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Music Classes Buckeye AZ

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

Nanette G.
(877) 231-8505
W Williams St
Tolleson, AZ
Subjects
Opera Voice, Piano, Singing
Ages Taught
1 to 99
Specialties
voice, opera voice, piano In piano I am partial to the John Thompson method. I also spend a portion of each lesson on scales and music theory. In voice, I specialize in bel canto. The most beautiful sounds come when you are not straining the voice. I work on getting it out of the throat and into the mask.
Education
Bullard high - college prep - sept 87-june 91 Brigham Young University - French and Spanish - Aug 91-April 98 WCC - music theory and performance - Sept 04-May 06
Membership Organizations
TakeLessons Music Teacher

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Angels of Light Beauty Pageant
(877) 263-3515
2605 S 111th Dr
Avondale, AZ
 
Comfort Piano Studio
(623) 214-7950
14207 W. Evans Dr.
Surprise, AZ
 
Spencer C.
(877) 231-8505
E University Dr
Mesa, AZ
Subjects
Theatrical Broadway Singing, Music Performance, Speaking Voice, Music Theory, Singing
Ages Taught
5 to 20
Specialties
Theatrical Broadway singing and music theory are my strongest talents and I teach them very well. I have many years of experience both performing and teaching.
Membership Organizations
TakeLessons Music Teacher

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Scott K.
(877) 231-8505
W. Placita Tres Rios
Tucson, AZ
Subjects
Music Theory, Bass Guitar, Guitar, Piano, Classical Guitar, Music Recording
Ages Taught
5 to 99
Specialties
Rock/ Jazz/ Classical/ Experimental
Education
Mills College - Electronic Music - 2002 - 2006 (Master's degree received) Mills College - Music Composition - 2002 - 2006 (Master's degree received) University of Arizona - Music Composition - 1998 - 2002 (Bachelor's degree received) New School for the Arts - Music - 1995 - 1997 (High School diploma received)
Membership Organizations
TakeLessons Music Teacher

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Sylvan Learning Center
(623) 374-1153
13770 Van Buren
Goodyear, AZ
 
Embry-Riddle Aeronautical University
(623) 935-4000
7017 N. Litchfield Road
Glendale, AZ
 
Phoenix Conservatory of Music
(602) 997-9915
Litchfield Park AZ
Litchfield Park, AZ

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Taran A.
(877) 231-8505
e. Mission Lane
Scottsdale, AZ
Subjects
Singing, Harmonica, Acting, Dance, Theatrical Broadway Singing, Classical Guitar, Piano, Speaking Voice, Music Performance, Music Theory, Flute, Ukulele, Guitar
Ages Taught
5 to 99
Specialties
I teach every style but especially like pop and jazz. I initiate my students with chord-ing methods for the songs they enjoy right away so they can sound advanced in a easy approach.
Education
University of Calgary - Music - 1972-1976 (Bachelor's degree received) University of Calgary - Education - 1976-1978 (Master's degree received) Toronto Conservatory of Music - Piano Pedagogy - 1965-1980 (Associate degree received)
Membership Organizations
TakeLessons Music Teacher

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Marty T.
(877) 231-8505
E Voltaire Dr
Scottsdale, AZ
Subjects
Music Recording, Music Theory, Songwriting, Music Performance, Guitar
Ages Taught
5 to 99
Specialties
I like to customize methods for the individual. I do prefer the Berklee series for more serious guitar students. I have used Alfred's for some younger ones. Personally, I was brought up on the Mel Bay method and I don't really care for it. Besides general guitar lessons I can offer instruction to bands as I play bass keys and drums as well. Music Theory is a very strong point for me. Ear training goes hand in hand with theory. Being a performer too, I can teach the student the ropes of stage …
Education
Queens College - Communications/Music - 1970-1975 (Bachelor's degree received)
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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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