Ska Music Lessons Sylmar 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.

Randy Torno
17013 Lisette St
Granada Hills, CA
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$60
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Justin A.
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Porter Valley Drive
Porter Ranch, CA
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Classical Guitar, Piano, Music Recording, Music Theory, Percussion, Acting, Harmonica, Organ, Guitar, Music Performance, Speaking Voice, Songwriting, Trumpet, Singing, Drums, Bass Guitar, Mandolin, Theatrical Broadway Singing
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1 to 99
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Guitar and Bass: beg to adv Drums: beg to adv Vocals: beg to adv Piano: beg to interm Trumpet: beg Song writing, band arrangements, and orchestral compositions.
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Cal State Northridge (CSUN) - Music Composition - 2007-2008 (not complete) Pierce College - Music Composition - 2008-Present (not complete)
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North Hollywood, CA
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Barry C.
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Ethel Ave.
Van Nuys, CA
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music theory, jazz guitar, rock guitar, classical guitar
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San Rafael High - General Education - (High School diploma received) North Texas State - Music - (Bachelor's degree received)
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Peter O.
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Corteen Place
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I specialize in improvisation techniques. Latin Jazz Classical Saxophone
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Jay R.
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Nordhoff St
Northridge, 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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Cal State Northridge - Music Performance - Double Bass - 2008-present (In progress) (not complete) UCLA - Music Performance - Double Bass - 2006-2008 (Bachelor's degree received)
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Derek B.
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Woodman Ave.
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My concentration in college was Jazz Guitar, but I'm definitely a Rocker at heart. I can teach all genres of music and guitar and every end of the theory spectrum.
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Columbia College - Music: Guitar Performance - 2004-2008 (Bachelor's degree received)
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Jay R.
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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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Cal State Northridge - Music Performance - Double Bass - 2008-present (In progress) (not complete) UCLA - Music Performance - Double Bass - 2006-2008 (Bachelor's degree received)
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TakeLessons Music Teacher

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Tony P.
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Whitsett Avenue
North Hollywood, CA
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music, acoustic guitar, guitar, music theory, songwriting, electric guitar Finger style, and oscillated picking for jazz guitar
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Bishop Kenrick - Acacemic - 1961 - 1965 Pasadena City College - Astronomy - 1973 -1976 UC Berkely - Classical Guitar - 1969-1971 Private Guitar in LA - Jazz Guitar Composition - 1971-1975
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Julie M.
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Topeka Drive
Reseda, CA
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5 to 105
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I specialize in contemporary music styles, but I am very technique-oriented and I incorporate music theory in every style and instrument that I teach. My methods of teaching range from use of books from beginner to advanced styles, to my own personal lesson plans that I have accumulated over the years. I also specialize in one-on-one singer/songwriter clinics to help better writing styles, melody writing, chord structure, etc.
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Berklee College of Music - Voice/Composition - 1998-2001 (Bachelor's degree received) Saguaro High School - General - 1993-1997 (High School diploma 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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