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Jazz Classes Monroe GA

Local resource for Jazz classes in Monroe. 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.

Harold B.
(877) 231-8505
Shady Maple Lane
Loganville, GA
Subjects
Piano, Music Theory, Music Recording
Ages Taught
4 to 99
Specialties
I first try to connect with the student to determine the level at which the student is on. I also try to determine the pace at which the student learns. If they would need motivation. My method is providing a comfortable gradual way for teaching the piano as well as teaching them to read the notes. I provide them with extensive music practice and ear training. Teach them to play real songs.
Education
Miami Palmetto High School - Academics - 1993-1998 (not complete) New World School of Arts - Music - 1999-2003 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Lesley D.
(877) 231-8505
Cherry Valley Drive
Covington, GA
Subjects
Singing, Guitar, Piano
Ages Taught
4 to 99
Specialties
music, Beginning Guitar, Piano and Voice I teach using basic music theory...all my students learn to read music!
Education
Cardinal Gibbons - Basic - 80-83
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Music & Arts
(770) 760-9460
1596 Dogwood Drive, Suite B
Conyers, GA
 
Georgia State University
PO Box 4097
Atlanta, GA
 
Andrew College
413 College Street
Cuthbert, GA
 
Ashlee C.
(877) 231-8505
Aristocrat Court
Loganville, GA
Subjects
Violin, Piano, Singing, Music Theory, Opera Voice
Ages Taught
5 to 99
Education
Pensacola Christian College - church music - 2004-2006 (not complete) Bob Jones University - Piano Pedagogy - 2006-2008 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Music & Arts
(770) 982-0822
Presidential Market Center, 1905 Scenic Highway Ste 610
Snellville, GA
 
Agnes Scott College
141 E. College Ave.
Decatur, GA
 
Russell Eldridge
1105 Parkside Lane
Acworth, GA
Instruments
Guitar
Styles
Blues, Classical, Jazz, Other, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$22.50
Years of Experience
8 Years

Data Provided By:
Albert Soskin
502 Brighton Point
Atlanta, GA
Instruments
Clarinet, Flute, Oboe, Saxophone
Styles
Classical, Jazz
Experience Levels
Advanced, Beginner
Rate
$50
Years of Experience
20 Years

Data Provided By:
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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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