The Music Castle




	Introducing our Tabla teacher:
		Jonathan Dimond has been active as a private teacher for over 13 years, passing on his experience and skills in a wholistic and dedicated manner. In 1994 Jonathan was the Teacher"s Aid for a class in North Indian music, employed through the Third Stream Department of New England Conservatory. In 1996 he commenced part-time Tertiary lecturing at the Queensland Conservatorium of Music, teaching a self-designed ear training course and electric bass. In the same year he also took on regular employment in St.Josephs High School's music department. In 1997 Jonathan was employed in the full-time position of Jazz Department Coordinator at the Queensland Conservatorium Griffith University, teaching ear training, theory, bass, trombone, songwriting/arranging, concert practice, and assuming administrative responsibilities. Contracts for this position were secured from 1997 through 2000, when tenureship into this position was cemented. EDUCATION Jonathan has undergone vigorous training in North Indian classical music in India. Jonathan has been University-educated in the fields of Classical music and Jazz/improvisation, with Bachelor and Graduate degrees from the Queensland Conservatorium of Music (Brisbane, Australia) and New England Conservatory (Boston, USA), in 1992 and 1995 respectively. Jonathan Dimond's teachers have been: Arthur Middleton, Phil Davis (trombone); Jerry Leake, Warren Senders, Shri Bharat Jangam (tabla); Bob Moses, Cecil McBee, John Lockwood (bass); Ran Blake, Scott Sandvik, Dominique Eade (improvisation and Third Stream methodology); Abby Rabinovitz, Harriotte Hurie (Indian modal improvisation); Joe Maneri (microtones); Mary Mageau, Gerhard Brophy, Stephen Cronin, Dominique Eade and Pozzi Escot (composition). THE FOLLOWING POINTS WILL BE COVERED DURING A PRIVATE LESSON WITH JONATHAN: • Correct posture, usage of body and relationship to the instrument (in order to avoid unnecessary tension and problems.) • Correct technique for producing the most full-sounding and beautiful sounds. • Information and advice on instrument maintenance and upkeep. • The unique language of tabla 'bols' - words that represent the various strokes and phrases. • Demonstration and memorization of examples of the principal forms of classical tabla composition (rela, peshkar, kaida, gat, tukra, tihai, theka, etc). • Learning to "groove" in a variety of rhythmic cycles (e.g. 16, 12, 10, 7, 6 beat talas.) • Studying repertoire and performance of the masters of the instrument. • Improvisation and development of personal style.

	Teacher Jonathan
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