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Music Theory Classes Bothell WA

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

Benjamin Gessel
19321 36th Ave W #44
Lynnwood, WA
Instruments
Composition, Ear Training, Horn, Piano, Theory
Styles
Classical, Other
Experience Levels
Advanced, Beginner, Intermediate
Rate
$30
Years of Experience
3 Years

Data Provided By:
Michael H.
(877) 231-8505
126th Way NE
Kirkland, WA
Subjects
Music Theory, Piano, Songwriting, Music Performance, Guitar
Ages Taught
5 to 99
Specialties
I teach multiple styles of guitar for all levels. I am very proficient in Rock, Blues, Jazz, and Pop guitar playing. I can also teach songwriting, rock/jazz piano, music theory, and general music performance.
Education
Seattle Pacific University - Music Theory - September 2006-June 2010 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Deborah Gandolfo
10200 Ne 64th Street
Kirkland, WA
Instruments
Composition, Ear Training, Piano, Theory
Styles
Blues, Classical, Jazz, Kids, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
25 Years

Data Provided By:
Ben G.
(877) 231-8505
Harbour Pointe Blvd.
Mukilteo, WA
Subjects
Music Theory, French Horn, Piano, Music Performance, Songwriting
Ages Taught
5 to 99
Specialties
No specific methods in particular, and I tend to teach more in the classical genres, with some pop/film music thrown in for variety (from time to time). I prefer using the Bastian, Alfred, and/or John Thompson piano methods, and Pottag-Hovey, Maxime-Alphonse, etc. for French Horn.
Education
Central Washington University - Bachelor of Arts in Music - Spring 2003-Fall 2007 (Bachelor's degree received) George R. Curtis Senior High School - High School Diploma - 1993-1996 (High School diploma received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Sophia P.
(877) 231-8505
N 80th St.
Seattle, WA
Subjects
Music Theory, Music Performance, Piano
Ages Taught
5 to 99
Specialties
I use a combination of method books, including Alfred's Piano Library, Edna Mae Burnam's technique books, various duet books, and supplement the method book learning with sheet music and other fun pieces from other books. I mainly teach kids so I usually teach styles that kids are into, which includes a combination of classical works, pop music, movie themes, and some jazz and rock music.
Education
Harvard University - social sciences and psychology - 2007-present (not complete) Washington State University - Piano Performance and Pedagogy - 1999-2003 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
JC H.
(877) 231-8505
58th Ave
Mountlake Terrace, WA
Subjects
Music Theory, Upright Bass, Music Performance, Guitar, Music Recording, Songwriting, Bass Guitar
Ages Taught
13 to 99
Specialties
Jazz, Classical, Progressive Rock, Celtic, Funk, R&B/Soul For jazz, I tend to work on individual tunes from the Real Book and some of the Jamey Aebersold books. I also like Barry Galbraith's books on jazz chord comping. For rock guitar I have transcriptions of various techniques (tapping, sweep)/ For slap bass I have bits transcribed from Marcus Miller and Vic Wooten pieces. For reading, I'll work with Bach's 2-part inventions and then excerpts from rock or jazz charts.
Education
Wayne Status University - Music - 06/81 - 06/85 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Michelle Young
5200 175th St SW
Edmonds, WA
Instruments
Ear Training, Piano, Theory
Styles
Classical, Kids
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
8 Years

Data Provided By:
Charles Hiestand
1136 N 115th Apt A202
Seattle, WA
Instruments
Composition, Electric Bass, Piano, Theory
Styles
Classical, Jazz
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
32 Years

Data Provided By:
Dan F.
(877) 231-8505
Fremont Ave. N.
Seattle, WA
Subjects
Music Theory, Guitar
Ages Taught
10 to 99
Specialties
Music, Music Theory, Guitar Music Theory, Classical Guitar, Rock Guitar, Jazz Theory, Songwriting
Education
University of Washington - Music, Comparative History - 2004-2008 (degree received) Agoura High School - General - 2000-2004 (degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Dennis Moss
634 NW 80th St
Seattle, WA
Instruments
Composition, Ear Training, Guitar, Music Business, Theory
Styles
Blues, Classical, Jazz, Kids, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$40
Years of Experience
17 Years

Data Provided By:
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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