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

Julie H.
(877) 231-8505
College Street
New Haven, CT
Subjects
Music Performance, Piano, Songwriting, Theatrical Broadway Singing, Singing, Music Theory
Ages Taught
5 to 99
Specialties
Julie specializes in teaching musical theatre, classical, pop/ rock jazz/ blues, and improvisation styles of voice. Her style of piano pedagogy is a combination of classical study and whatever popular style the student is interested in. In addition, she tutors in jazz and classical music theory/ analysis, and she can help students prepare for AP Music Theory exams. As a composer, she enjoys helping songwriters mold their style, and she works a lot with songwriters within the indie/ pop/ rock/…
Education
Berklee College of Music - Classical Composition - 09/2009-05/2010
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Yale University
PO Box 208246
New Haven, CT
 
Yale University (Music at Yale University)
(203) 432-4155
Sprague Hall, 98 Wall Street
New Haven, CT
 
University of new Haven (University of new Haven - Department of Visual and Performing Arts- Music)
(203) 932-7101
300 Boston Post Road
West Haven, CT
 
Wesleyan University (Wesleyan University Music Department)
(860) 685-2650
Middletown, CT
 
Tao Zhang
New Haven, CT
Promotion
$50 / hr
Hours
"Classical
Memberships and Certifications
Kids"
Services
Violin
Service Types and Repair
7 years

Yale University
(203) 432-4155
New Haven CT
New Haven, CT

Data Provided By:
Quinnipiac College (Department of Visual and Performing Arts - Quinnipiac University)
(203) 582-8200
275 Mount Carmel Ave.
Hamden, CT
 
Southern Connecticut State University (Southern Connecticut Music Department)
(203) 392-6625
501 Crescent Street
New Haven, CT
 
Paul Thomas Piano Studio
(203) 488-6857
102 Sunset Hill Dr
Branford, CT

Data Provided By:
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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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