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Music Theory Classes Mentor OH

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

Kimberly J.
(877) 231-8505
Goredon Dr
Chardon, OH
Subjects
Flute, Singing, Acting, Music Performance, Music Theory, Clarinet, Piano, Trumpet, Trombone
Ages Taught
5 to 99
Specialties
I majored on trumpet in college and have taught every band instrument privately. I also play/teach piano and have accompanied numerous times for OMEA contest.
Education
Otterbein College - Music Education - 90-94 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Joshua K.
(877) 231-8505
Euclid Heights Boulevard
Cleveland, OH
Subjects
Music Performance, Piano, Music Theory
Ages Taught
5 to 99
Specialties
Classical.
Education
Cleveland Institute of Music - Piano Performance - 8/10-current (not complete) Manhattan School of Music - Piano Performance - 9/06-5/10 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Natasha Fondren
7024 Pine Street
Chagrin Falls, OH
Promotion
$1 / hr
Hours
"Classical
Memberships and Certifications
Kids"
Services
Piano
Service Types and Repair
15 years

Kathy Shanklin
43 Maple Hill Dr.
Chagrin Falls, OH
Promotion
$40 / hr
Hours
"Classical
Memberships and Certifications
Kids"
Services
Bassoon
Service Types and Repair
15 years

The Fine Arts Association
38660 Mentor Ave.
Willoughby, OH
 
Chris T.
(877) 231-8505
South Overlook Road
Cleveland, OH
Subjects
Violin, Music Theory, Piano, Bassoon, Organ
Ages Taught
5 to 99
Specialties
I am primarily a classically trained musician, and the methods that I specialize in are as follows: I use various method books for teaching violin including Essential Elements string series with additional etude books, Galamian scale method and Basics by Simon Fischer. For piano, I use the Faber and Faber method. For organ, I use the Davis Method book. For bassoon, I use the Weissenborn method.
Education
University of Alabama - Music Composition - August 2008 - May 2010 (Master's degree received) Samford University - Violin Performance - August 2004 - May 2008 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Francesco Binda
6039 Walden Court
Mentor, OH
Promotion
$35 / hr
Hours
Classical
Memberships and Certifications
Piano
Services
2 years

Kathy Shanklin
43 Maple Hill Dr.
Chagrin Falls, OH
Instruments
Bassoon
Styles
Classical, Kids
Experience Levels
Advanced, Beginner, Intermediate
Rate
$40
Years of Experience
15 Years

Data Provided By:
Natasha Fondren
7024 Pine Street
Chagrin Falls, OH
Instruments
Piano
Styles
Classical, Kids
Experience Levels
Advanced, Beginner, Intermediate
Rate
$1
Years of Experience
15 Years

Data Provided By:
Cleveland Music School Settlement
11125 Magnolia Drive
Cleveland, OH
 
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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