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Music Theory Classes Prattville AL

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

Alabama State University (Department of Music )
(334) 229-4341
915 S. Jackson St.
Montgomery, AL
 
Faulkner University (Faulkner University - Music)
(334) 272-5820
5345 Atlanta Highway
Montgomery, AL
 
Larry Brown
12 Perimeter Park S #213
Birmingham, AL
Instruments
Audio Recording, Composition, Guitar, Recording, Theory
Styles
Blues, Classical, Folk - Country - Bluegrass, Jazz, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
30 Years

Data Provided By:
Debbie Hood Killen
13744 County Road 7
Moulton, AL
Instruments
Composition, Conducting, Early Music, Guitar, Music Business, Other, Piano, Voice
Styles
Classical, Folk - Country - Bluegrass, Kids, Other
Experience Levels
Beginner, Intermediate
Rate
$20
Years of Experience
25 Years

Data Provided By:
Alabama A&M University
4900 Meridian Street
Normal, AL
 
Huntingdon College (Huntingdon College - Music Program)
(334) 833-4497
1500 East Fairview Avenue
Montgomery, AL
 
Eric B.
(877) 231-8505
Mossy Bank Trail Owens Crossroads
Owens Cross Roads, AL
Subjects
Singing, Mandolin, Guitar, Music Theory, Piano, Percussion, Bass Guitar, Banjo
Ages Taught
7 to 99
Specialties
Piano Improv
Education
UNA - Music - 96-2002 (Bachelor's degree received) Liberty University - Worship studies - 09-09 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
John Perry
4731 B Cypress Village Blvd.
Orange Beach, AL
Instruments
Banjo, Ear Training, Guitar, Mandolin, Other, Stand Up Bass
Styles
Folk - Country - Bluegrass
Experience Levels
Advanced, Beginner, Intermediate
Rate
$20
Years of Experience
5 Years

Data Provided By:
Julie Slama
220 Iowa Ave.
Thorsby, AL
Instruments
Viola, Violin
Styles
Classical, Folk - Country - Bluegrass, Kids
Experience Levels
Advanced, Beginner, Intermediate
Rate
$25
Years of Experience
25 Years

Data Provided By:
University of Alabama - Tuscaloosa
(205) 348-1476
Tuscaloosa AL
Tuscaloosa, AL

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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