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Music Theory Classes Alvin TX

Music theory classes offer lessons on introduction to minor chords, key signatures, introduction staff and clefs, writing intervals, trial inversion and many more. See below for local businesses in Alvin that give access to Roman numeral analysis, voicing chords, as well as advice and content on diatonic seventh chords and composing with minor scales.

Shelia Lee
1547 S. Richey Rd.
Pasadena (Houston), TX
Instruments
Accordion, Audio Recording, Composition, Conducting, Ear Training, Early Music, Music Therapy, Musicology, Other, Theory, Violin, World Music
Styles
Blues, Classical, Folk - Country - Bluegrass, Kids, Other, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$30
Years of Experience
40 Years

Data Provided By:
Music & Arts
(281) 316-1724
The Boulevard, 567 West Bay Area Boulevard
Webster, TX
 
Rockin Robin Music Lessons
(281) 778-2378
9029 Highway 6
Missouri City, TX

Data Provided By:
Harold C.
(877) 231-8505
De Lange
Houston, TX
Subjects
Guitar, Music Theory
Ages Taught
8 to 99
Specialties
music, Guitar, theory, arranging, composition, orchestration, film scoring Jazz, blues, classical, rock
Education
Alief Hastings - General/Music - 1972-1975
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Rachelle K.
(877) 231-8505
Willowbrook Dr
Austin, TX
Subjects
Singing, Opera Voice, Music Theory
Ages Taught
10 to 99
Specialties
I have studied opera and classical voice most heavily, but have taught general technique to many different students who sing Jazz, rock, folk etc... I am also able to coach on stage presence and performance polishing for students wanting to prepare for shows or auditions.
Education
Dobson High - General - 1991-1994 (High School diploma received) University of Washington - Music-vocal performance - 2000-2003 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Nora F.
(877) 231-8505
Confederate Dr.
Pearland, TX
Subjects
Piano
Ages Taught
4 to 99
Specialties
music, piano Depending upon the age and experience, I start very basic by showing the student the piano and discussing the names of the keys. I want the student to have fun so at the end of the lesson the student is able to play whatever he/she wants to play.
Education
University of Houston Clear Lake - Finance - 2001-2003 University of Houston Clear Lake - MIS - 2003-2006
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Smith House of Music
Pearland, TX
 
Colony Music Studio
(713) 419-8073
2859 Dulles Ave
Missouri City, TX

Data Provided By:
Sarah E.
(877) 231-8505
Apricot Dr
San Antonio, TX
Subjects
Fiddle, Violin, Viola, Cello, Music Theory
Ages Taught
5 to 99
Specialties
music, violin, viola, cello I am not specialized in Suzuki, but I do use it as a resource. I also use Essential Elements and Technique for all of my older students (middle school and above) The younger ones use String Explorer. For younger students, I have a program that I call violin karate. It brings them through a belt system like karate and recorder karate. It keeps them motivated to stick with their instrument, when they don't have the motivation of being in an orchestra. I can tutor, al…
Education
University of Texas San Antonio - Music - 2001-present (not complete) Douglas MacArthur High School - na - 8/03-05/97 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Jerod S.
(877) 231-8505
Eustis Ave
Dallas, TX
Subjects
Opera Voice, Music Theory, Music Performance, Singing, Theatrical Broadway Singing, Songwriting, Music Recording, Speaking Voice, Piano
Ages Taught
4 to 99
Specialties
piano, voice, singing, Songwriting, Music, Music Theory, Public Speaking, Vocal : Pop, R&B, gospel, Rock, Adult Contemporary. Praise Team and Ensemble singing. Anything related to church music. Piano : Classical, Written, Chord Charts, Fake Books, etc.
Education
Baylor University - 1997-2001 - Bachelor's in Music Midway- Graduated 1997 - High School
Membership Organizations
TakeLessons Music Teacher

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Interpretation, Individuality & The Miracle Of Music

By Chris Standring ( www.chrisstandring.com )

I watched a wonderful masterclass recently on PBS television. The show was called Barenboim on Beethoven. Daniel Barenboim is a classical concert pianist and conductor with a penchant for the music of Beethoven. I am always fascinated with these masterclasses because one only needs to come away with a small soundbyte of wisdom or expertise and the experience has been worth it. Also, I think it is always interesting how the mind of a classical musician works when interpreting the music of another composer, something that is inherently different from the jazz improviser.

The one thing that I always come away with from these classical maestros is the deep respect they have for the original composition. Of course this is a very classical musician's approach, and quite different from the jazz musician who is free to take a composition and butcher it as he or she sees fit!

In fact at one point during the masterclass Barenboim asks his student why he chooses to play a particular section loud. The student replies "Because I like it that way". The maestro responds "Not good enough!", and then proceeds to explain why that section might have sounded better played pianissimo, and gave extremely substantial musical reasons why it would have been so, even though individual interpretation was certainly valid.

Now if Herbie Hancock was giving a masterclass and he asked the student the same question, the response "Because I like it that way" might have been more acceptable.

But I think in both scenarios, if the individual can justify his chosen interpretation, provided it does justice to the music, whether it be respecting the original content of the composer or not, is to my mind valid. And I think that is actually what Daniel Barenboim was getting at. He just didn't think his student justified his own approach.

But the one thing that struck a chord with me (if you will pardon the pun), is when Daniel Barenboim discussed the 'miracle of music'. He said that no matter how much a musician practices, no matter how technically adept he or she is, the concept of individuality and personal emotiveness, simply cannot be taught. How much passion and feeling one puts into a piece, how involved in that performance the player is at the time, are all factors that simply cannot be learned in a cl...

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