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

Washington State University
PO Box 645300
Pullman, WA
 
Washington State University
(509) 335-4244
Pullman WA
Pullman, WA

Data Provided By:
Ben G.
(877) 231-8505
Harbour Pointe Blvd.
Mukilteo, WA
Subjects
Music Theory, French Horn, Piano, Music Performance, Songwriting
Ages Taught
5 to 99
Specialties
No specific methods in particular, and I tend to teach more in the classical genres, with some pop/film music thrown in for variety (from time to time). I prefer using the Bastian, Alfred, and/or John Thompson piano methods, and Pottag-Hovey, Maxime-Alphonse, etc. for French Horn.
Education
Central Washington University - Bachelor of Arts in Music - Spring 2003-Fall 2007 (Bachelor's degree received) George R. Curtis Senior High School - High School Diploma - 1993-1996 (High School diploma received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Tim C.
(877) 231-8505
Bellevue Ave E
Seattle, WA
Subjects
Bass Guitar, Upright Bass, Guitar, Piano, Banjo, Ukulele, Mandolin, Music Theory, Songwriting
Ages Taught
6 to 99
Specialties
Electric Bass, Acoustic Bass, Guitar, Piano, Banjo, Ukulele, Beginning Mandolin, Jazz Mandolin, Music theory, ear training, song writing, performance skills. My specialty is anything having to do with electric bass. I also teach theory and lead sheet reading, improvisation, transcription, and jamming skills. in addition to regular curriculum (reading, technique, memorization) I also focus heavily on rhythm.
Education
Klahowya SS - general - 1997-2000 Olympic College - General/Music - 2001-2003 Cornish College of the arts - Music - 2004-2006
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Daniel P.
(877) 231-8505
100th Ave SE
Kent, WA
Subjects
Music Theory, Opera Voice, Bass Guitar, Guitar, Songwriting, Drums
Ages Taught
6 to 99
Specialties
I've received instruction in classical singing (opera). I understand basic form and technique for that style of singing. I'm well rehearsed in rock-pop guitar methods (rhythms, chord progressions, lead, strumming patterns, scales and arpeggios, etc.) Music theory, ear training, and rhythm are things I feel are important to teach no matter what instrument is being taught.
Education
Moses Lake High School - General requirements - 1998 - 2002 (degree received) Big Bend Community College - AAS courses - '03 - '04 / '06 - '07 (not complete) Brigham Young University - Idaho - Music Education (choral) - 2007 - 2008 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
University of Idaho
Rm 206 Music Building
Moscow, ID
 
University of Idaho (Lionel Hampton School of Music)
(208) 885-6231
Music Building Room 206
Moscow, ID
 
Charles Hiestand
1136 N 115th Apt A202
Seattle, WA
Instruments
Composition, Electric Bass, Piano, Theory
Styles
Classical, Jazz
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
32 Years

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:
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:
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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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