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Jazz Classes Washington DC

Local resource for Jazz classes in Washington. 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.

Cesar Cartagena
3607 Cooper Lane 3607 Cooper Lane
Hyattsville, MD
Instruments
Clarinet, Flute, Saxophone
Styles
Blues, Folk - Country - Bluegrass, Jazz, Other, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$30
Years of Experience
5 Years

Data Provided By:
Olga Simonova
Reston, VA
Instruments
Piano, Theory
Styles
Classical
Experience Levels
Advanced, Beginner, Intermediate
Rate
$0
Years of Experience
20 Years

Data Provided By:
Princess B.
(877) 231-8505
Jefferson Street
Hyattsville, MD
Subjects
Acting, Songwriting, Music Performance, Singing, Speaking Voice
Ages Taught
10 to 99
Specialties
Performance Technique, Basic Voice, Songwriting & Lyric Analysis, Hip-Hop Theater, R&B, Theater/Acting/Drama (Beginner & Advanced), Public Speaking/Speech Writing & Delivery, Music Business & Entrepreneurship, Arts Workshopping & Outlining
Education
William G. Enloe HS - Theater - 1994-1996 (High School diploma received) North Carolina Central University - Theater - 1996-1999 (not complete) University of The District of Columbia - Theater/Mass Communications - 2000-2002 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Jessica P.
(877) 231-8505
Ridgewood Avenue
Chevy Chase, MD
Subjects
Upright Bass, Cello, Piano, Music Theory
Ages Taught
5 to 99
Specialties
pop, traditional, classical, baroque, renaissance
Education
Juilliard Pre-College - Double Bass Performance - 1998-1999 (High School diploma received) Eastman School of Music - Double Bass Performance - 1999-2003 (Bachelor's degree received) Cincinnati College Conservatory - Double Bass Performance - 2003-2005 (Master's degree received) Stony Brook University - Double Bass Performance - 2005-Present (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Khanh-Vi N.
(877) 231-8505
Sydenstricker Road
Springfield, VA
Subjects
Music Theory, Piano, Songwriting
Ages Taught
5 to 80
Specialties
Classical music/keyboard styles; Piano pedagogy; contempory/jazz composition; Suzuki Method.
Education
Northern Virginia Community College - Annandale Campus - Music Theory, Piano - August 2002-July 2004 (not complete) Virginia Commonwealth University - Music Education - August 2004-Present (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Jan deHoll
Springfield, VA
Instruments
Autoharps, Banjo, Ear Training, Early Music, Electric Bass, Electronic, Ethnomusicology, Guitar, Mandolin, Musicology, Ukelele
Styles
Blues, Folk - Country - Bluegrass, Kids, Rock - Alternative
Experience Levels
Beginner, Intermediate
Rate
$56
Years of Experience
6 Years

Data Provided By:
CelloSpeak
2364 Old Trail Road
Reston, VA
 
Mariana P.
(877) 231-8505
Underwood Place NW
Washington, DC
Subjects
Singing
Ages Taught
1 to 99
Specialties
Voice Classical. Children
Education
San Agustin - Science and Humanities - 1998-2001 Shenandoah Conservatory - Voice Performance - 2002-2006 The Catholic University of America - Vocal Pedagogy - 2007-2008
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Lisa B.
(877) 231-8505
Modrad Way
Silver Spring, MD
Subjects
Violin, Songwriting, Guitar, Music Theory, Music Performance, Singing
Ages Taught
5 to 99
Specialties
I teach classical violin using the Strictly Strings Music Book with improvisational violin and creative composition, as well as some Suzuki methods. I also teach rock violin. I teach folk guitar and singing, playing chords and note reading, composition, music theory, history and appreciation.
Education
Metropolitan University of Puerto Rico - Business Administration - 1996-1998 (Master's degree received) University of Virginia - Music - 1976-1980 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Olga Simonova
Reston, VA
Promotion
$0 / hr
Hours
Classical
Memberships and Certifications
"Piano
Services
Theory"
Service Types and Repair
20 years

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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