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Music Classes High Point NC

See below to find music schools and music instructors in High Point 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.

Morgan M.
(877) 231-8505
Woodstream Lane
Greensboro, NC
Subjects
Singing, Music Theory, Piano, Songwriting, Drums
Ages Taught
5 to 99
Specialties
I use Alfred and Bastien piano methods the most when teaching. I usually teach on a classical basis, but teach to suit each individual students needs. I can also teach in the rock genre. I am able to teach music theory and songwriting. Songwriting is a great passion of mine and I have lots of experience there.
Education
University of North Carolina at Greensboro - BA in Music and minor in English - 2003-2007 (Bachelor's degree received) Grimsley High School - Music AP/IB courses - 1999-2003 (High School diploma received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Conquering For Christ
(336) 434-9635
5337 Kimberly Lane
Trinity, NC
 
Calibers Indoor Range & Training Center
(336) 668-3232
6910 Downwind RD
Greensboro, NC
 
Peaceful Beginnings
(336) 255-8311
1702 Hobbs Rd
Greensboro, NC
 
A Childs Garden Quaker Early School
(336) 854-0031
801 New Garden Rd
Greensboro, NC
 
Lea S.
(877) 231-8505
Tucker Lane
Randleman, NC
Subjects
Piano
Ages Taught
5 to 80
Specialties
Since I accompanied for approximately 10 years at my former church, I would say my specialty would be sacred piano music. However, I also have a strong foundation in classical pieces, as well as a thorough appreciation for music such as current pop tunes, traditional folk songs, and selections from musical theatre.
Education
High Point Baptist Academy - College Preparatory - 1996-2000 (High School diploma received) Reading Area Community College - Psychology - 2002-2005 (Associate degree received) Greensboro College - Liberal Studies & Dance - 2006-2009 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Inheritance Financial Coaching
(336) 358-6818
14 West Main Suite 217
Thomasville, NC
 
Training Technology International
(336) 662-9898
3609 Two Oaks DR
Greensboro, NC
 
Radical Guidance Consulting
(336) 282-5959
4505 Brandt Ridge Drive
Greensboro, NC
 
The The Education Center
(336) 854-0309
3515 W Market St
Greensboro, NC
 
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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