Ska Music Lessons Battle Ground WA

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.

David P.
(877) 231-8505
N Yale Street
Portland, OR
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Songwriting, Music Theory, Guitar, Trombone, Music Performance
Ages Taught
6 to 99
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I try to tailor my lesson plans to the musical interests of the student while focusing on music theory and pedagogy.
Education
Simsbury High School - - August 2000-June 2004 (High School diploma received) Hofstra University - Music - August 2004-May 2008 (Bachelor's degree received)
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Nathan H.
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N Overlook Terrace
Portland, OR
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Music Theory, Guitar, Classical Guitar, Music Performance
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5 to 99
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I specialize in Classical Guitar, and I prefer to use the Aaron Shearer guitar method books to teach beginners proper technique and to read music. I am also extremely proficient in other styles, including Rock and Blues.
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University of Idaho - Music - 2005-2009 (Bachelor's degree received) North Idaho College - General - 2002-2004 (Associate degree received)
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Mr GS School of Guitar
(360) 852-0562
508 Washington Street
Vancouver, WA
 
Chris H.
(877) 231-8505
E. Roy St.
Seattle, WA
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Guitar
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5 to 99
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Rock, Blues, and beginning-intermediate jazz and country.
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Scott T.
(877) 231-8505
SE 267th Place
Maple Valley, WA
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French Horn, Music Performance, Guitar, Singing, Classical Guitar, Songwriting, Bass Guitar, Percussion, Trumpet, Music Theory, Music Recording, Drums, Piano, Trombone
Ages Taught
5 to 99
Specialties
Classically trained. I focus on theory with my students. It is the base that they can leap from. I also have taught and performed jazz, salsa, and reggae.
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Navy School of Music - AA equivalent in Music - 1982 (Associate degree received)
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Joyce A.
(877) 231-8505
Cedar Street
Fairview, OR
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Opera Voice, Guitar, Singing
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5 to 70
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Vocal technique and vocal polyphony
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National Conservatory of Music of Panama - Vocal Poliphony - 1994-1997 (completed)
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Classical Guitar Teacher
(360) 607-4597
4211 NE 47th Ave
Vancouver, WA
 
Dan F.
(877) 231-8505
Fremont Ave. N.
Seattle, WA
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Music Theory, Guitar
Ages Taught
10 to 99
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Music, Music Theory, Guitar Music Theory, Classical Guitar, Rock Guitar, Jazz Theory, Songwriting
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University of Washington - Music, Comparative History - 2004-2008 (degree received) Agoura High School - General - 2000-2004 (degree received)
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JC H.
(877) 231-8505
12th Ave S
Seattle, WA
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Music Theory, Guitar, Bass Guitar, Upright Bass, Music Recording, Songwriting, Music Performance
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13 to 99
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Jazz, Classical, Progressive Rock, Celtic, Funk, R&B/Soul For jazz, I tend to work on individual tunes from the Real Book and some of the Jamey Aebersold books. I also like Barry Galbraith's books on jazz chord comping. For rock guitar I have transcriptions of various techniques (tapping, sweep)/ For slap bass I have bits transcribed from Marcus Miller and Vic Wooten pieces. For reading, I'll work with Bach's 2-part inventions and then excerpts from rock or jazz charts.
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Wayne Status University - Music - 06/81 - 06/85 (not complete)
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Brett R.
(877) 231-8505
Harvard Ave
Seattle, WA
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Music Theory, Guitar, Piano, Drums, Percussion
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4 to 99
Specialties
Electric Guitar, Acoustic Guitar, Piano, Drums, Percussion, Music Theory finger picking styles and chord progressions - guitar lead and rhythm patterns - electric guitar latin, blues, rock, jazz styles - drum kit & percussion classical & popular tunes - piano/keyboard
Education
U. of Puget Sound - B.S. Mathematics - 1991-1996 (degree received) Shoreline Comm. College - A.A.A.S. Audio Engineering/Music - 1999-2002 (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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