Intro

Introduction Overview
By
Clarence Beasley

The music you hear in the background, is yours truly Clarence Beasley playing a song by the name of ''It Could Happen To You,'' to open the introduction to Music As A Language. With your permission, I would like to tell you a little story about the stages of development aspiring musicians experienced growing up in Detroit and beyond. Barry Harris, one of the finest pianist from Detroit, has been living in New York for more than twenty five years and happens to be my kids godfather. The late Tommy Flanagan, Kirk Lightsey, Barry Harris and yours truly went to the same community music school as teenagers owned and operated by Gladys Dillard

We were her prime students because of our dedication to the study of music and the total commitment to practicing the piano. Barry and I spent a lot of time listening to a pianist who was our main influence at the time by the name of Bud Powell. Back in the late forties, Barry had an old record player that he could slow down so we could try to hear and understand what Bud Powell was doing on some of those early great recordings. Well, that was the beginning of what we can now look back on as a long road of learning experience that included working with some of the top names in the music business and acquiring a considerable knowledge of music fundamentals.

Before moving to New York I worked with local groups in Detroit and continued studying piano at the Detroit Conservatory of Music and later at the Detroit Institute of Musical Arts. Had a number of private teachers and gained a lot of experience on the road with traveling bands. Also studied at Hartnett National Music Studios in New York. I returned to Detroit after living in New York for fifteen years with the additional experience of working with such notables as Illinois Jacquet, Philly Joe Jones, Ron Carter, Oscar Pettiford and many others.

I was talking to a drummer by the name of Ron Jackson one day on the way to a local gig in Detroit about life as a professional pianist, general working conditions, and just the kinds of things you learn about the music business over the years. On that day Ron said, man you ought to write a book. The idea didn't take hold until my youngest son Tao was asking about his godfather Barry Harris. I told him that Barry was teaching all over the world and doing fine. At that point Tao asked me if I had ever thought about teaching on the Internet. My answer was no. But the idea grew on me and I began to put together an aggregate of information on the subject of music education that has been completely documented and converted to a web page covering forty six lessons in three chapters.

The web site name and address is musiclanguage.com So, if you are interested in jazz piano instruction on the Internet, this is the place to come. Register for classes to be held in a chat room setting on Mondays from 7.00 pm to 10.00 pm at a cost of 180.00 a quarter or purchase the course for the one time cost of 180.00 to study on your own. Please provide your AOL IM screen name and e-mail address so we can invite you into the chat room.

I've been teaching and performing for more than twenty five years. We think the material and the method of teaching meets the needs of most students. I am currently involved in a process to incorporate this project into the curriculum at Michigan State University. Their jazz program is headed up by Rodney Whitaker.
This course, however, allows you to study at your own pace. The course in designed for beginners, intermediate and advanced students. This makes it possible for students to work at different levels. Students will be required to record assignments on computer sound recorder software, and e-mail assignments to the instructor to be graded.

Welcome to musiclanguage.com

This is Clarence Beasley



	Introduction Overview By Clarence Beasley The music you hear in the background, is yours truly Clarence Beasley playing a song by the name of ''It Could Happen To You,'' to open the introduction to Music As A Language. With your permission, I would like to tell you a little story about the stages of development aspiring musicians experienced growing up in Detroit and beyond. Barry Harris, one of the finest pianist from Detroit, has been living in New York for more than twenty five years and happens to be my kids godfather. The late Tommy Flanagan, Kirk Lightsey, Barry Harris and yours truly went to the same community music school as teenagers owned and operated by Gladys Dillard We were her prime students because of our dedication to the study of music and the total commitment to practicing the piano. Barry and I spent a lot of time listening to a pianist who was our main influence at the time by the name of Bud Powell. Back in the late forties, Barry had an old record player that he could slow down so we could try to hear and understand what Bud Powell was doing on some of those early great recordings. Well, that was the beginning of what we can now look back on as a long road of learning experience that included working with some of the top names in the music business and acquiring a considerable knowledge of music fundamentals. Before moving to New York I worked with local groups in Detroit and continued studying piano at the Detroit Conservatory of Music and later at the Detroit Institute of Musical Arts. Had a number of private teachers and gained a lot of experience on the road with traveling bands. Also studied at Hartnett National Music Studios in New York. I returned to Detroit after living in New York for fifteen years with the additional experience of working with such notables as Illinois Jacquet, Philly Joe Jones, Ron Carter, Oscar Pettiford and many others. I was talking to a drummer by the name of Ron Jackson one day on the way to a local gig in Detroit about life as a professional pianist, general working conditions, and just the kinds of things you learn about the music business over the years. On that day Ron said, man you ought to write a book. The idea didn't take hold until my youngest son Tao was asking about his godfather Barry Harris. I told him that Barry was teaching all over the world and doing fine. At that point Tao asked me if I had ever thought about teaching on the Internet. My answer was no. But the idea grew on me and I began to put together an aggregate of information on the subject of music education that has been completely documented and converted to a web page covering forty six lessons in three chapters. The web site name and address is musiclanguage.com So, if you are interested in jazz piano instruction on the Internet, this is the place to come. Register for classes to be held in a chat room setting on Mondays from 7.00 pm to 10.00 pm at a cost of 180.00 a quarter or purchase the course for the one time cost of 180.00 to study on your own. Please provide your AOL IM screen name and e-mail address so we can invite you into the chat room. I've been teaching and performing for more than twenty five years. We think the material and the method of teaching meets the needs of most students. I am currently involved in a process to incorporate this project into the curriculum at Michigan State University. Their jazz program is headed up by Rodney Whitaker. This course, however, allows you to study at your own pace. The course in designed for beginners, intermediate and advanced students. This makes it possible for students to work at different levels. Students will be required to record assignments on computer sound recorder software, and e-mail assignments to the instructor to be graded. Welcome to musiclanguage.com This is Clarence Beasley

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