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Music Classes Corvallis OR

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

Oregon State University-College of Business
(541) 737-6024
200 Bexel Hall
Corvallis, OR
 
Heather Davis, AAHCC
(630) 222-8196
3517 Midvale
Corvallis, OR
 
The Troubadour Music Center
521 SW 2nd St
Corvallis, OR
 
Marianne S.
(877) 231-8505
SW Kristin Ct
Beaverton, OR
Subjects
Music Performance, Music Theory, Singing, Songwriting
Ages Taught
5 to 99
Specialties
Composition: Modern Modal music, folk, and choral. Trained Bel Canto for vocal performance - so don't ask for rock. I can do Jazz, and can rock your world with classical art songs, as well as folk and Broadway show tunes.
Education
Columbia High School - General - 1996 - 1998 (High School diploma received) Warner Pacific College - Music Theory and Composition - Fall 1998 - Spring 2003 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Lukas S.
(877) 231-8505
SE Cesar e Chavez Blvd,
Portland, OR
Subjects
Drums, Music Theory, Guitar
Ages Taught
8 to 50
Specialties
I can teach drum charts to those looking to start reading, or also by ear, which is how I mostly learned. However, I also am knowledgeable in music theory from my studies as an undergrad, and could apply that to my guitar lessons.
Education
Wheaton College MA - Music - Fall 2006-Spring 2010 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
ONAMI (Oregon Nanoscience and Microtechnologies Institute)
(541) 713-1331
1000 NE Circle Blvd
Corvallis, OR
 
Oregon State University (Oregon State University - Department of Music)
(541) 737-4061
101 Benton Hall
Corvallis, OR
 
Joyce A.
(877) 231-8505
Cedar Street
Fairview, OR
Subjects
Opera Voice, Guitar, Singing
Ages Taught
5 to 70
Specialties
Vocal technique and vocal polyphony
Education
National Conservatory of Music of Panama - Vocal Poliphony - 1994-1997 (completed)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Lisa N.
(877) 231-8505
SW. Maverick Terrace
Beaverton, OR
Subjects
Bass Guitar, Music Performance, Guitar, Singing, Songwriting
Ages Taught
5 to 65
Specialties
Beginning to intermediate Guitar Voice and Bass lessons
Education
Portland Community - Music Major - 2010 (complete) Portland State - Masters Music Major - 2012 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Jeremy N.
(877) 231-8505
SE Reedway St
Portland, OR
Subjects
Drums, Music Theory, Songwriting, Music Recording, Music Performance, Guitar, Piano, Percussion, Bass Guitar
Ages Taught
5 to 50
Specialties
Drum: beg to adv Piano: beg to adv Guitar and bass: beg to inter Piano: I teach a method that my father--a professional music teacher in the Phoenix valley--has developed for 37 years which includes original exercises, music and books by Pace, Noona, Faber, Minsky and more. Drums: I developed a creative approach to drumming incorporating reading from the beginning. I use Syncopation by Ted Reed and the Breeze Easy methods to start. Also have play along CD's and playlists. Guitar: I took lesso…
Education
Univ of Arizona - Music - 08/1992-06/1997 (Bachelor's degree received) Univ of Arizona - Music - 08/2001-06/2003 (Master's degree received)
Membership Organizations
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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