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Ska Music Lessons Selma 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 Mark Guitar Studio
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Dennis D.
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Los Angeles, CA
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Guitar, Music Recording, Music Performance, Music Theory
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10 to 99
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Country, Jazz, Rock, Blues, Folk and combining all to find your own voice!
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Santa Clara, CA
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I try my hardest to find a path for each student. I can teach most styles, Classical, Blues, Folk. I prefer to teach in a traditional way with reading and theory being a part of the session. but I also mix in learning from recordings and teaching improvisation.
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College of San Mateo - Generaled & Music - 76 - 81 (not complete)
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Jan R.
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N Sycamore Ave
Los Angeles, CA
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Guitar, Music Theory, Music Performance
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13 to 99
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As for genres I specialize in Fusion, (Jazz/Rock), Rock, and Pop. How to apply music theory in a practical way when playing in both the rhythm and improvisation roles. Pentatonic substitutions, modal playing in both the major modes and the melodic minor ones.
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Interamerican University of Puerto Rico - Musical Arts (B.A.) (Guitar) - Aug '02- May '06 (Bachelor's degree received) Interamerican University of Puerto Rico - Music Education (B.M.) (Guitar) - Aug '02- May '06 (Bachelor's degree received) Interamerican University of Puerto Rico - Music Education (M.A.) - Jun '05 - May '07 (not complete) Musician's Institute (GIT program), Hollywood CA - Electric Guitar Performance - Oct '07 -March '09 (Associate degree received)
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I begun private lessons at the age of 8 from my master teacher Dennis Harmon who is a graduate of Berkeley School of Music. At age 15, inspired by Jimmy Hendrix, I self taught myself guitar. Later within that same year I started attending vocal lessons from L.Rainkin who is recently retired as a veteran church organist and director.
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San Diego Mesa College - General Studies to Transfer 4yr College - Curnnetly Attending (not complete) San Francisco Community College - General Studies to Transfer 4yr College - 2004-2006 (not complete) San Diego City College - General Studies to Transfer 4yr College - 1998-2004 (not complete)
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Robert G.
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Music Recording, Music Theory, Bass Guitar, Guitar, Piano, Singing, Music Performance, Songwriting
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5 to 60
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I teach speech-level singing. With piano I focus on New Orleans Jazz.
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University of San Francisco - Theology, Philosophy, Music, Literature - 08/04-05/08 (Bachelor's degree received)
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For trombone- classical literature, some jazz and blues, solid focus on fundamentals of tone, technique, and breathing For guitar- beginning techniques, theory, rhythm playing For bass- beginning and intermediate techniques, blues and jazz are specialties
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Victor J. Andrew High School - Gen. Ed - 8/91-6/95 (High School diploma received) Illinois State University - Music - 8/95-6/2000 (Bachelor's degree received) Garrett-Evangelical Theological Seminary - Music Ministry - 3/02-5/06 (Master's degree received) Fuller Theological Seminary - Theology - 9/09-present (not complete)
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Bonita Rd.
Bonita, CA
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I enjoy teaching classical as well as jazz. I love working with musicians that are getting ready for a big audition or solo coming up, or if you just want to work on a special song for someone and beginning guitar Also, I teach in small and large combo groups/ensembles.
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Southwestern Col - Music, pre law - 76-78 (not complete) Castle Park HS - GE, music - 73-76 (not complete)
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Cabell H.
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San Diego, CA
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Berklee College of Music - Professional Music - 2005-2009 (Bachelor's degree received)
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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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