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Music Classes Ann Arbor MI

See below to find music schools and music instructors in Ann Arbor that give access to music classes, along with music ensembles, early childhood music, music summer programs, percussion classes, guitar classes, piano classes, and guitar classes, as well as advice and content on learning music.

Jeffrey Stamm
100 South 4th Ave Apt 904
Ann Arbor, MI
Promotion
$50 / hr
Hours
Classical
Memberships and Certifications
Voice
Services
20 years

Jeffrey Stamm
100 South 4th Ave Apt 904
Ann Arbor, MI
Instruments
Voice
Styles
Classical
Experience Levels
Advanced, Intermediate
Rate
$50
Years of Experience
20 Years

Data Provided By:
Ashley Dyer
1681 Broadway St. Apt. 404
Ann Arbor, MI
Promotion
$45 / hr
Hours
Classical
Memberships and Certifications
"Suzuki Method
Services
Violin"
Service Types and Repair
7 years

Katy Wyner
211 N. Adam #5
Ypsilanti, MI
Instruments
Chorus, Conducting, Ear Training, Early Music, Ethnomusicology, Musicology, Suzuki Method, Theory, Voice
Styles
Classical, Folk - Country - Bluegrass, Jazz, Kids, Other, Rock - Alternative, World
Experience Levels
Beginner, Intermediate
Rate
$20
Years of Experience
4 Years

Data Provided By:
Robert W.
(877) 231-8505
Flamingo St
Livonia, MI
Subjects
Drums
Ages Taught
1 to 99
Specialties
Rock and roll!
Education
Bishop Borgess - 1983-1987 (High School diploma received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Michelle Kulwicki
2825 Beacon Hill -
Ann Arbor, MI
Promotion
$60 / hr
Hours
"Classical
Memberships and Certifications
Kids"
Services
Cello
Service Types and Repair
10+ years

claudia w.
(877) 231-8505
Burlingame Court
Ann Arbor, MI
Subjects
Acting, Singing, Theatrical Broadway Singing, Music Performance, Opera Voice, Speaking Voice
Ages Taught
7 to 99
Specialties
Vocals: beg to inter Bel canto, Stanislavski, Alexander
Education
Eastern Michigan University - MFA Drama/Theatre for the Young - 2005-2009 (Degree received) Bowling Green State University - dual master's music and theatre - 1999-2005 (Master's degree received) University of New Mexico - music - 1984-1990 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Ashley Dyer
1681 Broadway St. Apt. 404
Ann Arbor, MI
Instruments
Suzuki Method, Violin
Styles
Classical
Experience Levels
Advanced, Beginner, Intermediate
Rate
$45
Years of Experience
7 Years

Data Provided By:
Gregory Koltyk
42264 Hammill Lane
Plymouth, MI
Instruments
Clarinet, Flute, Saxophone
Styles
Blues, Classical, Jazz
Experience Levels
Advanced, Beginner, Intermediate
Rate
$46
Years of Experience
21 Years

Data Provided By:
Michigan Academy of Dance & Music
(734) 426-8636
179 S Division St
Ann Arbor, MI
 
Data Provided By:

Take A Breath, Listen To The Spaces

Take A Breath, Listen To The Spaces
By Chris Standring ( www.chrisstandring.com )

I was at the NAMM show recently, a massive trade show for musical products. If you've ever been into Guitar Center and witnessed that infernal noise made by guitarists and bass players 'trying out' instruments, then the NAMM show is that x 50,000. It can be hell, yet a necessary evil if you are in the business.

I spent some time walking around and of course made my way to many of the guitar and amp booths, after all it's always good to keep up with anything new and groundbreaking. I came across a few professional guitar players who had been hired to demonstrate guitars, and as good as these players were technically, there was always one aspect of their playing that stood out to me. I find this is the case with any guitar player that is not communicating. They play too much. Tons and tons of notes, in rapid succession, all brilliantly executed. But what is really being said? How can you enjoy music when you feel like you are having your teeth drilled?

Guitar players are notorious for doing this, simply because they can. If they were horn players things would be very different. You simply have to take a breath. Guitar players technically don't have to do this, so they don't, and as a result their music is compromised.

The first time I was aware of this was several years ago when I started using a digital vocoder. In order for the notes to be heard on my guitar, I would have to mouth something into the microphone to trigger them. Then of course you get to shape the sound with syllables and so on. I was in a rehearsal and my sax player said to me, "Chris you play different when you use that thing, because you have to take a breath". Perhaps that was a kind way of saying I sucked, but the talkbox thing was cool. It certainly struck a chord anyway. So from then on, and it took a while to really sink in, but I tried to really focus on phrasing. And not just as a guitar player, but compositionally, if my music doesn't breathe, I'm just not interested.

As jazz guitarists, there is a terrible tendency for us to play a lot of notes, firstly because the genre historically has given us permission to do so, and second, archtop jazz guitars don't generally lend themselves to sustaining notes, so in order to 'get over', guitarists fall into the trap of overplaying.

There are of course compromising situations which affect the way we play and it is important to be aware of these at the time. First, if you are taking a solo and the band behind you is not being particularly supportive, i.e.; playing busily and not listening to you, then this very often makes a player play more notes because they are fighting to speak, as it were. But if the band is just grooving, you as a soloist can play just a few notes and the spaces are music in themselves!

Another compromising situation might be a borrowed or rented amp that ju...

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