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Music Classes West Bend WI

See below to find music schools and music instructors in West Bend 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.

Interstate Music
(262) 242-6530
6835 W Mequon Rd
Mequon, WI

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National-Louis University
(414) 577-2658
12000 Park Place Suite 100
Milwaukee, WI
 
Concordia University Wisconsin (Music Department)
(888) 628-9472
12800 N. Lake Shore Drive
Mequon, WI
 
Jill H.
(877) 231-8505
E. College Ave Cudahy, WI
Cudahy, WI
Subjects
Singing, Piano
Ages Taught
5 to 99
Specialties
voice, beginning piano classical, lite opera, Broadway, lite pop, some jazz.
Education
University School of Milwaukee - regular course of study - 80-93 Lawrence University - music performance, French, biology - 93-98 Alverno College - music education degree - 2000-2004
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Jane Hollander
2924 N. Shepard Ave.
Milwaukee, WI
Promotion
$50 / hr
Hours
Classical
Memberships and Certifications
Cello
Services
40 years

Music Dynamics Of Sussex
(262) 820-9984
N63w23583 Main St
Sussex, WI

Data Provided By:
MARDAE DICKERSON.@YAHOO.COM
(414) 371-6151
9030 NTH 97ST APT204
MILWAUKEE, WI
 
Sara d.
(877) 231-8505
South Street
Waukesha, WI
Subjects
Songwriting, Classical Guitar, Music Theory, Music Performance, Guitar, Singing
Ages Taught
5 to 99
Specialties
Diploma in Classical Guitar Performance and Education. Experience in theater as both musician and actress. Interests and experiences in performance of various musical genres as guitarist and vocalist both solo and as part of ensembles and groups.
Education
Santa Cecilia Conservatory of Music (Rome, Italy) - Classical Guitar - 2002-2010 (Degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Bruce Runnels
460 S Oxford Street (Business entrance is off of Division Street)
Wautoma, WI
Instruments
Accordion, Cello, Ear Training, Organ, Piano, Stand Up Bass, Suzuki Method, Theory, Viola, Violin
Styles
Blues, Classical, Folk - Country - Bluegrass, Jazz, Kids
Experience Levels
Advanced, Beginner, Intermediate
Rate
$10
Years of Experience
39 Years

Data Provided By:
Serena O'Meara
1842 Ruby Lane None
Eau Claire, WI
Instruments
Harp
Styles
Classical, Folk - Country - Bluegrass, Kids, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$36
Years of Experience
30 Years

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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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