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Music Theory Classes Longmont CO

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

Kevin J.
(877) 231-8505
Depot Hill Rd.,
Broomfield, CO
Music Theory, Bass Guitar, Guitar, Classical Guitar, Music Performance
Ages Taught
5 to 99
The majority of my expertise in in classical guitar and electric rock guitar.
Tishomingo High - diploma - 1991-1995 (High School diploma received) Oklahoma City University - classical guitar - 1998-2000 (Bachelor's degree received) University of North Texas - classical guitar - 2002-2005 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Benjamin Gauss
1612 Twin Sisters Dr.
Longmont, CO
$35 / hr
Memberships and Certifications
Service Types and Repair
6 years

Music & Arts
(303) 427-0601
Arbor Village, 7350-B West 88th Ave
Westminster, CO
University of Colorado - Boulder
(303) 735-2283
Boulder CO
Boulder, CO

Data Provided By:
University of Colorado - Boulder (College of Music - University of Colorado at Boulder)
(303) 492-6352
College of Music Building 18th and Euclid 301
Boulder, CO
Dr. Catherine Millis
908 Snowberry St.
Longmont, CO
Piano, Violin
Blues, Classical, Electronic, Jazz, Kids, World
Experience Levels
Advanced, Beginner, Intermediate
Years of Experience
25 Years

Data Provided By:
Harmony Music House of Boulder
(303) 444-7444
2525 Broadway St.
Boulder, CO
Rocky Mountain Center for Musical Arts
(303) 665-0599
Lafayette CO
Lafayette, CO

Data Provided By:
Boulder Arts Academy
(303) 449-9291
Boulder CO
Boulder, CO

Data Provided By:
Naropa Institute (Naropa Institute - Music)
(800) 772-6951
2130 Arapahoe Avenue
Boulder, CO
Data Provided By:

Interpretation, Individuality & The Miracle Of Music

By Chris Standring ( )

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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