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Music Classes Naples FL

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

j&c
(239) 404-6169
4001 thomasson ln
naples, FL
 
ACADEMY FOR DOGS INTERNATIONAL INC.
(239) 304-2275
2642 E Tamiami Trail
Naples, FL
 
Stacey's Piano Studio
Naples, FL
 
Kathleen Attanasi
10097 Cove Lake Drive
Orlando,, FL
Instruments
Conducting, Ear Training, Harp, Music Business, Suzuki Method, Theory
Styles
Classical, Jazz, Kids
Experience Levels
Beginner, Intermediate
Rate
$60
Years of Experience
25 Years

Data Provided By:
Ernesto O.
(877) 231-8505
W 21st Ave
Hialeah, FL
Subjects
Songwriting, Guitar, Music Theory, Music Recording
Ages Taught
5 to 100
Specialties
I specialize in fretboard theory, songwriting, improvisation, finger-picking, chord theory, and chart reading. I like to think of myself as a very well rounded player who shows interest in several genres of music including anything from Pop and RnB to Alternative Rock and Progressive Death-Metal. I'm open to all genres of music and hope to share similar musical interest's with my future students.
Education
Musicians Institute - G.I.T - 2008-2009 (not complete) Miami Dade College - A.S in Music Performance - Currently Enrolled (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Academy For Dogs
(239) 304-2275
2642 E Tamiami Trail
Naples, FL
 
Academy For Dogs
(239) 304-2275
2642 E Tamiami Trail #30
Fort Myers, FL
 
Daniel Mihet Guitar Lessons
(239) 331-0657
27803 Benson Pl
Bonita Springs, FL
 
Nicholas Mazzilli
4434 Gearhart Rd. #301
Tallahassee, FL
Instruments
Audio Recording, Banjo, Composition, Drums, Ear Training, Electric Bass, Guitar, Mandolin, Other, Percussion, Piano, Recording, Stand Up Bass, Theory
Styles
Blues, Classical, Electronic, Folk - Country - Bluegrass, Jazz, Kids, Other, Rock - Alternative, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$25
Years of Experience
7 Years

Data Provided By:
Tatiana A.
(877) 231-8505
San Amaro Drive
Miami, FL
Subjects
Music Performance, Singing, Music Theory, Speaking Voice, Opera Voice
Ages Taught
5 to 17
Specialties
Classical voice, proper breath technique for projection, performance etiquette, English/Italian/Spanish diction, interpretation of song.
Education
Florida Christian - - 2003-2007 (High School diploma received) University of Miami - Music Business & Entertainment - 2007-Present (Associate degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
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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