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Music Theory Classes Corning NY

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

Corning Community College
1 Academic Dr
Corning, NY
 
Corning Community College (Corning Community College - Vocal and Instrumental Music)
(800) 358-7171
1 Academic Drive
Corning, NY
 
Michael L.
(877) 231-8505
Main St
Stone Ridge, NY
Subjects
Classical Guitar, Music Theory, Music Performance, Guitar, Mandolin, Singing, Songwriting, Music Recording
Ages Taught
10 to 16
Specialties
Acoustic christian rock classic rock, metal, folk, blues, you name it! If I dont know it I will
Education
Suny at Albany - Sociology - 1982-1985 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Ludmila Konstantinova
119 Payson Ave. Apt.6E
New York, NY
Instruments
Cello, Ear Training, Early Music, Musicology, Suzuki Method, Theory
Styles
Classical
Experience Levels
Advanced, Beginner, Intermediate
Rate
$60
Years of Experience
9 Years

Data Provided By:
Cal S.
(877) 231-8505
Beverley Rd.
Brooklyn, NY
Subjects
Music Performance, Bass Guitar, Songwriting, Piano, Guitar, Music Theory
Ages Taught
5 to 99
Specialties
Guitar, Bass, Piano, Songwriting, Performance, Music Theory, Rock, Pop, Country, Blues, R&B, Jazz, Funk, Classical, Folk
Education
The New School - Liberal Arts/Music - Jan 2010-present (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Elmira College
One Park Place
Elmira, NY
 
Elmira College (Elmira College Music)
(800) 935-6472
One Park Place
Elmira, NY
 
jeffrey k.
(877) 231-8505
ovington ave
Brooklyn, NY
Subjects
Piano, Music Theory, Organ, Songwriting, Bass Guitar, Guitar, Music Recording, Music Performance
Ages Taught
5 to 99
Specialties
I like to find out what styles of music and songs the student is interested in learning and teach them according to that. I've found that this keeps the student interested and makes them learn faster. I have a very good ear and can play almost anything.
Education
SUNY Purchase - Music composition - 88-92 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Lou W.
(877) 231-8505
E. Ridge Rd.
Rochester, NY
Subjects
Music Theory, Oboe, Trombone, Flute, Trumpet, French Horn, Tuba, Bassoon, Percussion, Piano, Clarinet, Saxophone, Violin, Music Performance, Singing
Ages Taught
5 to 99
Specialties
Gospel, Classical, Jazz
Education
School of the Arts - Music - 1998-2002 (High School diploma received) SUNY Fredonia - Music Education - 2002-2006 (Bachelor's degree received) Roberts Wesleyan - Master of Music - 2008- (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Debra M.
(877) 231-8505
Gibbs Street
Rochester, NY
Subjects
Music Theory, Theatrical Broadway Singing, Opera Voice, Clarinet, Singing, Music Performance, Speaking Voice
Ages Taught
1 to 99
Specialties
I specialize in the classical area of singing
Education
Eastman School of Music - MM PRL Voice - 2008-current (not complete) Brigham Young University-Idaho - Vocal Performance - 2002-2008 (Bachelor's degree received) Brigham Young University-Idaho - Music Education - 2002-2007 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

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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