Search Play Jazz Guitar.com

 

 




Music Classes Nashua NH

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

Rosalyn T.
(877) 231-8505
Wellman Avenue
North Chelmsford, MA
Subjects
Viola, Fiddle, Violin, Music Theory
Ages Taught
7 to 99
Specialties
My Teaching Philosophy is to create a warm, friendly and fun atmosphere for maximum exciting learning enviorement for the highest potential of creative learning. A combination of the use of positive re-enforcement and other tools to enable the student to have the desire to improve. Use of a combination of methodologies, as experience has proven the use of only one method is not effective for every student. Along with primary study of students' instrument, incorporation of theory, rhythm, 'rea…
Education
UMass, Lowell, College of Music, Lowell, MA - Music Education - 9/79 to 6/83 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Christopher Chesna
64 Wilson Street
North Billerica, MA
Instruments
Composition, Drums, Ear Training, Electric Bass, Guitar, Music Business, Other, Percussion, Recorder, Recording, Saxophone, Theory
Styles
Blues, Classical, Folk - Country - Bluegrass, Jazz, Kids, Other, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$45
Years of Experience
12 Years

Data Provided By:
Ieda Oliveira Rocha
(603) 438-3181
3-308 Roedean Drive
Nashua, NH
 
MillCityDance
(978) 828-9353
1201 Westford Street
Lowell, MA
 
The New England Institute of Bail Enforcement
(603) 606-2212
124 Baker St
Manchester, NH
 
Kyle B.
(877) 231-8505
Faulkner Street
Ayer, MA
Subjects
Piano, Music Theory, Organ, Music Performance
Ages Taught
1 to 99
Specialties
I teach beginning piano students using the Schaum Piano Method Books. The primary genre of music that I teach is classical.
Education
Milford High School - - 2000-2004 (not complete) University of Massachusetts, Lowell - Music Education - 2004-2009 (Bachelor's degree received) University of Massachusetts, Lowell - Organ Performance - 2004-2009 (Bachelor's degree received) University of Massachusetts, Lowell - Music Education - 2009-present (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Music & Arts
(603) 623-0153
Ted Herberts, 934 Elm St.
Manchester, NH
 
Act 1st CPR
(978) 788-5970
Walker St
Lowell, MA
 
East Derry School Of Music
(603) 425-7575
132 Hampstead Rd
Derry, NH

Data Provided By:
Quisqueya Energy Solutions
(603) 623-3371
102 Mechanic Street
Manchester, NH
 
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...

Click here to read the rest of this article from Play Jazz Guitar