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Music Theory Classes Chesapeake VA

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

Catherine W.
(877) 231-8505
Doe Run
Suffolk, VA
Subjects
Songwriting, Piano, Percussion, Singing, Guitar, Music Theory, Music Performance
Ages Taught
12 to 99
Specialties
Ear Training & Chord Theory
Education
Belmont University School of Music - Music Composition - 1992-1996 Tidewater Community College - Prerequisites for Belmont - 1990-1992
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Music & Arts
(757) 495-0988
Fairfield Shopping Center, 5244 Providence Rd
Virginia Beach, VA
 
Music & Arts
(757) 773-8045
Country Club Shoppes, 940 Cedar Road
Chesapeake, VA
 
Hampton University
Hampton, VA
 
Hampton University
(757) 727-5237
Hampton VA
Hampton, VA

Data Provided By:
Music & Arts
(757) 366-0666
Crossways Center at Greenbrier, 1412 Greenbrier Parkway #126
Chesapeake, VA
 
Music & Arts
(757) 431-9300
Lynnhaven Crossing Shopping Center, 829 Lynnhaven Pkwy Ste 117
Virginia Beach, VA
 
Academy of Music
902 Colonial Avenue
Norfork, VA
 
Academy of Music
(757) 627-0967
Norfork VA
Norfork, VA

Data Provided By:
Hampton University (Department of Music )
(757) 637-2242
Armstrong Hall, Room 137
Hampton, VA
 
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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