Search Play Jazz Guitar.com

 

 




Music Theory Classes Superior WI

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

University of Wisconsin - Superior
Belknap & Catlin Box 2000
Superior, WI
 
University of Wisconsin - Superior
(715) 394-8230
Superior WI
Superior, WI

Data Provided By:
University of Minnesota - Duluth (UMD Department of Music)
(218) 726-8208
1201 Ordean Court - Humanities 231
Duluth, MN
 
Jeremy K.
(877) 231-8505
w. Broadway
Waukesha, WI
Subjects
Bass Guitar, Classical Guitar, Mandolin, Music Theory, Music Performance, Music Recording, Songwriting, Guitar
Ages Taught
5 to 99
Specialties
Rock, Blues, Jazz, Country, Metal, Classical, Fingerstyle
Education
Waukesha Country Technical College - Applied Science of Automotive Technology - 1998-2000 (Associate degree received) University of Wisconsin-Milwaukee - Music Performance-Jazz Guitar - 2008 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
Sara d.
(877) 231-8505
South Street
Waukesha, WI
Subjects
Songwriting, Classical Guitar, Music Theory, Music Performance, Guitar, Singing
Ages Taught
5 to 99
Specialties
Diploma in Classical Guitar Performance and Education. Experience in theater as both musician and actress. Interests and experiences in performance of various musical genres as guitarist and vocalist both solo and as part of ensembles and groups.
Education
Santa Cecilia Conservatory of Music (Rome, Italy) - Classical Guitar - 2002-2010 (Degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided By:
College of St Scholastica
(218) 723-6790
1200 Kenwood Ave
Duluth, MN
 
University of Minnesota - Duluth
(218) 726-8208
Duluth MN
Duluth, MN

Data Provided By:
College of St. Scholastica (Music Department)
(218) 723-6000
1200 Kenwood Ave
Duluth, MN
 
Bruce Runnels
460 S Oxford Street (Business entrance is off of Division Street)
Wautoma, WI
Instruments
Accordion, Cello, Ear Training, Organ, Piano, Stand Up Bass, Suzuki Method, Theory, Viola, Violin
Styles
Blues, Classical, Folk - Country - Bluegrass, Jazz, Kids
Experience Levels
Advanced, Beginner, Intermediate
Rate
$10
Years of Experience
39 Years

Data Provided By:
Casey P.
(877) 231-8505
South Third Street
River Falls, WI
Subjects
Music Theory, Music Performance, Percussion, Drums
Ages Taught
11 to 99
Specialties
Percussion including: Mallet/Keyboard percussion, Drum set (all styles), Concert/Marching Snare Drum, Timpani, Hand/World Percussion, Music Theory, Music History. Styles including: Classical, Jazz, Rock, Funk, R&B, Blues, Soul, Metal, Hip Hop Drumming, Musicals, 20th Century New Music, Reggae, Ska, Punk, Swing, and Latin styles.
Education
University of Minnesota - Communications - 9/1999-12-2003 (Bachelor's degree received) University of Wisconsin - River Falls - Music Performance - Percussion (in progress) - 9/2008-Present (not complete)
Membership Organizations
TakeLessons Music Teacher

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...

Click here to read the rest of this article from Play Jazz Guitar