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Music Classes Anoka MN

See below to find music schools and music instructors in Anoka 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.

Lucille Murray's Studio of Dance
(763) 412-2691
141 Sandberg Road
Monticello, MN
 
Mark Sawyer Guitar Lesson
(763) 878-2700
647 145th Street Northwest
Monticello, MN
 
Guitar Masters
(612) 267-6592
1450 5th Ave S
Saint Cloud, MN
 
Azra Halilovic
5217 Beachside Drive
Minnetonka, MN
Instruments
Piano
Styles
Classical
Experience Levels
Advanced, Beginner, Intermediate
Rate
$25
Years of Experience
1 Year

Data Provided By:
Allison B.
(877) 231-8505
W 84th St
Minneapolis, MN
Subjects
Flute, Music Theory, Piano
Ages Taught
5 to 99
Specialties
Beginning to advanced piano and keyboard, beginning to advanced flute and music theory such as scales, chord structures, chord progressions, math behind the music, history behind the music, etc., etc.
Education
Normandale Community College - fine arts in music with an emphisis in piano - 2005 - 2009 (Associate degree received) Normandlae Community College - music - 2001 - 2005 (Associate degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
St. Cloud State University (Department of Music - St. Cloud State University)
(320) 308-3223
720 Fourth Avenue
Saint Cloud, MN
 
Childbloom Guitar Program
(320) 420-4736
913 W Saint Germain St
Saint Cloud, MN
 
Kathryn G.
(877) 231-8505
Orchid Street Nw
Minneapolis, MN
Subjects
Piano, Singing, Music Theory
Ages Taught
10 to 99
Education
Concordia College - Music, History - 2004-2009 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Erica B.
(877) 231-8505
W Minnehaha Pkwy
Minneapolis, MN
Subjects
Violin, Viola
Ages Taught
5 to 99
Specialties
I am certified in Every Child Can, Suzuki's Pre-Twinkle program. I use the Suzuki repertoire as well as techniques learned during my time as a student of the violin and viola.
Education
Northwestern University - Viola Performance - 2001-2005 (Bachelor's degree received) University of Minnesota - Viola Performance - 2005-2008
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Mark H.
(877) 231-8505
80th Cir N
Osseo, MN
Subjects
Guitar, Bass Guitar, Music Theory, Speaking Voice, Acting, Music Performance, Theatrical Broadway Singing, Singing, Music Recording, Songwriting
Ages Taught
8 to 99
Specialties
Rock, Jazz, Funk, Blues, Pop, etc
Education
University of Minnesota - Journalism, Theatre Arts(minor) - 1983-1988 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
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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