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Music Classes Saint Petersburg FL

See below to find music schools and music instructors in Saint Petersburg 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.

Windy C.
(877) 231-8505
22nd Ave. N
Saint Petersburg, FL
Subjects
Piano, Music Theory
Ages Taught
5 to 18
Specialties
I try to combine classic pedagogy of piano with ear training and modern music. Proficiency in chords, scales, and improvisation.
Education
Florida Christian College - Music Education/Music Ministry - 2000-2006 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Martin D.
(877) 231-8505
Norwood Place
Clearwater, FL
Subjects
Bass Guitar, Classical Guitar, Piano, Guitar, Banjo, Music Theory
Ages Taught
5 to 99
Specialties
Guitar and Bass: Beg. to Advanced banjo and piano: Beg. - intermediate All Styles (except Flamenco) to include Folk, Acoustic Fingerstyle, Rock, Punk, Blues, Country, Church, Bluegrass, Soul, Ragtime and Classical.
Education
Excelsior College - Psychology - 1984-1986 (Bachelor's degree received) University of Maryland - Liberal arts - 1981-1983 (Associate degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Brent B.
(877) 231-8505
Enterprise Road East
Clearwater, FL
Subjects
Bass Guitar, Guitar
Ages Taught
1 to 99
Specialties
rock, blues, pop, folk, and contemporary.
Education
University of Miami - business - 1990-1993 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Matthew K.
(877) 231-8505
Main St.
Dunedin, FL
Subjects
Music Theory, Guitar, Drums, Percussion, Songwriting, Music Performance, Bass Guitar
Ages Taught
7 to 70
Specialties
Metal, punk rock, Afro-Cuban, jazz, rock;
Education
University of Central Florida - Psychology - 06/2000 - 08/2004 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Adam G.
(877) 231-8505
B Huron Ave.
Oldsmar, FL
Subjects
Guitar, Bass Guitar, Music Performance, Songwriting, Music Theory
Ages Taught
12 to 99
Specialties
all styles of rock, metal, blues, neo-classical, pop. have personally studied alot of medieval-rennaisance music as well as classical, but don't feel qualified to teach classical guitar, as I use an unorthodox fingerstyle approach when playing fingerstyle.
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Zlatina A.
(877) 231-8505
49th Street North,
Pinellas Park, FL
Subjects
Music Theory, Opera Voice, Piano, Music Performance, Singing
Ages Taught
5 to 70
Education
High Scool of Music - Piano - 1993-1998 (degree received) National Academy of Music - Music education - 1998-2003 (degree received) National Academy of Music - Choir conducting - 1998-2004 (degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Nicole C.
(877) 231-8505
drew st
Clearwater, FL
Subjects
Guitar, Drums, Songwriting, Bass Guitar, Piano, Singing, Music Performance, Percussion
Ages Taught
5 to 99
Specialties
I have taught mostly rock and classical genres for piano, guitar, drums. Vocally, I teach Rnb, broadway, pop,, top 100.
Education
SUNY Old Westbury - Elementary Education - 1/00-5/03 (Bachelor's degree received) Dowling University - Literacy Education - 9/04-1/06 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Andrew G.
(877) 231-8505
Bay View Dr.
Safety Harbor, FL
Subjects
Music Theory, Trombone, Songwriting, Music Performance, Tuba, Singing, Piano, Trumpet
Ages Taught
1 to 99
Specialties
All styles of music and performance. (jazz/Classical,Pop, etc)
Education
North Stafford High - General Ed - 1992-1995 (High School diploma received) Radford University - Music - 1195-2000 (Bachelor's degree received) FIU/ - Jazz Edu - 2001-2002 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Nikki Lynch
My house
Dunedin, FL
Instruments
Clarinet, Ear Training, Flute, Horn, Music Business, Oboe, Saxophone, Theory, Trombone, Trumpet, Tuba
Styles
Classical, Kids
Experience Levels
Beginner, Intermediate
Rate
$40
Years of Experience
5 Years

Data Provided By:
Ace Guitar and Vocal Studio
(727) 896-2366
633 39th Avenue NE
Saint Petersburg, FL
 
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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