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Music Classes Bothell WA

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

Benjamin Gessel
19321 36th Ave W #44
Lynnwood, WA
Instruments
Composition, Ear Training, Horn, Piano, Theory
Styles
Classical, Other
Experience Levels
Advanced, Beginner, Intermediate
Rate
$30
Years of Experience
3 Years

Data Provided By:
Michael H.
(877) 231-8505
126th Way NE
Kirkland, WA
Subjects
Music Theory, Piano, Songwriting, Music Performance, Guitar
Ages Taught
5 to 99
Specialties
I teach multiple styles of guitar for all levels. I am very proficient in Rock, Blues, Jazz, and Pop guitar playing. I can also teach songwriting, rock/jazz piano, music theory, and general music performance.
Education
Seattle Pacific University - Music Theory - September 2006-June 2010 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Jolinda C.
(877) 231-8505
196th St SW
Edmonds, WA
Subjects
Piano
Ages Taught
5 to 99
Specialties
Faber and Faber, Celebration Series, Music for Little Mozarts, Alfred
Education
Seattle Pacific University - Communication - 1989-1993 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Deborah Gandolfo
10200 Ne 64th Street
Kirkland, WA
Instruments
Composition, Ear Training, Piano, Theory
Styles
Blues, Classical, Jazz, Kids, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
25 Years

Data Provided By:
paul f.
(877) 231-8505
Beacon Ave S
Seattle, WA
Subjects
Songwriting, Cello, Music Performance
Ages Taught
5 to 99
Specialties
I am a Suzuki Teacher; Orff method
Education
Mount Union College - music education - sept1981-June 1985 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
JC H.
(877) 231-8505
58th Ave
Mountlake Terrace, WA
Subjects
Music Theory, Upright Bass, Music Performance, Guitar, Music Recording, Songwriting, Bass Guitar
Ages Taught
13 to 99
Specialties
Jazz, Classical, Progressive Rock, Celtic, Funk, R&B/Soul For jazz, I tend to work on individual tunes from the Real Book and some of the Jamey Aebersold books. I also like Barry Galbraith's books on jazz chord comping. For rock guitar I have transcriptions of various techniques (tapping, sweep)/ For slap bass I have bits transcribed from Marcus Miller and Vic Wooten pieces. For reading, I'll work with Bach's 2-part inventions and then excerpts from rock or jazz charts.
Education
Wayne Status University - Music - 06/81 - 06/85 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Monica G.
(877) 231-8505
224th St. Sw
Edmonds, WA
Subjects
Speaking Voice, Music Performance, Singing, Opera Voice
Ages Taught
15 to 40
Specialties
I am a classical singer. I sing opera and art song, but I also love musical theatre and sacred music. I teach singers how to use their own voice with good technique and apply that to music that is suited for their voice and interests.
Education
University of Michigan - Vocal Performance - 2004-2007 (PhD degree received) Rice University - Vocal Performance - 2000-2002 (Master's degree received) Texas Wesleyan University - Vocal Performance - 1998-2000 (Bachelor's degree received) Piedmont High School - - 1993-1995 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Michelle Young
5200 175th St SW
Edmonds, WA
Instruments
Ear Training, Piano, Theory
Styles
Classical, Kids
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
8 Years

Data Provided By:
Charles Hiestand
1136 N 115th Apt A202
Seattle, WA
Instruments
Composition, Electric Bass, Piano, Theory
Styles
Classical, Jazz
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
32 Years

Data Provided By:
Ben G.
(877) 231-8505
Harbour Pointe Blvd.
Mukilteo, WA
Subjects
Music Theory, French Horn, Piano, Music Performance, Songwriting
Ages Taught
5 to 99
Specialties
No specific methods in particular, and I tend to teach more in the classical genres, with some pop/film music thrown in for variety (from time to time). I prefer using the Bastian, Alfred, and/or John Thompson piano methods, and Pottag-Hovey, Maxime-Alphonse, etc. for French Horn.
Education
Central Washington University - Bachelor of Arts in Music - Spring 2003-Fall 2007 (Bachelor's degree received) George R. Curtis Senior High School - High School Diploma - 1993-1996 (High School diploma 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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