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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:
Ryan H.
(877) 231-8505
NW 62nd St
Seattle, WA
Subjects
Music Recording, Guitar, Music Theory, Songwriting, Music Performance
Ages Taught
5 to 99
Specialties
I teach various popular music guitar styles: rock, blues, jazz and folk. I specialise as a performer in Gypsy Jazz and swing jazz guitar and also as a teacher of that genre for students who are specifically interested in that style.
Education
University of Kansas - English Literature - 09/84 -12/89 (Bachelor's degree received) Seattle Central Culinary Academy - Culinary Arts - 09/97 -12/98 (Associate degree received)
Membership Organizations
TakeLessons Music Teacher

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:
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:
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
 
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:
Scott T.
(877) 231-8505
SE 267th Place
Maple Valley, WA
Subjects
French Horn, Music Performance, Guitar, Singing, Classical Guitar, Songwriting, Bass Guitar, Percussion, Trumpet, Music Theory, Music Recording, Drums, Piano, Trombone
Ages Taught
5 to 99
Specialties
Classically trained. I focus on theory with my students. It is the base that they can leap from. I also have taught and performed jazz, salsa, and reggae.
Education
Navy School of Music - AA equivalent in Music - 1982 (Associate degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
April Swansiger
17949 Riviera Pl SW
Normandy Park (Burien, Des Moines, Kent, West Seattle), WA
Instruments
Ear Training, Suzuki Method, Theory, Viola, Violin
Styles
Classical, Kids
Experience Levels
Advanced, Beginner, Intermediate
Rate
$70
Years of Experience
28 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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