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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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Joe N.
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Nutmeg St.
San Diego, CA
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Guitar, Songwriting
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Electric rock/blues lead guitar. Slide guitar both electric and acoustic
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Grossmont - Telcom/Music - (not complete)
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I specialize in improvising and composition as those are the two areas of music that I find myself contributing most of my time to. I also specialize in the genres of jazz and blues music because most of my gigging comes from these two fields.
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San Diego State University - Bachelor's in Music: Jazz Studies (Performance) - 2006-2010 (Bachelor's degree received)
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Cherry Avenue
San Jose, CA
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12 to 60
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I specialize in Jazz guitar, improvisation, harmonic studies and theory. Chord melodies, building lines, phrasing, voice-leading, chordal improvisation, and re-harmonization/substitution.
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San Jose State University - B.A. in Music - Jazz Studies - 08/2002 - 12/2006 (Bachelor's degree received)
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Fernando H.
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Bass Guitar, Music Recording, Music Theory, Guitar, Music Performance, Songwriting
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5 to 99
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Berklee method, Musicians Institute, Alfred, Mel Bay, Ernie Ball, Hal Leonard, Suzuki, Yamaha
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Fullerton college - Music - 1993-1999 (Associate degree received) Musicians Institute - Music - 1989-1990 (Degree received) Berklee college of Music - Prof Music - 2001-2003 (Bachelor's degree received)
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Petaluma, CA
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7 to 65
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Guitar I consider myself a Jazz musician, but I could handle teaching any style. I teach all styles at work currently.
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SF State University - Music and Spanish - 2006-Present Petaluma High School - Music and Spanish - 2000-2004
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Iain R.
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Campbell, CA
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I specialize in Classical Guitar and for this use mostly Aaron Shearer's method described in The Classic Guitar, however, for non-classical guitar I ask the students to burn me a cd (or make a play list) of songs they like and combine general knowledge of guitar with techniques and songs specifically catered to the student.
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Peabody Conservatory of Music/Johns Hopkins University - Guitar Performance - 2004-2008 (Bachelor's degree received) Peabody Conservatory of Music/Johns Hopkins University - Guitar Performance - 2008-2009 (Master's degree received)
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5 to 99
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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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Jan R.
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N Sycamore Ave
Los Angeles, CA
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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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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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