Ska Music Lessons Inglewood CA

If you want to be rude, play everything on the upbeat. The basic building block of past and present ska is the accented and of each beat (Ex. 1). The tendency is to strum this apparently simple rhythm (often called the "clip") with upstrokes. But you get a fuller sound if you downstroke the upbeats because, with downstrokes, you hit the bigger strings first.

charles s.
(877) 231-8505
S DALTON
Los Angeles, CA
Subjects
Guitar
Ages Taught
5 to 99
Specialties
jazz, blues, soul, gospel, pop and rock.
Education
WISCONSIN CONSERVATORY OF MUSIC - JAZZ MAJOR - 1974-77 (not complete)
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TakeLessons Music Teacher

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Brian P.
(877) 231-8505
Canterbury Drive,
Culver City, CA
Subjects
Piano, Music Performance, Classical Guitar, Music Theory, Guitar, Bass Guitar
Ages Taught
5 to 99
Education
California State University, Los Angeles - Music (Piano, Classical Guitar Performance) - 1968-71, 1980-86 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

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Paul T.
(877) 231-8505
Charnock Road
Los Angeles, CA
Subjects
Music Theory, Music Recording, Songwriting, Piano, Guitar, Singing
Ages Taught
5 to 55
Specialties
I excel at popular music genres such as pop, blues, R&B, rock, and jazz. I am also trained classically and enjoy the challenges of standard repertoire from Bach to Chopin. I began studying music as a student of the Suzuki method. However, today I find that my own practice resembles most closely, the Kodály, Dalcroze, and Orff-Schulwerk methodologies in philosophy and application.
Education
Santa Monica College - General Ed., Music - 08-1999 to 06-2001 (Associate degree received) UCLA - Ethnomusicology (World Music) - 09-2002 to 08-2004 (Bachelor's degree received)
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TakeLessons Music Teacher

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Bryan L.
(877) 231-8505
Pershing Dr
Playa del Rey, CA
Subjects
Guitar, Bass Guitar, Classical Guitar, Music Performance, Songwriting, Music Theory
Ages Taught
12 to 21
Specialties
I am particularly proficient in Rock Guitar and Music Theory. I specialize in songwriting as an application of Music Theory.
Education
Musicians Institute - Music/ Guitar - October 2008-September 2009 (Degree received) University Of Oregon - Music/ Science - 2001-2005 (Bachelor's degree received) Wilson - General - 1997-2001 (High School diploma received)
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TakeLessons Music Teacher

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Dennis D.
(877) 231-8505
N. Genesee Avenue
Los Angeles, CA
Subjects
Guitar, Music Recording, Music Performance, Music Theory
Ages Taught
10 to 99
Specialties
Country, Jazz, Rock, Blues, Folk and combining all to find your own voice!
Education
Manhattan School of Music - Jazz/Commercial Composition - (Master's degree received) City College of New York - Jazz Performance - (Bachelor's degree received) Fordham University - Communications - (Bachelor's degree received)
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TakeLessons Music Teacher

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Pablo S.
(877) 231-8505
deane ave
Los Angeles, CA
Subjects
Music Theory, Guitar, Singing, Music Performance
Ages Taught
5 to 60
Specialties
Jazz Rock Tango Bossa Nova and South american styles Orff Schulwerk-Kodaly-Dalcroze- Berklee Guitar Method Alfred's Method-Mel Bay-Hal Leonard etc
Education
Universtiy of El Salvador - Music Therapy - March 2000 (Bachelor's degree received) University of California - Music Therapy - In Progress (not complete)
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TakeLessons Music Teacher

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Christian D.
(877) 231-8505
Hillcrest St.
El Segundo, CA
Subjects
Flamenco Guitar, Classical Guitar, Guitar
Ages Taught
5 to 99
Specialties
Classical guitar- Contemporary Repertoire Flamenco guitar- Solo playing Steel String Electric or Acoustic- Blues, Rock, and jazz
Education
University of Denver - Music, Guitar performance - 2002-2007 (Bachelor's degree received) University of Southern California - Music, Guitar performance - 2007-2010 (Master's degree received)
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TakeLessons Music Teacher

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Jan P.
(877) 231-8505
W 36th Street
Los Angeles, CA
Subjects
Bass Guitar, Drums, Singing, Guitar, Piano
Ages Taught
5 to 99
Specialties
I am mainly a funky rock and blues guitar player, and have been in bands on bass, drums and with my own project, Audiocination, on guitar and vox. There are so many different styles that get mixed into rock that I find it important to introduce my students to a lot of different styles, so they can find the one that suits them best.
Education
Musicians Institute - Guitar - 1999 -2001 (Degree received) Munich's University of Technology - Electrical Engineering - 1992-1998 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

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Alexander M.
(877) 231-8505
W. 24th Street
Los Angeles, CA
Subjects
Music Performance, Songwriting, Bass Guitar, Saxophone, Tuba, Oboe, Bassoon, Trumpet, Clarinet, Piano, French Horn, Music Theory, Trombone, Music Recording, Guitar, Flute, Classical Guitar, Percussion
Ages Taught
8 to 99
Specialties
I teach nearly every style of guitar: classical, jazz, rock, blues, metal, country, pop/contemporary, and folk. I feel that it is important for students to be able to read music, but I also teach students by rote. This improves their ear-training and can make learning songs much easier.
Education
University of Southern California - Music Performance - August 2010-Present (not complete) University of North Texas - Music Education - August 2006- May 2010 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

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Drew Buzzell
520 S Mariposa Ave
Los Angeles, CA
Instruments
Composition, Guitar, Theory
Styles
Folk - Country - Bluegrass, Other, Rock - Alternative, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$35
Years of Experience
2 Years

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Ska Building Blocks By David Burk

Sessions From Guitar Player, February '99

If you want to be rude, play everything on the upbeat. The basic building block of past and present ska is the accented and of each beat (Ex. 1). The tendency is to strum this apparently simple rhythm (often called the "clip") with upstrokes. But you get a fuller sound if you downstroke the upbeats because, with downstrokes, you hit the bigger strings first.

Modern skameisters often play clip rhythms on the treble strings (G, B, and E). However, the '60s Jamaican originators -- ska's "rude boys" -- favored fuller voicings as shown in Ex. 2, a I-VIm-IIm-V progression in G. In bar 3, notice how the Am changes inversions.

For a truly rude flavor, add dominant-7th chords and sliding chromatic movement from either above or below the target harmony (Ex. 3). As illustrated here, occasionally it's effective to play on the downbeat.

Often called a "stuckey," a typical ska single-note riff features sixteenth-notes, played clean and very staccato (Ex. 4). Note the characteristic chromatic movement, as well as the arpeggiated chords.

These examples sound great with wah and work well at tempos from 150 to 190 bpm.

Listen to Example 4

 

 

DAVID BURK is a Minneapolis-based guitarist, producer, writer, and teacher. For info on Do You Know What Time It Is, an album by Burk's world-beat group, Labor Party, contact Nabi Musicworks, Box 8621, Minneapolis, MN 55408; (612) 823-6204.

 

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