Ska Music Lessons Beacon NY

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.

John O.
(877) 231-8505
Hillside Road
Carmel, NY
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Music Theory, Opera Voice, Bass Guitar, Guitar, Upright Bass, Classical Guitar, Singing, Music Performance, Songwriting, Music Recording, Speaking Voice
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7 to 80
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I can read music in different clefs and have a very good knowledge of music theory. I specialize in pick style guitar but can play classical. I can also play different styles of genres including classical, jazz, rock, metal, funk, ska/punk, and blues.
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SUNY Albany - Music Performance (Jazz Guitar) - 2006-2010 (Bachelor's degree received)
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Mikes Guitar Studio
(845) 569-1271
32 faye ave
New Windsor, NY
 
Guitar Rock School
(845) 915-8679
Chester, NY
 
James B.
(877) 231-8505
Henry Street
Brooklyn, NY
Subjects
Bass Guitar, Guitar
Ages Taught
5 to 60
Specialties
I teach almost all styles of guitar including Rock, Jazz, Blues, Classical and everything in between. The only genre I do not specifically teach is Flamenco Guitar. I studied and use the William Leavitt Guitar method, which is used at Berklee College of Music. Additionally I have developed several of my own techniques, embracing the use of standard notation, tablature and playing by ear.
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James Madison University - Psychology & Jazz Studies - 2000-2004 (Bachelor's degree received)
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Albert M.
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E 81st Street
New York, NY
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Bass Guitar, Guitar
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6 to 99
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All styles but jazz. Rock, blues, folk, finger style, classical, punk, blues and all in between, from funk to punk, rock to metal. I also teach bass and drums.
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Fredonia U - Classical Guitar - 1984-1986 Nassua CC - Music - 1982-1984
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Erica Q.
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Libertyville Rd.
New Paltz, NY
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Piano, Fiddle, Music Theory, Bass Guitar, Guitar, Cello, Viola, Singing, Violin, Music Performance, Songwriting, Music Recording
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4 to 99
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I specialize in combination lessons such as guitar and voice lessons with a focus on songwriting. I can also help violinists who wants to transfer their knowledge of theory to guitar or piano and vice versa. We can incorporate recording techniques into any lesson.
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Winter Park High School - music and art - 1987-1990 (High School diploma received) State University of New York at New Paltz - music and dance - 1992-1996 (not complete)
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Poughkeepsie, NY
 
David Hartwell Guitar Lesson at Waterstreet Markets
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New Paltz, NY
 
John L.
(877) 231-8505
E 28th St.
New York, NY
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Bass Guitar, Piano, Upright Bass, Ukulele, Guitar, Music Recording
Ages Taught
6 to 99
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I have been lucky to play tons of different types of music. I believe I can give musicians and aspiring musicians a deep understanding of what is most important in many different styles of music. Music I have been lucky enough to study and play professionally: Jazz, Rock, Funk, Afro-Cuban, Brazilian, Blues, Classical, Pop. I'm also a very good transcriber, so if there is a song you heard on the radio we can definitely play it! Ear training could be an area in which I could be of service to yo…
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Grove School Of Music - Bass - 1990-1991 (Degree received) San Diego State - Jazz Performance - 1992-1995 (Bachelor's degree received)
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Tom H.
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West 142 Street
New York, NY
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Music Performance, Saxophone, Piano, Classical Guitar, Bass Guitar, Flute, Music Theory, Guitar, Drums
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5 to 99
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I have developed my own method for teaching guitar to large groups. I am a Jazz specialist and can teach improvisation and advanced harmony.
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CUNNY City College - Music - 1997-1999 (not complete) SUNNY Empire State - Music - 1999-2000 (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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