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Music Classes Spring Hill FL

See below to find music schools and music instructors in Spring Hill 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.

ELIPTOUR and LANGUAGE SCHOOL
(352) 397-4088
4522 Chamber Ct
Spring Hill, FL
 
Joyce Moore Dog Training
(727) 816-3973
5849 Sunshine Park Drive
New Port Richey, FL
 
Steve Simon School of Real Estate
(727) 376-8012
2144 Seven Springs Blvd., Suite 410
trinity, FL
 
Bonnie P.
(877) 231-8505
Donnelly Circle
Orlando, FL
Subjects
Oboe, Piano
Ages Taught
1 to 25
Specialties
Pop, Rock, Classical
Education
Dunedin High School - - 1973-1975 (degree received) University of South Florida - Music - 1976-1979 (degree received) University of Michigan - Music - 1979-1980 (degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Theresa S.
(877) 231-8505
SW 89th St
Miami, FL
Subjects
Speaking Voice, Piano, Opera Voice, Music Performance, Singing, Acting
Ages Taught
12 to 40
Specialties
Opera Voice is most certainly my strongest area of instruction. Classical singing, musical theater, pop voice and piano are also areas I feel comfortable teaching. I can also teach early piano as well as music theory, ear training and sight-reading. Furthermore, I can teach acting within the context of singing.
Education
University of Central Florida - Music Education & Spanish - 2004 -2008 (Bachelor's degree received) University of Miami - Vocal Performance - 2009 - present (not complete)
Membership Organizations
TakeLessons Music Teacher

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A & S Sureway Driving & Traffic School
(727) 869-1593
10608 License Lane
Port Richey, FL
 
Joyce Moore Dog Training
(727) 816-3973
2499 Defuniak St.
Trinity, FL
 
Brooksville Music
(352) 593-4988
19225 Cortez Blvd
Brooksville, FL
 
Andrew H.
(877) 231-8505
Markstown Dr.
Tampa, FL
Subjects
Opera Voice, Singing, Piano, Music Theory, Theatrical Broadway Singing
Ages Taught
7 to 99
Specialties
As a singer, I have equal experience in singing Musical theater, Christian Worship, and Classical Singing. I believe that good expressive technique is the foundation of all singing and this does not vary from style. It is the tone and vibrato that change from style to style. As far as piano, I am both an improvisatory pianist and a classical pianist. I have given lesson to students using the three hand method to develop students skills playing off of chords. I have also worked with students …
Education
Satellite High School - General - 2001-2005 (High School diploma received) University of South Florida - Music Composition - 2005-2009 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Jill H.
(877) 231-8505
Lake Underhill Road
Orlando, FL
Subjects
Bass Guitar, Guitar, Accordion, Music Theory, Theatrical Broadway Singing, Banjo, Opera Voice, Trumpet, Percussion, Ukulele, Harmonica, Piano, Clarinet, Classical Guitar, Singing, Violin, Music Performance, Songwriting, Drums, Music Recording, Speaking Voice
Ages Taught
4 to 99
Specialties
My specialty in voice comes from years of lessons and experience. I used many methods and books to bring out various ideas on how to teach voice lessons. I take each individual at his/her level and try to improve breathing technique, posture, enunciation with style and phrasing, depending on the student's aspirations.
Education
Charleston HIgh School - academic diploma - 1971-75 (High School diploma received) Evangel College - music education - 1975-79 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

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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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