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Jazz Classes Crown Point IN

Local resource for Jazz classes in Crown Point. 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.

Renee G.
(877) 231-8505
Vivan St.
Portage, IN
Subjects
Music Performance, Piano, Music Theory
Ages Taught
4 to 99
Specialties
My specialties are really motivating students to have fun learning to play the piano. We learn to read the notes, relate sound and express ourselves through the beauty playing the piano. I am willing to use a variety of styles to help students learn to play the piano such as classical, rock , pop, hymn, jazz and more through the variety of method books such as Alfred, Bastien, Faber and Faber, and more.
Education
Inter-City Christian - Teaching - 1968-1974 (Bachelor's degree received) Clearwater Christian College - BS in BIble and Physical Education - 1974-1979 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Akilah W.
(877) 231-8505
Clarendon Ave
Richton Park, IL
Subjects
Music Theory, Trombone, Piano
Ages Taught
5 to 40
Specialties
Classical Piano/ Classical Trombone
Education
University of Arkansas at Pine Bluff - Music Education - 08/2005-12/2009 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Rick Wilhelm
56 Knoll Ct. Apt. B
Carmel, IN
Instruments
Ear Training, Electric Bass, Guitar, Theory
Styles
Blues, Folk - Country - Bluegrass, Jazz, Kids, Other, Rock - Alternative
Experience Levels
Beginner, Intermediate
Rate
$0
Years of Experience
6 Years

Data Provided By:
Indiana University - Bloomington
1201 E. Third St
Bloomington, IN
 
Todd L.
(877) 231-8505
Lee Ct
Cicero, IN
Subjects
Music Theory, Theatrical Broadway Singing, Acting, Oboe, Trombone, Flute, Trumpet, French Horn, Organ, Tuba, Bassoon, Percussion, Piano, Clarinet, Saxophone, Singing, Music Performance, Drums, Speaking Voice
Ages Taught
5 to 99
Education
Christian Theological Seminary - Theology/Ministry - 1991-1995 (Master's degree received) Ball State University - Music Education - 1984-1988 (Bachelor's degree received) Hamilton Heights HS - College Prep - 1981-1984 (High School diploma received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Yusef M.
(877) 231-8505
Sibley Blvd
Calumet City, IL
Subjects
Speaking Voice, Music Performance, Songwriting, Music Recording, Saxophone, Organ, Piano, Music Theory, Singing
Ages Taught
5 to 99
Specialties
Gospel Jazz Play by Ear
Education
University of Dayton - Psychology - 94-98 (Bachelor's degree received) Keller Graduate School - Business Administration - 02-04 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
St. Mary of the Woods College
St Mary of the Woods, IN
 
Butler University
Indianapolis, IN
 
University of Evansville
Evansville, IN
 
Jackie S.
(877) 231-8505
East 10th St.
Jeffersonville, IN
Subjects
Music Theory, Music Performance, Singing, Opera Voice, Theatrical Broadway Singing
Ages Taught
5 to 99
Specialties
Improving vocal production by eliminating problems that most singers have; to include but not limited to posture, proper breathing, tonal quality (in all ranges). Technique; such as diction for singing is employed. Teaching methods include but are not limited to Bel Canto (Italian school, translated: Beautiful Singing) school of music, German, French, and English schools. Methods used depend on what type of voice each student has. Belting is not encouraged in any way as it can be harmful to t…
Education
East Carolina University - MM, Music, Vocal Pedagogy - 2002-2004 (Master's degree received) Jacksonville University - BA, Music, Vocal performance - 2000-2002 (Bachelor's degree received) Gulf Coast Community College - Pre-Music - 1997-2000 (Associate degree received)
Membership Organizations
TakeLessons Music Teacher

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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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