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Music Theory Classes Bristol CT

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

Music & Arts
(860) 676-0048
Nod Brook Mall, 315 W. Main St
Avon, CT
 
Music & Arts
(860) 568-0692
42 Main Street
East Hartford, CT
 
The Hartt School
(860) 768-4296
West Hartford CT
West Hartford, CT

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Trinity College (Trinity College - Music Department)
(860) 297-2000
300 Summit Street
Hartford, CT
 
University of Hartford (THE HARTT SCHOOL : MUSIC-DANCE-THEATER)
(860) 768-4454
200 Bloomfield Avenue
West Hartford, CT
 
Music & Arts
(860) 231-9562
989 Farmington Avenue
West Hartford, CT
 
Central Connecticut State University
(888) 733-2278
New Britain CT
New Britain, CT

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Central Connecticut State University (CCSU Music Department)
(860) 832-2912
1615 Stanley St.
New Britain, CT
 
Saint Joseph College (Saint Joseph College - Fine and Performing Arts )
(860) 232-4571
1678 Asylum Avenue
West Hartford, CT
 
Wesleyan University (Wesleyan University Music Department)
(860) 685-2650
Middletown, CT
 
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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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