Search Play Jazz Guitar.com

 

 




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

Data Provided By:
Sylvan Learning Center
(623) 374-1153
13770 Van Buren
Goodyear, AZ
 
Comfort Piano Studio
(623) 214-7950
14207 W. Evans Dr.
Surprise, AZ
 
Patricia Fisher
5314 N 81 Place
Scottsdale, AZ
Promotion
$40 / hr
Hours
Classical
Memberships and Certifications
Cello
Services
30 years

Joshua Brown
4641 N 1st Ave #5
Tucson, AZ
Instruments
Drums, Guitar, Piano, Violin, Voice
Styles
Blues, Classical, Folk - Country - Bluegrass, Jazz, Kids, Rock - Alternative, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$47.50
Years of Experience
15 Years

Data Provided By:
Angels of Light Beauty Pageant
(877) 263-3515
2605 S 111th Dr
Avondale, 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

Data Provided By:
janice g.
(877) 231-8505
N. Wilbur
Mesa, AZ
Subjects
Piano
Ages Taught
5 to 15
Specialties
I can teach students to read music and play classical or I can teach them to play individual songs by chord progressions, I can also teach songwriting and theory.
Education
University of Phoenix - Organizational Management - 1998-2001 (Master's degree received) Arizona State University - Psychology - 1990 (Bachelor's degree received) City College San Francisco - General/Music minor - 1985-1988 (Associate degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Caia Decker
9 W. University Drive #42
Flagstaff, AZ
Promotion
$20 / hr
Hours
"Classical
Memberships and Certifications
Kids"
Services
Piano
Service Types and Repair
2 years

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...

Click here to read the rest of this article from Play Jazz Guitar