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Music Classes Las Cruces NM

See below to find music schools and music instructors in Las Cruces 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.

Carrie Oliver
Las Cruces High School
Las Cruces, NM
Instruments
Ear Training, Theory, Voice
Styles
Classical, Folk - Country - Bluegrass, Jazz, Kids, Other
Experience Levels
Advanced, Beginner, Intermediate
Rate
$25
Years of Experience
7 Years

Data Provided By:
Lisa Roman RN Health Coach
(575) 521-0624
2051 Cortabella
Las Cruces, NM
 
Brandon P.
(877) 231-8505
bogie rd.
Rio Rancho, NM
Subjects
Classical Guitar, Guitar, Music Theory, Music Recording, Songwriting, Music Performance
Ages Taught
5 to 85
Specialties
classical, rumba, metal, classic rock, hard rock, shred, Brazilian, fusion, blues, and most Latin styles.
Education
Musicians Institute - Music/Performing Arts - 2008-2010 (Associate degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Kim T.
(877) 231-8505
Mesa Verde Ave NE
Albuquerque, NM
Subjects
Violin, Fiddle, Viola, Music Performance, Piano, Music Theory
Ages Taught
3 to 99
Specialties
Suzuki and traditional methods for violin and viola. Irish and Scottish Fiddling. Suzuki, Alfred and Clark series for piano.
Education
Arizona State University - Music Performance - 2007-present (not complete) University of Colorado - Music Performance - 2005-2007 (Master's degree received) Northern Illinois University - Music Performance - 1992-1997 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Crystal Mountain School of Therapeutic Massage
(505) 872-2030
5041 Indian School Road NE
Albuquerque, NM
 
Piano Gallery
(575) 522-7800
518 N Telshor Blvd Ste C
Las Cruces, NM

Data Provided By:
New Mexico State University (NMSU: Department of Music)
(505) 646-2421
Box 30001 MSC 3F
Las Cruces, NM
 
Carrie Oliver
Las Cruces High School
Las Cruces, NM
Instruments
Ear Training, Theory, Voice
Styles
Classical, Folk - Country - Bluegrass, Jazz, Kids, Other
Experience Levels
Advanced, Beginner, Intermediate
Rate
$25
Years of Experience
7 Years

Data Provided By:
New Mexico Higher Education Department
(505) 476-8400
1068 Cerrillos Road
Santa Fe, NM
 
LearningRx
(516) 222-0236
7120 Wymoning Blvd. Suite 16
Albuquerque, NM
 
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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