Search Play Jazz Guitar.com

 

 




Music Classes Coppell TX

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

Pierre C.
(877) 231-8505
Rodeo Dr
Irving, TX
Subjects
Piano, Music Theory
Ages Taught
5 to 99
Specialties
I specialize in classical and pop music. I am a songwriter that incorporates the fundamental aspects of music theory to write classical and pop/rock compositions. I license music and have submitted songs for placement in ads for Microsoft, Unilever, Suave, and I Can't Believe It's Not Butter
Education
Southern Methodist University - Geology - 01-06 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Paul D'Adamo
1020 Murl Drive
Irving, TX
Instruments
Audio Recording, Cello, Chorus, Clarinet, Composition, Drums, Ear Training, Electric Bass, Electronic, Flute, Guitar, Mallet, Marimba, Oboe, Other, Percussion, Piano, Piccolo, Recording, Saxophone, Theory, Timpani, Trombone, Trumpet, Violin, Voice
Styles
Blues, Classical, Electronic, Folk - Country - Bluegrass, Jazz, Kids, Other, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$65
Years of Experience
20+ Years

Data Provided By:
Lucas B.
(877) 231-8505
Dartmouth Dr
Irving, TX
Subjects
Drums, Music Performance, Percussion, Music Theory
Ages Taught
8 to 99
Specialties
Drum set (All Styles) Marching Percussion (Rudiments, Technique, Solos) Classical Percussion (Snare Drum, Mallets, Toys) Ethnic Percussion (Congas, Bongos, Hand Percussion) Jazz & Improvisation Music Theory & Arranging Ear Training Beginning Piano
Education
Wichita State University - Percussion Performance - 2001-2006 (Bachelor's degree received) Wichita State University - Jazz Studies - 2001-2006 (Bachelor's degree received) University of Southern Mississippi - Music Performance/Minor in Music Theory - 2008-2010 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Clinton L.
(877) 231-8505
Parkside Center Blvd
Dallas, TX
Subjects
Drums
Ages Taught
7 to 51
Specialties
All Styles, Use the Chapin book, Stick Control and many many more. Rock, Jazz, Country, Latin
Education
University of North TX - - 1973-1980 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Madysen S.
(877) 231-8505
Blue Lake Court
Irving, TX
Subjects
Piano
Ages Taught
5 to 12
Specialties
It varies with each student.
Education
Dallas Baptist University - music education - Fall 2008-current (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Bryan B.
(877) 231-8505
Red Oak Lane
Flower Mound, TX
Subjects
Bass Guitar, Classical Guitar, Guitar, Music Theory
Ages Taught
8 to 18
Specialties
I enjoy teaching rhythm/strumming on steel string guitar and pima finger picking on nylon string. I can teach basic lead on electric guitar, though that is not my specialty.
Education
Gordon College (Wenham, MA) - Music Education - 2002-2006 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Christina L.
(877) 231-8505
Greenstone Trail
Carrollton, TX
Subjects
Songwriting, Piano, Singing
Ages Taught
1 to 30
Specialties
Classical and Contemporary/Modern music
Education
Hebron High School - - August 2003 - May 2007 (not complete) University of North Texas - Jazz Studies - August 2007 - 2008 (not complete) Collin County Community College - Associate of Arts - August 2009 - present (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Jerilyn C.
(877) 231-8505
Beckley Ct.
Colleyville, TX
Subjects
Singing, Opera Voice, Music Theory, Piano
Ages Taught
5 to 18
Specialties
I specialize in classical training and view various physical movements while singing as a valuable training tool to help the singer apply certain technique to their sound. I also would like students to record themselves during the lesson because audio recordings and video recordings are great ways for students to see their mistakes and strengths. This way, the student will understand what I am trying to point out because singing is a sensual art. For theory, I explain certain rules of classic…
Education
University of Dallas - Interdisciplinary Studies - Fall 2006-Spring 2008 (not complete) University of Texas at Arlington - Music Education All-Level Choral - Fall 2008-Present (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Matt B.
(877) 231-8505
Coppedge
Dallas, TX
Subjects
Opera Voice, Music Theory, Piano, Singing, Music Performance, Songwriting, Music Recording, Speaking Voice
Ages Taught
7 to 99
Specialties
I specialize in training memory, technique, artistic sensitivity and the development of a musical mind. I am familiar with many methods and use them where appropriate. I will observe you (the student) and find out how you learn best, and tailor lessons accordingly, thereby using your preferred method of learning (aural, visual, or kinesthetic) to strengthen any weaknesses. Lessons with me are very fun and challenging.
Education
Texas Christian University - Piano: Artist's Diploma - 2005-2007 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Marilyn S.
(877) 231-8505
Merrell Lane
The Colony, TX
Subjects
Music Theory, Piano
Ages Taught
4 to 99
Specialties
Piano, Handbells, Music Theory, Sight reading I can teach from any series, have tended to specialize more with beginning and intermediate students. I have taught from almost every series over the years. Right now I have students in Faber & Faber, Bastien, John Thompson, Schaum, David Carr Glover, Hal Leonard, FJH, Dozen a Day, and Alfred series. When students begin lessons with me and have a music series with which they have started, we can stay with that series. I think that breaking skills …
Education
University of North Texas - Educational Mid-Management Administrative Certification - 1981-1983 University of North Texas - Master of Music/Piano Performance - 1973-1977 University of North Texas - Bachelor of Music Education - 1969-1973 Sunset HS/Dallas - General - 1969
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...

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