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Music Theory Classes Olympia WA

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

Trinity S.
(877) 231-8505
Baker Terrace SE
Olympia, WA
Subjects
Music Theory, Theatrical Broadway Singing, Singing, Music Performance, Opera Voice
Ages Taught
5 to 99
Specialties
I specialize in classcal music and music performance, because I've studied and performed it for over 13 years, but I'm also quite skilled in musical theater, which I've studied for 6 years, and I graduated top of my class for the 2 years of music theory classes I took at St. Martin's University.
Education
St. Martin's University - Music/vocal performance - 8/2008-5/2010 (Bachelor's degree received) South Puget Sound Community College - Associate of Arts/ Music - 9-2006-6/2008 (Associate degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Renata F.
(877) 231-8505
Basin View Ct SE
Yelm, WA
Subjects
Music Theory, Piano
Ages Taught
5 to 99
Education
University of Toronto, Canada - piano performance - 1984 - 1988 (Bachelor's degree received) East Texas State University, Commerce, TX - piano perfomance/pedagogy - 1992 - 1994 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Dennis Moss
634 NW 80th St
Seattle, WA
Instruments
Composition, Ear Training, Guitar, Music Business, Theory
Styles
Blues, Classical, Jazz, Kids, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$40
Years of Experience
17 Years

Data Provided By:
Ashley Brockett
206 39th Ave SW Suite A1
Puyallup, WA
Instruments
Cello, Ear Training, Suzuki Method, Theory, Viola, Violin
Styles
Classical, Folk - Country - Bluegrass, Kids
Experience Levels
Advanced, Beginner, Intermediate
Rate
$40
Years of Experience
5 Years

Data Provided By:
Michael H.
(877) 231-8505
126th Way NE
Kirkland, WA
Subjects
Music Theory, Piano, Songwriting, Music Performance, Guitar
Ages Taught
5 to 99
Specialties
I teach multiple styles of guitar for all levels. I am very proficient in Rock, Blues, Jazz, and Pop guitar playing. I can also teach songwriting, rock/jazz piano, music theory, and general music performance.
Education
Seattle Pacific University - Music Theory - September 2006-June 2010 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Tim Cromwell
Cromwell Music 7033A 20th Ave SE
Lacey, WA
Instruments
Chorus, Clarinet, Flute, Handbells, Horn, Percussion, Piano, Recorder, Saxophone, Theory, Trombone, Trumpet, Tuba, Voice
Styles
Blues, Classical, Electronic, Folk - Country - Bluegrass, Jazz, Kids, Other, Rock - Alternative, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$45
Years of Experience
5 Years

Data Provided By:
David S.
(877) 231-8505
N Cincinnati St
Spokane, WA
Subjects
Bass Guitar, Songwriting, Music Performance, Music Theory, Classical Guitar, Guitar
Ages Taught
5 to 65
Education
Northern Illinois University - Guitar Performance - 2007-2008 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Peter C.
(877) 231-8505
SW Grayson St.
Seattle, WA
Subjects
Piano, Music Performance, Saxophone, Music Theory, Singing
Ages Taught
1 to 99
Specialties
My major in college was jazz voice. But a close second and third instruments are saxophone and piano. Great with young students as well as adults.
Education
Cornish College of the Arts - jazz voice - 03'-07' (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
JC H.
(877) 231-8505
12th Ave S
Seattle, WA
Subjects
Music Theory, Guitar, Bass Guitar, Upright Bass, Music Recording, Songwriting, Music Performance
Ages Taught
13 to 99
Specialties
Jazz, Classical, Progressive Rock, Celtic, Funk, R&B/Soul For jazz, I tend to work on individual tunes from the Real Book and some of the Jamey Aebersold books. I also like Barry Galbraith's books on jazz chord comping. For rock guitar I have transcriptions of various techniques (tapping, sweep)/ For slap bass I have bits transcribed from Marcus Miller and Vic Wooten pieces. For reading, I'll work with Bach's 2-part inventions and then excerpts from rock or jazz charts.
Education
Wayne Status University - Music - 06/81 - 06/85 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Deborah Gandolfo
10200 Ne 64th Street
Kirkland, WA
Instruments
Composition, Ear Training, Piano, Theory
Styles
Blues, Classical, Jazz, Kids, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
25 Years

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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