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Music Theory Classes Ann Arbor MI

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 Ann Arbor that give access to Roman numeral analysis, voicing chords, as well as advice and content on diatonic seventh chords and composing with minor scales.

Katy Wyner
211 N. Adam #5
Ypsilanti, MI
Instruments
Chorus, Conducting, Ear Training, Early Music, Ethnomusicology, Musicology, Suzuki Method, Theory, Voice
Styles
Classical, Folk - Country - Bluegrass, Jazz, Kids, Other, Rock - Alternative, World
Experience Levels
Beginner, Intermediate
Rate
$20
Years of Experience
4 Years

Data Provided By:
Michelle Kulwicki
2825 Beacon Hill -
Ann Arbor, MI
Promotion
$60 / hr
Hours
"Classical
Memberships and Certifications
Kids"
Services
Cello
Service Types and Repair
10+ years

claudia w.
(877) 231-8505
Burlingame Court
Ann Arbor, MI
Subjects
Acting, Singing, Theatrical Broadway Singing, Music Performance, Opera Voice, Speaking Voice
Ages Taught
7 to 99
Specialties
Vocals: beg to inter Bel canto, Stanislavski, Alexander
Education
Eastern Michigan University - MFA Drama/Theatre for the Young - 2005-2009 (Degree received) Bowling Green State University - dual master's music and theatre - 1999-2005 (Master's degree received) University of New Mexico - music - 1984-1990 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Ashley Dyer
1681 Broadway St. Apt. 404
Ann Arbor, MI
Promotion
$45 / hr
Hours
Classical
Memberships and Certifications
"Suzuki Method
Services
Violin"
Service Types and Repair
7 years

Robert W.
(877) 231-8505
Flamingo St
Livonia, MI
Subjects
Drums
Ages Taught
1 to 99
Specialties
Rock and roll!
Education
Bishop Borgess - 1983-1987 (High School diploma received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Jeffrey Stamm
100 South 4th Ave Apt 904
Ann Arbor, MI
Promotion
$50 / hr
Hours
Classical
Memberships and Certifications
Voice
Services
20 years

Jeffrey Stamm
100 South 4th Ave Apt 904
Ann Arbor, MI
Instruments
Voice
Styles
Classical
Experience Levels
Advanced, Intermediate
Rate
$50
Years of Experience
20 Years

Data Provided By:
Ashley Dyer
1681 Broadway St. Apt. 404
Ann Arbor, MI
Instruments
Suzuki Method, Violin
Styles
Classical
Experience Levels
Advanced, Beginner, Intermediate
Rate
$45
Years of Experience
7 Years

Data Provided By:
Gregory Koltyk
42264 Hammill Lane
Plymouth, MI
Instruments
Clarinet, Flute, Saxophone
Styles
Blues, Classical, Jazz
Experience Levels
Advanced, Beginner, Intermediate
Rate
$46
Years of Experience
21 Years

Data Provided By:
Ann Arbor School for the Performing Arts
637 South Main Street
Ann Arbor, MI
 
Data Provided By:

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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