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Music Classes Beaverton OR

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

Lisa N.
(877) 231-8505
SW. Maverick Terrace
Beaverton, OR
Subjects
Bass Guitar, Music Performance, Guitar, Singing, Songwriting
Ages Taught
5 to 65
Specialties
Beginning to intermediate Guitar Voice and Bass lessons
Education
Portland Community - Music Major - 2010 (complete) Portland State - Masters Music Major - 2012 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Joseph W.
(877) 231-8505
SW 30th Ave
Portland, OR
Subjects
Piano
Ages Taught
1 to 99
Specialties
Utilizes the pedagogical approaches of Ingird Clarfield.
Education
Westminster Choir College of Rider University - Music (piano emphasis) - 2001-2005 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Landon S.
(877) 231-8505
Se 8th Ave
Portland, OR
Subjects
Cello, Classical Guitar, Organ, Theatrical Broadway Singing, Music Theory, Drums, Guitar, Singing, Music Performance, Songwriting, Speaking Voice, Bass Guitar, Piano, Music Recording
Ages Taught
5 to 99
Specialties
Blues Guitar, Folk Guitar, Composition.
Education
Westmont College - Music - 2005-2009 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
David P.
(877) 231-8505
N Yale Street
Portland, OR
Subjects
Songwriting, Music Theory, Guitar, Trombone, Music Performance
Ages Taught
6 to 99
Specialties
I try to tailor my lesson plans to the musical interests of the student while focusing on music theory and pedagogy.
Education
Simsbury High School - - August 2000-June 2004 (High School diploma received) Hofstra University - Music - August 2004-May 2008 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Mark W.
(877) 231-8505
NE Wasco St
Portland, OR
Subjects
Music Theory, Theatrical Broadway Singing, Opera Voice, Piano, Singing, Violin, Music Performance, Songwriting, Speaking Voice
Ages Taught
6 to 99
Specialties
My emphasis is classical or Fine Art music. I am a classical singer, and I sing in several professional ensembles in Portland. In graduate school I studied and taught Music Theory and Composition. I am also an active pianist, and have accompanied singers visiting the Portland area in local recitals. My expertise is both wide and specific within the European classical tradition. That said many of my recent voice students have been singers in local rock bands. All musicians, regardless of their…
Education
Raytown High School - General Studies - 1996-2000 (High School diploma received) University of Central Missouri - Bachelor of Music - 2000-2005 (Bachelor's degree received) University of Missouri - Master of Music - 2005-2009 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Marianne S.
(877) 231-8505
SW Kristin Ct
Beaverton, OR
Subjects
Music Performance, Music Theory, Singing, Songwriting
Ages Taught
5 to 99
Specialties
Composition: Modern Modal music, folk, and choral. Trained Bel Canto for vocal performance - so don't ask for rock. I can do Jazz, and can rock your world with classical art songs, as well as folk and Broadway show tunes.
Education
Columbia High School - General - 1996 - 1998 (High School diploma received) Warner Pacific College - Music Theory and Composition - Fall 1998 - Spring 2003 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Nathan H.
(877) 231-8505
N Overlook Terrace
Portland, OR
Subjects
Music Theory, Guitar, Classical Guitar, Music Performance
Ages Taught
5 to 99
Specialties
I specialize in Classical Guitar, and I prefer to use the Aaron Shearer guitar method books to teach beginners proper technique and to read music. I am also extremely proficient in other styles, including Rock and Blues.
Education
University of Idaho - Music - 2005-2009 (Bachelor's degree received) North Idaho College - General - 2002-2004 (Associate degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Paul S.
(877) 231-8505
SE BOISE ST
Portland, OR
Subjects
Guitar, Drums
Ages Taught
12 to 18
Specialties
While I specialize in rock, experimental, electronic, noise, popular, folk, and art music, I do know some jazz. In order to pass my guitar jury to graduate with a B.A. in music, I had to demonstrate knowledge of all basic major and minor triads plus dominant, minor, major, half-diminished and fully diminished 7th chords. Additionally, 2-octave major and minor scales in 6 positions, in broken thirds and triad patterns were required, along with four memorized pieces within the jazz genre. The b…
Education
Moorhead State University - Music - 1996-2002 (Bachelor's degree received) Portland State University - Education: Curriculum and Instruction: Secondary Language Arts - 2008-2010
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Lukas S.
(877) 231-8505
SE Cesar e Chavez Blvd,
Portland, OR
Subjects
Drums, Music Theory, Guitar
Ages Taught
8 to 50
Specialties
I can teach drum charts to those looking to start reading, or also by ear, which is how I mostly learned. However, I also am knowledgeable in music theory from my studies as an undergrad, and could apply that to my guitar lessons.
Education
Wheaton College MA - Music - Fall 2006-Spring 2010 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Jeremy N.
(877) 231-8505
SE Reedway St
Portland, OR
Subjects
Drums, Music Theory, Songwriting, Music Recording, Music Performance, Guitar, Piano, Percussion, Bass Guitar
Ages Taught
5 to 50
Specialties
Drum: beg to adv Piano: beg to adv Guitar and bass: beg to inter Piano: I teach a method that my father--a professional music teacher in the Phoenix valley--has developed for 37 years which includes original exercises, music and books by Pace, Noona, Faber, Minsky and more. Drums: I developed a creative approach to drumming incorporating reading from the beginning. I use Syncopation by Ted Reed and the Breeze Easy methods to start. Also have play along CD's and playlists. Guitar: I took lesso…
Education
Univ of Arizona - Music - 08/1992-06/1997 (Bachelor's degree received) Univ of Arizona - Music - 08/2001-06/2003 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

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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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