wyoming Ave.
Wyoming, OH
 
Daphne Wayne
(859) 992-8511
1576 Basswood Court
Florence, KY
Instruments
Piano
Styles
Blues, Classical, Folk - Country - Bluegrass, Kids, Rock - Alternative, World
Experience Levels
Beginner, Intermediate
Rate
$39
Years of Experience
4 Years

Data Provided By:
Jennifer Y.
(877) 231-8505
Moerlein
Cincinnati, OH
Subjects
Violin
Ages Taught
5 to 99
Specialties
I was trained for 11 years in the Suzuki method, and I am a certified teacher of the Sassmannshaus Tradition violin method (Early Start on the Violin). I am classically trained and am most experienced teaching in that style, but I also enjoy fiddle and folk music and could teach in those styles as well.
Education
University of Cincinnati, College-Conservatory of Music - violin performance - 2006-2010 (Bachelor's degree received) University of Cincinnati, College-Conservatory of Music - violin performance - 2010-2012 (present) (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
James F.
(877) 231-8505
Clifton Ave
Cincinnati, OH
Subjects
Violin, Music Theory, Viola
Ages Taught
5 to 18
Specialties
I am a huge fan of the Suzuki method for violin and viola. That being said, I also integrate a very traditional teaching style, that when combined with Suzuki's tiered repertoire, yields rapid growth and facility on the instrument.
Education
University of Cincinnati College-Conservatory of Music - Viola Performance - September 2008 - June 2012 (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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