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Music Classes Brazil IN

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

(812) 241-5653
5500 Wabash Ave.
Terre Haute, IN
Indiana State University
(800) 742-0891
Terre Haute IN
Terre Haute, IN

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De Pauw University
(765) 658-4006
Greencastle IN
Greencastle, IN

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St. Mary of the Woods College (St. Mary of the Woods College - Music Therapy)
(812) 535-5151
St. Mary of the Woods Road
Saint Mary-of-the-Woods, IN
Janee H.
(877) 231-8505
Genung Drive
New Albany, IN
Opera Voice, Singing, Music Performance, Theatrical Broadway Singing
Ages Taught
1 to 99
I specialize in classical singing. Opera as well as theatrical are definitely strong points in my teaching.
Seymour High School - General - 2001-2005 (High School diploma received) Central Bible College - Vocal Performance - 2005-2007
Membership Organizations
TakeLessons Music Teacher

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Integrity Behavioral Solutions
(317) 514-0442
1353 Holden Court
Carml, IN
St. Mary of the Woods College
St Mary of the Woods, IN
Indiana State University (Department of Music - Indiana State University)
(812) 237-2772
200 North Seventh Street
Terre Haute, IN
Jackie S.
(877) 231-8505
East 10th St.
Jeffersonville, IN
Music Theory, Music Performance, Singing, Opera Voice, Theatrical Broadway Singing
Ages Taught
5 to 99
Improving vocal production by eliminating problems that most singers have; to include but not limited to posture, proper breathing, tonal quality (in all ranges). Technique; such as diction for singing is employed. Teaching methods include but are not limited to Bel Canto (Italian school, translated: Beautiful Singing) school of music, German, French, and English schools. Methods used depend on what type of voice each student has. Belting is not encouraged in any way as it can be harmful to t…
East Carolina University - MM, Music, Vocal Pedagogy - 2002-2004 (Master's degree received) Jacksonville University - BA, Music, Vocal performance - 2000-2002 (Bachelor's degree received) Gulf Coast Community College - Pre-Music - 1997-2000 (Associate degree received)
Membership Organizations
TakeLessons Music Teacher

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Rick Wilhelm
56 Knoll Ct. Apt. B
Carmel, IN
Ear Training, Electric Bass, Guitar, Theory
Blues, Folk - Country - Bluegrass, Jazz, Kids, Other, Rock - Alternative
Experience Levels
Beginner, Intermediate
Years of Experience
6 Years

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Take A Breath, Listen To The Spaces

Take A Breath, Listen To The Spaces
By Chris Standring ( )

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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