Ska Music Lessons Lamont 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.

Bill ONeills Guitar Instruction
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John V.
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Mission Viejo, CA
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I draw upon over 100 music theory, songbooks, and musical techniques that I use. I'm currently working on writing my own music theory/method book for the guitar.
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USC - MAT Education - May 2010-July 2010 (not complete) CSU Fullerton - Classical Guitar - 2006-2010 (Bachelor's degree received) Saddleback College - Music - 2003-2006 (Associate degree received)
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DRUMS- Grooves, Technique, Fills, Reading, Comping, Jazz, Latin, Rock, Reggae, Hip Hop, Funk STUDIO RECORDING- Logic Pro, Pro Tools GUITAR- Beginners to Intermediate, Songs, Chords, Scales, Solos BASS- Beginners, Songs, Scales GROUP LESSONS- Band Performance, Songs, Time Feel, Song Writing
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The New School for Jazz and Contemporary Music - Music Performance - 9/07 - 12/09 (Bachelor's degree received) The Collective School of Music - Music Performance - 4/06 - 8/07 (Degree received) Rimon for Jazz and Contemporary Music - Music Performance - 11/03 - 8/05 (Degree received)
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guitar: beg to adv As a classical guitarist, I am of course most comfortable teaching the classical approach to the instrument. But if you'd just like to learn a few of your favorite songs, we can do that too! Though I took years of private lessons before attending college, I owe my technical command of the instrument to the technique book, Pumping Nylon, which my instructors would consistently use as a teaching reference. Pumping Nylon is perhaps the most well known technique book in the cla…
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Drums: beg to inter Guitar: beg to adv singing: beg Piano: beg Singing and Playing Motown R&B Oldies Beatles Pop Guitar and Ukulele (Top 40) Jazz/Blues Guitar Marching/Symphonic Band
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Trumpet methods include (not limited to) Arban's, Clarke, Sachs, Rubank, Getchell, Adam, Schlossberg, Colin, Bai Lin. For instruments outside the trumpet, methods will more closely follow school curriculum, unless student has advanced beyond provided materials. I strongly encourage students of voice, guitar, and piano to pick material of their choosing. Classical and rock are the genres to which I am most attracted
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Peabody Conservatory of Johns Hopkins University - Music Education w/Secondary Applied Vocal Instruction - Fall 2003- Spring 2007 (Bachelor's degree received) Peabody Conservatory of Johns Hopkins University - Trumpet Performance - Fall 2003- Spring 2007 (Bachelor's degree received) Bob Cole Conservatory of California State Long Beach - Trumpet Performance - Spring 2008- Present (not complete)
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5 Years

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Jay R.
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Van Nuys, CA
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1 to 99
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My primary emphasis is in classical double bass, both orchestrally and in solo repertoire. I also have extensive experience as an electric bassist in the rock, funk, and pop genres, as well as many years as a guitarist in the same genres. I also have spent some time as a jazz bassist and guitarist, and I am very comfortable teaching jazz bass.
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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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