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Music Theory Classes Hendersonville NC

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

Swannanoa Gathering
PO Box 9000
Asheville, NC
 
Brevard College
(828) 884-8116
Brevard NC
Brevard, NC

Data Provided By:
Warren Wilson College (Warren Wilson College Music Department)
(828) 771-3044
P.O. Box 9000
Asheville, NC
 
Alice D.
(877) 231-8505
S. Bloodworth St.
Raleigh, NC
Subjects
Opera Voice, Singing, Piano, Music Theory
Ages Taught
5 to 99
Specialties
I have studied vocal diction for English, Italian, and Spanish.
Education
The College at Southeastern - Music/Biblical Studies - 2006-present (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Bob C.
(877) 231-8505
Covered Bridge Road
Clayton, NC
Subjects
Music Theory, Flamenco Guitar, Banjo, Bass Guitar, Guitar, Ukulele, Classical Guitar, Music Performance
Ages Taught
9 to 99
Specialties
I use method books tailored to the students interests and needs whether it be Classical, Folk, or Rock Guitar. When helpful and desired, I also include other avenues of music such as theory, ear training, literature, and history.
Education
Duquesne University - Master of Music Theory - 1980-1983 (Master's degree received) Carnegie-Mellon University - Bachelor of Fine Arts in Music-Guitar Performance - 1975-1979 (Bachelor's degree received) Baldwin-Wallace College Conservatory of Music - Music-Performance in Classical Guitar - 1972-1975 (not complete) Lakewood High School - General Studies-Emphasis on Music - 1968-1972 (High School diploma received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Brevard College
1 Brevard College Dr
Brevard, NC
 
Swannanoa Gathering
(828) 298-3434
Asheville NC
Asheville, NC

Data Provided By:
Phillip F.
(877) 231-8505
Weatherend Dr.
Rural Hall, NC
Subjects
Singing, Piano, Music Theory
Ages Taught
5 to 99
Specialties
I primarily teach in a classical style using either Bastien or Alfred Methods.
Education
University of South Carolina - Music- Piano Performance - 1994-1998 (Bachelor's degree received) University of South Carolina - Music - Choral Conducting - 1998-2000 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Krista Cala
105 S Pineview Ave
Goldsboro, NC
Instruments
Ear Training, Theory, Violin
Styles
Classical
Experience Levels
Advanced, Beginner, Intermediate
Rate
$40
Years of Experience
20 Years

Data Provided By:
Alice D.
(877) 231-8505
N. White St.
Wake Forest, NC
Subjects
Opera Voice, Music Theory, Piano, Singing
Ages Taught
5 to 99
Specialties
I have studied vocal diction for English, Italian, and Spanish.
Education
The College at Southeastern - Music/Biblical Studies - 2006-present (not complete)
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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