awesome. i look forward to reading about it. i would attend if i were local.
I'm having students learn a batch of songs in each of what I consider the major periods of Rock and Roll and in preparing the classes and digging deeper into a subject that I thought I had a pretty good handle on I'm discovering that there is a ton of really cool music and information to ingest.
Rock didn't spring into existence fully formed, so just getting a handle on the R&B, Blues, Country and Jazz influences that simmered together in the styles formation has been a great education. Just reading through this is pretty cool: http://www.digitaldreamdoor.com/page...meline-r1.html
It's a full band class so I have to teach (and usually play at some point) all of the instruments so I'm also getting a better idea of where those parts came from and what the people that we as guitarists usually ignore when we learn something like "Johnny B Goode" are playing
I think that it's probably a great thing for anyone who plays rock to step back and study since no matter what period of rock music your are influenced from you'll get a better idea of where your favorite players are coming from by studying their influences, their influences influences and so on.
Since this is an ongoing class I'll probably be blogging my experiences both in teaching the class and my own research to prepare the students. I've had to play a ton of these styles and songs over the years but never this comprehensively so a class that I thought would be a snap to teach is turning a bit into a research project/personal education, too....it's kind of nice to be challenged like this at work.
And yes, the picture is not of me but Jeff Garvin teaching another of our classes and I thought it looked cool
awesome. i look forward to reading about it. i would attend if i were local.
It goes something like this:
Booze, bennies, weed, acid, heroin, blow, crystal meth
Sorry, I don't do Windows®.
That's awesome. I took a similar class in college, except we didn't play the music. We just watched video clips and listened to CDs. It was really badass because it was taught by a local Austin legend, Cliff Antone.
But your idea is still cooler.
I just wanted to give the music I teach in the class a context and the experiment I ran over the summer with the kids classes went really well so I thought I'd offer a "full size" version of the class. The way it's shaping up the students will have almost a full set of music in each genre to play...my 4-5 song idea is a little too limited to really get a full picture of the 50's Rock and Roll for instance....I'm assuming that it'll go about the same for each phase. By the end of the class the students will probably know 80-100 songs if they stick all the way through and will be able to gig a full night without too much work
That's really cool, I'd love to get that type of lesson.
I'll also probably be shouting "Freeeeee Birrrrddd" from the back of the room.
I'm wondering about this class. The bassist looks very surly.
The more weight Mr. Mark Wein is losing, I think the more he thinks he can uh, take you out.
Please be careful. With this kind of traffic you might find the low spark of high-heeled boys influence,
or wake up after a three year stupor, a book in your lap, Manfred Mann's Chapter Four, and blame him.
That's when the trouble will start.
Jack Blacks' "School of Rock" isn't what I expected, after seeing his t.v. episodes of "Heavy D",
but it was a sweet, parental guidance rock music movie. His King Kong is my favorite film with him,
and I like his tiny role as a blast victim in the "Mars Attacks" movie, where he starts inhaling his own blast smoke before he skeletizes.
"School of Rock" is the first movie to make me really like the credits.
Last edited by John Watt; 11-25-2010 at 01:16 PM.
So I woke up this morning with this class on my mind....the musicianship is more sophisticated than I remember it being from Guitarists, Bassist, Drummers, etc. Then I remembered that much of this was recorded with studio pros of the day - guys like Hal Blaine, Earl Palmer, Hank Garland, Danny Cedrone. Follow on eras of rock bands were full of garage musicians or players that were imitating the licks from this era more than being educated in multiple styles and bringing them to the table from a "pro" level of musicianship. Bands like early Beach Boys with their Chuck Berry infatuation, early Beatles recordings before they found their stride and garage bands like the Troggs come to mind....some of these bands obviously trancended this and some didn't but the first generation of rock recordings were more "pro" recordings than I remember.
Here is a cool article and lesson on the guitar playing and recording of "Rock Around the Clock" featuring Danny Cedrone on guitar:http://www.the-jime.dk/Rockabilly_Gu...Clock_Solo.htm
Cool! Is this class part of the series you mentioned a week or two ago?
I've had the two kids classes going for a while but the adult class on Mondays started the first week of November and we have a Saturday afternoon class starting the first week of December....it's really going well
Man I wish I could be a part of that. It would be cool if we could figure out an online version. I am not sure how practical that is with a band format though.
I would love to take this class if I weren't in the Funk class. I love the history and learning how different influences infiltrated the music. In college, to fulfill my anthropology requirements I took History Of Blues ay San Diego State. At Cal State Fullerton, I took History of Jazz with Fred Katz.
Cliff Antone must've been really cool!
So I started a new class on Saturday afternoon, and like how all of these things go I changed how I teach the first few songs and try to get students to relate them to a 12 bar blues (teaching chord progressions, 4 bar phrases and forcing the issue of playing time through the intro pretty hard) and the music went a lot smoother.
I've also doubled the amount of songs in the first phase where we are covering early Rock and Roll because the more I think about it the idea of 4-5 songs covering this era is ludicrous and way too narrow a focus. I'm thinking that if we spend more time here we are laying groundwork for the later phases both musically and with the students technical skills sets.
I'm also toying with the idea of having an inexpensive pedalboard for the studio for the students to try the appropriate sounds (such as playing with a slap echo or a fuzz) for the songs before they buy them...
You're also the lone ranger now in the Funk class since Ramon switched to the Saturday Rock class and is taking a college course on Monday nights...that means I have a spot available in the Monday 7-8pm Rock class for a guitarist...
Dang, I wish I could be a part of this. I would love to explore the ties back to the blues too. I would tend to want to jump forward to music from the early to mid 60s then on to the connection to punk, skipping all the Woodstock stuff and forward through all the concert/arena rock. But I am sure there would be much to gain from going through the other periods too.
Something to think about from Wikipedia:
More here: http://en.wikipedia.org/wiki/Rock_and_rollRock and roll
This article is about the 1950s style of music. For the general rock music genre, see rock music. For other uses, see rock and roll (disambiguation).
Rock and roll Stylistic origins Blues • gospel • folk • country • jump blues • Chicago blues • swing • boogie-woogie • R&B • doo wop Cultural origins 1940s, United States Typical instruments Electric guitar, string bass or later bass guitar, drums, piano, optional saxophone(s), vocals
Mainstream popularity One of the best selling music forms since the 1950s Derivative forms Rock • rockabilly • pop Other topics Rock and Roll Hall of Fame
Rock and roll (often written as rock & roll or rock 'n' roll) is a genre of popular music that originated and evolved in the United States during the late 1940s and early 1950s, primarily from a combination of the blues, country music, jazz and gospel music. Though elements of rock and roll can be heard in country records of the 1930s, and in blues records from the 1920s, rock and roll did not acquire its name until the 1950s. An early form of rock and roll was rockabilly, which combined country and jazz with influences from traditional Appalachian folk music and gospel.
The term "rock and roll" now has at least two different meanings, both in common usage. The American Heritage Dictionary and the Merriam-Webster Dictionary both define rock and roll as synonymous with rock music. Allwords.com, however, refers specifically to the music of the 1950s. For the purpose of differentiation, this article uses the latter definition, while the broader musical genre is discussed in the rock music article.
In the earliest rock and roll styles of the late 1940s and early 1950s, either the piano or saxophone was often the lead instrument, but these were generally replaced or supplemented by guitar in the middle to late 1950s. The beat is essentially a boogie woogie blues rhythm with an accentuated backbeat, the latter almost always provided by a snare drum. Classic rock and roll is usually played with one or two electric guitars (one lead, one rhythm), a string bass or (after the mid-1950s) an electric bass guitar, and a drum kit.
Rock and roll began achieving wide popularity in the 1960s. The massive popularity and eventual worldwide view of rock and roll gave it a widespread social impact. Bobby Gillespie writes that "When Chuck Berry sang 'Hail, hail, rock and roll, deliver me from the days of old,' that's exactly what the music was doing. Chuck Berry started the global psychic jailbreak that is rock'n'roll."
Far beyond simply a musical style, rock and roll, as seen in movies and on television, influenced lifestyles, fashion, attitudes, and language. It went on to spawn various sub-genres, often without the initially characteristic backbeat, that are now more commonly called simply "rock music" or "rock."
So the section on 1950's Rock and Roll is winding down for most of the classes...it's been pretty cool to watch guitar players conquer Chuck Berry, Hank Garland licks in Elvis songs, Scotty Moore's hybrid parts on Mystery Train and some ripping guitar on Rock Around the Clock and Twenty Flight Rock...drummers having to play train-style rhythms on the rim or tom mount or dealing with the rhythmic contradictions in Johnny B Goode. Seeing how rock music has come from so many places has been good for them and the technical challenges have given the students great momentum into the next unit, which is all about the instrumental surf music of the early 1960s....
Cool. Again, I wish it was something I could attend. Thanks for the update!
No problem! It;s really fun to teach and I'm learning a lot, too...
From Wikipedia, the free encyclopedia
Surf music is a genre of popular music associated with surf culture, particularly Orange County and other areas of Southern California. It was particularly popular between 1961 and 1965, has subsequently been revived and was highly influential on subsequent rock music. It has two major forms: largely instrumental surf rock, with an electric guitar or saxophone playing the main melody, pioneered by acts such as Dick Dale and the Del-Tones, and vocal surf pop, including both surf ballads and dance music, often with strong harmonies that are most associated with The Beach Boys. Many notable surf bands have been equally noted for both surf instrumental and surf pop music, so surf music is generally considered as a single genre despite the variety of these styles.
Instrumental surf rock
Surf music began in the early 1960s as instrumental dance music, almost always in straight 4/4 (or common) time, with a medium to fast tempo. The sound was dominated by electric guitars which were particularly characterized by the extensive use of the "wet" spring reverb that was incorporated into Fender amplifiers from 1961, which is thought to emulate the sound of the waves. Guitarists also made use of the vibrato arm on their guitar to bend the pitch of notes downward, electronic tremolo effects and rapid (alternating) tremolo picking. Guitar models favoured included those made by Fender (particularly the Mustang, Jazzmaster, Jaguar and Stratocaster guitars), Mosrite, Teisco, or Danelectro, usually with single coil pickups (which had high treble in contrast to double coil humbucker pickups). Surf music was one of the first genres to universally adopt the electric bass, particularly the Fender Precision Bass. Classic surf drum kits tended to be Rogers, Ludwig, Gretsch or Slingerland. Some popular songs also incorporated a tenor or baritone saxophone, as on "Surf Rider" and "Comanche". Often an electric organ or an electric piano featured as backing harmony.
By the early 1960s instrumental rock and roll had been pioneered successfully by performers such as Duane Eddy, Link Wray, and The Ventures. This trend was developed by Dick Dale who added the distinctive reverb, the rapid alternate picking characteristic of the genre, as well as Middle Eastern and Mexican influences, producing the regional hit "Let's Go Trippin'" in 1961 and launching the surf music craze, following up with songs like "Misirlou" (1962). Like Dale and his Del-Tones, most early surf bands were formed in Southern California area, with Orange County in particular having a strong surf culture, and the Rendezvous Ballroom in Balboa hosted many surf-styled acts. Groups such as The Bel-Airs (whose hit "Mr. Moto" was released months before Dale's "Let's Go Trippin'"), then The Challengers released their album "Surfbeat", and then Eddie & the Showmen followed Dale to regional success. The Chantays scored a top ten national hit with "Pipeline" in 1963 and probably the single most famous surf tune hit was 1963's "Wipe Out", by the Surfaris, known for their cutting-edge lead guitar and drum songs, which hit # 2 and # 10 on Billboard charts in 1965. The group had two other global hits "Surfer Joe" and "Point Panic".
The growing popularity of the genre led groups from other areas to try their hand. These included The Astronauts, from Boulder, Colorado, The Trashmen, from Minneapolis, Minnesota, who had a number 4 hit with "Surfin Bird" in 1964 and The Rivieras from South Bend, Indiana, who reached #5 in 1964 with "California Sun". The Atlantics, from Sydney, Australia, were not exclusively surf musicians, but made a significant contribution to the genre, the most famous example with being their hit "Bombora" (1963). Also from Sydney were The Denvermen lyrical instrumental "Surfside" reached #1 in the Australian charts. Another Australian surf band who were known outside their own country's surf scene was the Joy Boys, whose hit "Murphy the Surfie" (1963) was later covered by the Surfaris.
European bands around this time generally focused more on the style played by the Shadows. A notable example of European surf instrumental is Spanish band Los Relampagos' rendition of "Misirlou". The Dakotas, who were the British backing band for Merseybeat singer Billy J. Kramer gained some attention as surf musicians with "Cruel Sea" (1963), which was later covered by The Ventures and eventually other instrumental surf bands, including the Challengers and the Revelairs.
 Vocal surf pop
Although beginning as a purely instrumental form, surf music achieved its greatest commercial success as vocal music. Most associated with this movement were the Beach Boys, formed in 1961 in Southern California. Their early albums included both instrumental surf rock, including covers of music by Dick Dale and vocal songs, drawing on rock and roll and doo wop and the close harmonies of vocal pop acts like the Four Freshmen. Their first chart hit, "Surfin'" in 1962 reached the Billboard top 100 and helped make the surf music craze a national phenomenon. From 1963 the group began to leave surfing behind as subject matter as Brian Wilson became their major composer and producer, moving on to the more general themes of male adolescence, including cars and girls, in songs like "Fun, Fun, Fun" (1964) and "California Girls" (1965). Other vocal surf acts followed, including one-hit wonders like Ronny & the Daytonas with "G. T. O." (1964) and the Rip Chords with "Hey Little Cobra", which both reached the top ten, but the only other act to achieve sustained success with the formula were Jan & Dean, who had a number 1 hit with "Surf City" (co-written with Brian Wilson) in 1963.
The surf music craze and the careers of almost all surf acts, was effectively ended by the arrival of the British Invasion from 1964. Only the Beach Boys were able to sustain a creative career into the mid-1960s, producing a string of hit singles and albums, including Pet Sounds in 1966, which made them, arguably, the only American rock or pop group, that could rival the Beatles.
 Influence and revival
The use of instrumental surf rock style guitar for the soundtrack of Dr. No (1962), recorded by Vic Flick with the John Barry Seven, meant that it was reused in many of the films in the James Bond series, and influenced the music of many spy films of the 1960s. Surf music also influenced a number of later rock musicians, including Keith Moon of The Who East Bay Ray of the Dead Kennedys and Pixies guitarist Joey Santiago. During the mid- to late 1990s, surf rock experienced a revival with surf acts, including Dick Dale recording once more, partly due to the popularity of the movie Pulp Fiction (1994), which used Dale's "Misirlou" and other surf rock songs in the soundtrack. New surf bands were formed, including Man or Astro-man?, The Mermen and Los Straitjackets.
Most of the classes are transitioning into the first section of Beatles...pretty much the era up to and including Help!
I'm actually a bit more impressed with Ringo's drumming than I thought I would be.
I enjoyed reading about your class and your approach to teaching it. Among other things, I teach people how to be teachers IRL. Great class you've put together. Thanks for sharing your process here.
The reality is that I started with one concept and through teaching 4 classes concurrently it's constantly evolving. The basic idea stays the same but each genre that we delve into produces new challenges both for the students to conquer and for me to reinvent the wheel to get them through the new set of challenges. What I thought would be a throw away unit (surf music) has been hugely beneficial just in terms of making guitarists and bassists learn longer form melodies and chord progressions. Even the drummers have to focus more on arrangements than they have had to in the blues classes and 50's rock and roll sections of this class.
We've just started the first of three units worth of Beatles music and the Ringo star thing has been huge. The drummers need to learn more specific parts and even drum fills note for note in order for the songs to work. Bass players are now having to wrestle with the fact that Paul McCartney plays the bass like a constant counter melody instead of a walking bass line or riff and the guitarists now have much more in the way of dedicated guitar parts and more varied chords to play.
We haven't even started with the vocal harmonies yet
not one mention of Cliff Gallup on this whole page....
not one mention of Grady Martin on this whole page.....
not one mention of Reggie Young. on this whole page....
not one mention of James Burton.
You never learn more than when you try to teach something.
By the way rock 'n' roll goes way back
maybe even farther
Rid dbx bad. -- KPack
Tell the mo fo to go pauj f salt. Drink ass and the xhikcke aren't her WTO dog me ;' say what up with that! -- 12Pack
ha 's wha I was hinkin when I pos ed ha . Damned key oard. I qui -- Foo (verified by EG)
I wouldn't be aware of Pink Floyd for several more years. (citation needed) F the G train. -- HelpI'mARock.
Even if you get shot down, you're not going to be getting any less sex than you already aren't. -- Lerxst.
Life moves pretty fast. If you don't stop and throw a towel over it and take it out back and release it every once in awhile, you could miss it. -- Eloydrummerboy
Need I actually palm my face? -- BoomBoomBigelow
What a great idea and an awesome opportunity! If I were local I would love to experience something like this.
I do hope you are jotting some of this stuff down.... I think it would be a great idea for a book or three. Music, like a lot of other things is constantly evolving and changing with the times. I think it would be fair to say that popular music often changed the times itself, or at least made change more palatable. Doubly so when you think of it in a cultural & historical context.
I thought I had commented here, but if I did, I can't see it
*scolls too fast*
personally, I don't think rock'nroll has really evoled at all.
but I suppose it depends on yer idea of what r'n'r is.
I don't hear any r'n'r on the radio today, but that's just because my [DELETED BY USER] roomie keeps the car radio (her car) on some dance crap station.
so, the closest I get to "rock" is that Bruno Mars "I'm a Lazy Prick" or whatever (I actually like that song)
but, I look at it this way:
AC/DC is still kinda current rock, no?
hope so, my whole point is bsaed on them
they really ain't doin' anything different than what happened w/C.Berry, etc.
I mean, sure, new amps, new giutars...
but that idea is still the same.
like, Little Richard = Motorhead
and I can hear that, every time I listen to them.
I love it.
Actually, I don't think humanity has evolved much in the last 50 years... Rock and roll, however, has hope... The last Opeth album is a good example...
I may or may not have completely misinterpreted my misconceptions as perceptions of misconstrued disinformation...