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Music Classes Edinburg TX

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

Classical Conversations of RGV
(956) 287-4364
640 Steamboat Dr.
Edinburg, TX
K&B Dog Learning Center
(956) 532-7558
2710 Rhett Dr
Pharr, TX
Bistro M
(956) 683-0027
McAllen, TX
Heidis Piano Studio for Little People
(956) 968-5102
912 West 8th Street
Weslaco, TX
Tim (William) K.
(877) 231-8505
Silver Buckle
Schertz, TX
Music Theory, Acting, Guitar, Theatrical Broadway Singing, Trombone, Classical Guitar, Dance, Music Performance, Piano, Speaking Voice, Singing
Ages Taught
5 to 99
Folk music, Kodaly, Orff
UTSA - Music Literature - 1978-1984 (Bachelor's degree received) UTSA - Music Education - 1987-1988 (Bachelor's degree received) Texas State University - Music Education - 2001-2006 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

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Language Success
(956) 683-8810
306 Nolana
McAllen, TX
Discovery Toys
(956) 655-5193
1218 Jonquil Ave
McAllen , TX
(956) 323-0062
38828 taxes sago plam
penitas, TX
University of Texas - Pan American (Music Department, University of Texas-Pan American)
1201 W. University Drive
Edinburg, TX
Laura D.
(877) 231-8505
San Antonio, TX
Ages Taught
1 to 99
I specialize in classical music.
Robert E. Lee - - 2000-2004 (High School diploma received) University of the Incarnate Word - Theatre Arts - 2004-2008 (Bachelor'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 ( )

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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