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Music Classes Corning NY

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

Corning Community College
1 Academic Dr
Corning, NY
 
Corning Community College (Corning Community College - Vocal and Instrumental Music)
(800) 358-7171
1 Academic Drive
Corning, NY
 
Jia Kim
60 Lincoln Center Plaza
New York, NY
Promotion
$80 / hr
Hours
Classical
Memberships and Certifications
Cello
Services
4 years

Brian K.
(877) 231-8505
162nd Street
Fresh Meadows, NY
Subjects
Piano, Classical Guitar, Music Performance, Music Theory, Guitar
Ages Taught
1 to 99
Specialties
I like to use a developmental lesson, with a clear aim for each lesson. Instead of giving the information to a student, I use questions to lead the students to the answer.
Education
Paqe University - Business - 9/97-5/08 (not complete) Manhattanville College - Music Education - 9/98-5/02 (Bachelor's degree received) Lehman College - Music Education - 9/05-1/07 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Kathryn Z.
(877) 231-8505
W. 31st Street
New York, NY
Subjects
Singing, Guitar, Piano
Ages Taught
4 to 99
Specialties
all-levels voice, beginning guitar, beginning piano I specialize in a classical voice method, which I believe is a good foundation for all styles of singing. I have experience with classical singing, music theatre (I have a minor from my undergraduate education in Theatre) and folk. I'm an experienced songwriter and am able to guide students in that area. I teach notes and chords for my guitar students. I don't teach guitar tablature; instead, I teach basic guitar music on the staff. Also, I …
Education
Litchfield High School - general - graduated 1994 University of Nebraska - BFA--Music (Vocal Performance) - graduated 1998 Cleveland Institute of Music - Master of Music (Voice) - graduated 2000
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Elmira College
One Park Place
Elmira, NY
 
Elmira College (Elmira College Music)
(800) 935-6472
One Park Place
Elmira, NY
 
Melinda Faylor
25 Meserole St #3R
Brooklyn, NY
Promotion
$60 / hr
Hours
"Classical
Memberships and Certifications
Kids"
Services
Piano
Service Types and Repair
10 years

Sebastian C.
(877) 231-8505
East 104th Street
New York, NY
Subjects
Music Theory, Guitar, Music Performance, Songwriting
Ages Taught
5 to 99
Specialties
I start by setting specific goals (within a defined time-frame) and develop a program accordingly. I am comfortable with jazz, rock and all popular forms of American music (r&b, funk, folk, etc) I have worked extensively with Latin American rhythms from Son, Bossa Nova, Samba, Bolero, to more uncommon like traditional Colombian (cumbia, vallenato) and Peruvian (landó, festejo) rhythms
Education
City College of New York - Jazz Guitar - 1999-2004 (Bachelor's degree received) Manhattan School of Music - Jazz Guitar - 2007-2009 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Jameson J.
(877) 231-8505
Madison Avenue
New York, NY
Subjects
Singing, Music Performance, Music Theory, Opera Voice, Speaking Voice, Theatrical Broadway Singing
Ages Taught
8 to 99
Specialties
Singing, Voice Opera, Musical Theater, Jazz Alexander Technique
Education
Westlake - 91-94 Rice University - Voice/Art - 94-99 New England Conservatory - Voice/Opera - 99-01
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...

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