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Whether you want to learn how to read music, or just play along with your favorite songs, our teachers will take a customized approach, and create the perfect lesson plan for you.
Our teachers design fun and creative lesson plans specifically for you. Chords, soloing, improvisation, and theory are all taught in a progressive and easy to understand manner. We offer personalized guitar lessons for all ages, styles and skill levels.
We can help beginners quickly learn the basic patterns and techniques to back up a band. Once you've got the basics, we'll help you learn interdependence and the advanced techniques of the masters.
Our violin lessons will give you the proper technical foundation to make the violin sound warm and beautiful, while learning to read and interpret music at the same time. Our string teachers have degrees from various music programs throughout the country and are great with beginners and advanced students alike.
Whether you're a complete beginner, or have been singing for years, voice lessons can be an eye opening experience. Learn proper breathe control, body alignment and vocal placement to maximize the potential of your voice.
Learn the fundamentals of bowing and fingering to get a beautiful tone out of your cello. Our string teachers have degrees from various music programs throughout the country and are great with beginners and advanced students alike.
Increase your knowledge of upright bass (double bass), or learn this string instrument as a beginner. Our teachers offer lessons to children and adults alike. We teach the basic skills, such as rest stroke and bowing, which apply to studies in jazz, classical, bluegrass and more.
Bass guitar is the foundation of a band. Working from tabs or standard notation, beginners will be able to follow along with their favorite songs in no time. More advanced students can learn theory and how to construct bass lines.
Great for tiny fingers! The Ukulele is a fantastic first instrument for kids and budding musicians of all ages. Our lessons will teach you the fundamentals of any string instrument, while exploring styles and strumming patterns unique to the ukulele.
Learn how to read music, proper breathing technique and the standard repertoire, all while gaining the skills necessary to perform in an orchestra or ensemble.
Learn how to read music, proper embouchure and breathing techniques, all while gaining the skills necessary to perform in an orchestra or ensemble.
From beginners to advanced, we will teach the fundamentals of playing woodwind instruments, including proper breath control, tone and technique. Advanced students can learn jazz theory, dixie land melodies, and more in depth orchestral pieces.
My introduction to jazz coordination was sort of a trial by fire thing. I was a young student at the Armed Forces School of Music, fresh out of Basic Training, and as green as my uniform concerning anything related to jazz drumming. At my first lesson, the teacher explained how to properly execute a jazz swing beat and the dynamics of each component of that. Not too difficult. Probably the toughest part of that was getting control of my heavy right foot, which up to that point was accustomed to slamming the bass drum on every stroke of whatever Rush song I had learned that week. In jazz, the bass drum is to be played lightly while the main focus is on the ride cymbal and hi-hat. This is to avoid over-powering the string bass player. Here is the pattern he showed me:
Keep in mind the eighth notes should swing, so it really sounds like this:
Once this was established, he then instructed me to open up the book Progressive Steps to Syncopation by Ted Reed to page 37 (I believe it’s actually page 38 in the more recent editions) and read down the page with my left hand. I think I respectfully laughed. The first four measures of that page looked like this:
He advised me to simply get pattern 1a together, let it go on “auto-pilot,” and keep my focus on reading the snare drum line with my left hand. Oh yeah… and don’t change the ride pattern. After the lesson I immediately hit a practice room and realized very quickly my teacher’s advice wasn’t going to work for me. I needed to devise some sort of game plan to get this assignment together before my next lesson, which was only one week away. Yikes!
Since I knew I was dealing only with quarter notes and eighth notes (down beats and up beats), I needed to figure out how the rhythm I was playing in my left hand would relate to the ride cymbal pattern. My method began with only playing downbeats or upbeats with the left hand while playing the jazz ride pattern in the right hand. I also left the feet out of the equation until I had the hands worked out. In examples 3 and 4 you can see where the hands coincide and where they don’t.
The next step is to play short two-note combinations of downbeats and upbeats on the snare drum. Repeat each measure until you have a firm handle on it before moving on to the next.
Then, try three and four note combinations.
Once you have accomplished this, the next step is to add the bass drum and hi-hat into the mix. After that you should have the necessary facility to successfully work though the exercise on page 38 in the Syncopation book. Here is what the first four measures look like written out.
One thing you will probably notice after working though the first three or four lines is that rhythmic figures will start to reoccur since there are only so many of them. At that point, it just becomes a matter of making the transition from one figure to the next. This will likely feel very robotic and unmusical at first. But in time it will get easier and eventually start to sound like music. Another thing to keep in mind is that this process, while it may seem very time consuming at first, will actually help you get this type of coordination together faster than if you were to attempt to read down the page using the auto-pilot method. Just take it slow and be patient. And above all, have fun.
By: Stefanie Emery
Many people are intrigued by the art of song and the beauty of the singing voice. For some, singing can come naturally, but for others it may be their life’s work to create the best singing voice possible. Either way, there are many mechanics and techniques that go into a well balanced singing voice.
When we learn that our natural speaking voice is in fact the same “voice” we use to match pitch for singing the mystery and challenge of singing can be simplified. The simple idea that we can transfer the speaking voice that we use to communicate every day to song will help a singer manage the obstacles of matching pitch, creating rich tone, and avoiding an overly breathy sound.
Let’s break the singing voice down into three main areas. Chest Voice, Head Voice, and Mixed Voice. Although we access these three “voices” differently, and they have different qualities to them, our goal is to create a consistent sound throughout all of our vocal “registers” thus leaving us with “one voice” instead of three completely different sounding voices. This is a big goal for most vocalists, as navigating between these areas can produce very different tones, volumes, and characteristics if not trained with proper control. Here are our three “voices” and some details on the resonators within our body that produce these sounds.
Most commonly recognized by the area where we use our natural speaking voice, the Chest Voice is accessed through the chest, acting as it’s external resonator, and in the mouth as it’s internal resonator. If you place one hand on your upper chest and say “HEY” you should feel a vibration in the chest. Chest Voice is where we produce our strongest sound which is usually the most easily accessed with lower pitches (think back to the speaking voice) and into a mid to higher register where we can produce big, belty sounds.
Head Voice is the opposite of Chest Voice because it is a much lighter sound and feeling. Think about taking all the weight away from a big chest voice and hitting pitches in your upper register, these are notes that feel higher and are not as easily achieved in a lower speaking voice area. Head Voice resonates externally in the back of the head and internally in the nasal cavity. To feel the Head Voice place one hand on the upper back of your head and say “WEEE” in a high pitch. You may feel that resonator vibrate slightly. Now say “What’s Up Doc” in the style of Bugs Bunny. Hear that very nasally sound you just created? You are using your Pharyngeal Resonator, or nasal tone, which is accessed externally off of the nose and internally at the back of the Pharynx. Your Pharynx is located internally towards the back of the head within the vocal tract.
Mixed Voice is where we combine the resonators of the Chest Voice and Head Voice, while including the Pharyngeal Resonator to add in nasal qualities. Without this nasal component we won’t be accessing the “Mix” of these two other resonators to their fullest extent. All three of these resonators are present in a well balanced Mixed Voice. We use Mixed Voice to achieve rich, full sounds that span between our Chest and Head Voices allowing us to achieve the most consistent sound spanning our low and high registers. Mixed Voice can be used in our upper register to achieve higher pitches without them sounding thin or weak.
Learning how to access these three areas of the voice and how to coordinate the proper mechanics can be achieved through vocal technique exercises, experimentation, and application in song.
Hearing Chest, Head, and Mixed Voice in Song
While listening to a singer navigate through their vocal registers you can now start identifying which “voice” they are singing in. Dissecting a vocal performance is a great way to learn the different qualities of these areas of the voice. First, recognizing the pitch is most helpful because it will give us a clue to what register of the voice they are in. Is the singer singing low or high notes? Do they sound strong or light? If the sound is lower and strong there’s a good chance they are singing in chest voice, and if the sound is higher and light they are most likely in their head voice. Mixed Voice is sometimes challenging to identify because it usually sounds strong and has a large resonance. Many singers use their Mix to get powerful sounds in their higher register, thus, at times tricking the listener to think they could be in a powerful Chest Voice. The song “Rolling in the Deep” by Adele is a great example of hearing all three of these voices. She uses her Chest Voice in most of the song but flips into her Head and Mixed Voices in many areas to create dynamic interest and to also achieve higher pitches with ease. Stylistically, she is choosing which voice to sing in to create differences in feel and tone, which creates an interesting performance rather than one that can feel monotonous and dull. When a vocal stays in the same area through an entire piece and lacks stylistic freedom the result is sometimes flat and underwhelming. Using your ear to analyze a vocal is a wonderful tool as it allows one to compare another vocalist’s abilities and begin utilizing the learned techniques in practice.
Finding your natural singing voice is fun, experimental, and exciting. Knowing how your own voice operates is the first step to becoming a better more well-rounded singer, and with dedicated practice you may start expanding your vocal range, techniques, and overall sound. As much as singing is technical it must also contain emotion and feel, because without those characteristics it may begin to sound lifeless or even robotic. Remembering that the tools, techniques, and mechanics of the voice are extremely important for vocal success should always be paired with the knowledge that music is an art and without personal expression and thoughtful emoting one will only be attaining, at best, fifty percent of their best possible sound.
Are you wondering how piano lessons work online? In this video, our piano teacher Gabriel Rebolla walks you through different tools and features he uses to enhance the virtual learning experience for his students.