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Music Classes Duluth MN

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

University of Minnesota - Duluth
(218) 726-8208
Duluth MN
Duluth, MN

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University of Wisconsin - Superior
(715) 394-8230
Superior WI
Superior, WI

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University of Minnesota - Duluth (UMD Department of Music)
(218) 726-8208
1201 Ordean Court - Humanities 231
Duluth, MN
 
Daryl Carlson
17835 Brigham Trail
Minneapolis, MN
Promotion
$50 / hr
Hours
Classical
Memberships and Certifications
Cello
Services
20 years

Stephen J.
(877) 231-8505
Grandview Ave. W
Saint Paul, MN
Subjects
Guitar
Ages Taught
12 to 99
Specialties
The areas I gravitate to are blues, rock, and jazz, but I'm always up for a challenge if there's something that's caught your interest. Fusion of styles has also always fascinated me. I can teach basic chords to improvisation and modal scales with everything in between, including the theory to help put it all in proportion. I'll help you find the answers and techniques you're looking for to get to where you want to be. Wherever that is. I believe highly in the benefit of learning and understa…
Education
University of Minnesota Duluth - Music, Jazz Guitar - Sept. 2004 - May 2009 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

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College of St Scholastica
(218) 723-6790
1200 Kenwood Ave
Duluth, MN
 
University of Wisconsin - Superior
Belknap & Catlin Box 2000
Superior, WI
 
College of St. Scholastica (Music Department)
(218) 723-6000
1200 Kenwood Ave
Duluth, MN
 
William Evan M.
(877) 231-8505
Holmes Ave
Minneapolis, MN
Subjects
Bass Guitar, Music Theory, Flamenco Guitar, Music Recording, Songwriting, Classical Guitar, Guitar, Music Performance
Ages Taught
5 to 99
Specialties
Because of my training at Lawrence University, I'm well versed in both classical and jazz music, but have also studied composition and arranging, music recording techniques, and pedagogy. I have studied jazz the most extensively, but consider myself proficient in almost any style or genre that involves the guitar.
Education
Minnesota State College - Southeast Technical - Guitar Building and Repair - 2009-2010 (Degree received) Lawrence University - Classical and Jazz Guitar Performance - 2004-2009 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Megan Popowski
468 Woodruff Ave
Roseville, MN
Promotion
$45 / hr
Hours
Classical
Memberships and Certifications
Cello
Services
20 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...

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