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Jazz Classes Woonsocket RI

Local resource for Jazz classes in Woonsocket. 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.

Jacob Litoff
58 Union Street
Millis, MA
Instruments
Cello, Other, Viola, Violin
Styles
Classical, Kids, Other
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
30 Years

Data Provided By:
Sarah Gardner
165 Nahatan Street 165 Nahatan Street
Norwood, MA
Instruments
Other, Piano, Voice
Styles
Blues, Folk - Country - Bluegrass, Kids, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$80
Years of Experience
12 Years

Data Provided By:
Kyle B.
(877) 231-8505
Regal Road
Milford, MA
Subjects
Music Performance, Piano, Music Theory, Organ
Ages Taught
1 to 99
Specialties
I teach beginning piano students using the Schaum Piano Method Books. The primary genre of music that I teach is classical.
Education
Milford High School - - 2000-2004 (not complete) University of Massachusetts, Lowell - Music Education - 2004-2009 (Bachelor's degree received) University of Massachusetts, Lowell - Organ Performance - 2004-2009 (Bachelor's degree received) University of Massachusetts, Lowell - Music Education - 2009-present (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Dr. Lizary Rodriguez
Richland Rd
Norwood, MA
Promotion
$60 / hr
Hours
"Classical
Memberships and Certifications
Other"
Services
Harp
Service Types and Repair
15 years

Stan Munslow
15 Hancock Drive
Coventry, RI
Instruments
Composition, Ear Training, Electric Bass, Guitar, Music Business, Other, Piano, Theory
Styles
Blues, Classical, Jazz, Kids, Other, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$25
Years of Experience
26 Years

Data Provided By:
George Chapman
73 Stagecoach Road
Holliston, MA
Instruments
Banjo, Guitar, Stand Up Bass
Styles
Folk - Country - Bluegrass
Experience Levels
Beginner, Intermediate
Rate
$40
Years of Experience
30 Years

Data Provided By:
Justin A.
(877) 231-8505
Quinn St
North Attleboro, MA
Subjects
Music Theory, Percussion, Piano, Music Performance, Drums
Ages Taught
5 to 99
Specialties
I pride myself in being well trained in all styles of music. In attaining each of my degrees, I have put an emphasis on being versatile and well-rounded. For drum set, I like to use method books such as: Stick Control, Syncopation and Future Sounds.
Education
Univeristy of Massachusetts Amherst - Music - 2003-2006 (Bachelor's degree received) Holyoke Community College - Arts with a concentration in Music - 2001-2003 (Associate degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Kenya C.
(877) 231-8505
Brown St
Hope, RI
Subjects
Violin, Music Theory, Piano
Ages Taught
1 to 99
Specialties
baroque, classical, romantic periods, 20th century, contemporary music, ragtime and blues
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Music & Arts
(508) 473-2895
164 Main Street
Milford, MA
 
Kenya C.
(877) 231-8505
Brown St
Hope, RI
Subjects
Violin, Music Theory, Piano
Ages Taught
1 to 99
Specialties
baroque, classical, romantic periods, 20th century, contemporary music, ragtime and blues
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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