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Music Classes Boulder CO

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

Dr. Catherine Millis
908 Snowberry St.
Longmont, CO
Instruments
Piano, Violin
Styles
Blues, Classical, Electronic, Jazz, Kids, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
25 Years

Data Provided By:
Mary F.
(877) 231-8505
Simms St
Arvada, CO
Subjects
Guitar, Classical Guitar, Piano, Organ, Music Theory, Music Performance, Singing, Banjo
Ages Taught
5 to 105
Specialties
classical guitar and piano
Education
Alleman High School - - 1963-67 (High School diploma received) St Ambrose University - music education - 1979-81 (Bachelor's degree received) Northern Illinois University - music - 1994-96 (Master's degree received) Art Institute of Colorado - graphic design - 2007-09 (Associate degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Benjamin Gauss
1612 Twin Sisters Dr.
Longmont, CO
Promotion
$35 / hr
Hours
Classical
Memberships and Certifications
"Viola
Services
Violin"
Service Types and Repair
6 years

Music & Arts
(303) 427-0601
Arbor Village, 7350-B West 88th Ave
Westminster, CO
 
Summit Reading Center LLC
(303) 499-9729
4730 Table Mesa Dr.
Boulder, CO
 
Kevin J.
(877) 231-8505
Depot Hill Rd.,
Broomfield, CO
Subjects
Music Theory, Bass Guitar, Guitar, Classical Guitar, Music Performance
Ages Taught
5 to 99
Specialties
The majority of my expertise in in classical guitar and electric rock guitar.
Education
Tishomingo High - diploma - 1991-1995 (High School diploma received) Oklahoma City University - classical guitar - 1998-2000 (Bachelor's degree received) University of North Texas - classical guitar - 2002-2005 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
John Taylor
4901 W 93rd Ave Unit #816
Westminster, CO
Instruments
Composition, Electric Bass, Guitar, Other, Theory
Styles
Blues, Other, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$35
Years of Experience
7 Years

Data Provided By:
Harmony Music House of Boulder
(303) 444-7444
2525 Broadway St.
Boulder, CO
 
Boulder Suzuki Strings
(303) 499-2807
2705 Stanford Ave
Boulder, CO

Data Provided By:
Homeschool Outside The Box
(303) 579-9483
3508 22nd Street
Boulder, CO
 
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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