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Jazz Classes Pasadena MD

Local resource for Jazz classes in Pasadena. 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.

Noelle Presby Lipa
10 McCormick Avenue none
Baltimore, MD
Instruments
Clarinet, Flute, Piccolo, Saxophone
Styles
Classical, Kids, Other
Experience Levels
Advanced, Beginner, Intermediate
Rate
$40
Years of Experience
12 Years

Data Provided By:
David W.
(877) 231-8505
Everall Ave
Baltimore, MD
Subjects
Songwriting, Bass Guitar, Guitar, Music Theory, Music Performance
Ages Taught
5 to 75
Specialties
Received formal education in jazz/ blues and very experienced in playing/writing rock, folk, and alternative music.
Education
McDaniel College - Music Performance - 08/28/2004-05/23/2008 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Richard P.
(877) 231-8505
N Rolling Road
Windsor Mill, MD
Subjects
Piano, Music Theory
Ages Taught
6 to 99
Specialties
music, piano, music theory classical, hymn playing
Education
Calvary Baptist School - College Prep - 1994-1998 Bob Jones University - Church Music, Piano - 1998-2002 Bob Jones University - Church Music, Piano - 2002-2004
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Benjamin P.
(877) 231-8505
Rosalie Ave
Parkville, MD
Subjects
Music Recording, Guitar, Music Theory
Ages Taught
5 to 99
Specialties
Rock, Pop, Blues, Country, flat-picking, finger-style
Education
Franklin & Marshall College - History - 2000-2003 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Ian D.
(877) 231-8505
Main St.,
Ellicott City, MD
Subjects
Piano
Ages Taught
1 to 99
Specialties
music, piano, jazz piano Jazz
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Dan T.
(877) 231-8505
Fernley Square
Halethorpe, MD
Subjects
Music Theory, Percussion, Drums
Ages Taught
5 to 99
Specialties
Rock, funk, jazz, blues, hip hop, reggae, rudimental drumming, art music, percussion A wide variety of methods can be explored and incorporated into one's lesson, and will be geared towards the goals of the learner.
Education
Seneca Valley High School - Science and Engineering - 09/00-06/04 (High School diploma received) University of Maryland, Baltimore Co. - Music Education, Percussion, Psychology - 09/04-current (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Orlando S.
(877) 231-8505
Nettleton Court
Windsor Mill, MD
Subjects
Singing, Piano, Opera Voice, Theatrical Broadway Singing, Speaking Voice, Songwriting, Music Theory
Ages Taught
10 to 99
Specialties
Voice, Beginning Piano, Singing, opera Voice, Music Theory, Theatrical Broadway Singing, Ear Training, Sight Singing, Sight Reading, Speaking Voice, Songwriting Bel Canto, Old World Technique, Belting, Broadway, Opera, Oratorio, Art Song, Sacred Music, R&B, Jazz, Beginning Piano
Education
Parkville HIgh School - Computer Science - 8/2001 - 5/2005 UMBC - Vocal Performance and Composition - 8/2005 - 5/2009 Peabody Institute - 8/2009- 5/2011 Pursuing Master's in voice
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Chris M.
(877) 231-8505
Fox Brier Lane
Nottingham, MD
Subjects
Drums
Ages Taught
8 to 99
Specialties
Snare drum rudiments, traditional and matched grip emphasis on developing good reading skills for snare and drumset. Drumset styles include, Rock, Prog Rock, Metal, Fusion, Jazz, Latin & Funk. Double Bass Drumming, Polyrhythms, Odd Time Signatures and Linear grooves.
Education
Berklee College of Music - Performance/ Percussion - September 1989 - May 1993 (Bachelor's degree received) Tesst College - Design - January 1999 - May 2000 (Associate degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
James G.
(877) 231-8505
Harrowdale Street,
Baltimore, MD
Subjects
Songwriting, Piano, Music Theory, Guitar, Music Performance
Ages Taught
4 to 99
Specialties
I studied and performed jazz guitar in college, though I perform a wide variety of genres (pop, rock, blues, show tunes, etc.) professionally. My specialties on piano would be pop and rock, as well as beginning piano in any genre.
Education
University of Maryland Baltimore County - music performance-jazz-guitar - 8/2005-5/2009 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
David S.
(877) 231-8505
Montgomery Rd
Ellicott City, MD
Subjects
Guitar, Classical Guitar, Bass Guitar, Songwriting, Music Performance, Music Theory
Ages Taught
8 to 70
Specialties
Pop, rock, jazz, blues, classical, metal and funk.
Education
Salisbury University - Music (Composition) - 09/98-05/04 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

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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