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Ska Music Lessons Coram 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.

Matthew M.
(877) 231-8505
Samuels Path
Miller Place, NY
Subjects
Acting, Music Theory, Viola, Guitar, Singing, Piano, Clarinet, Upright Bass, Speaking Voice, Music Performance, Violin, Cello, Bass Guitar
Ages Taught
5 to 99
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I am well-versed in the Suzuki, Strictly String, Muller-Rusch, and Essential Elements methods. I find it helpful and insightful to include both classical and contemporary/pop music. In addition, I am constantly coming up with unique activities and lessons of my own that I think will benefit the student.
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Susquehanna University - Music Education - 08/2006-05/2010 (Bachelor's degree received)
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TakeLessons Music Teacher

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Michael Belajonas
146 Terrace Road
Bayport, NY
Instruments
Composition, Guitar, Theory
Styles
Blues, Classical, Jazz, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$55
Years of Experience
25 Years

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Music & ARTS Center
(631) 585-2323
2960 Middle Country Rd
Lake Grove, NY
 
Guitar Studio
(631) 399-3998
Shirley, NY
 
James Ludwig
2A Bar Beach Road
Port Washington, NY
Instruments
Electric Bass, Guitar
Styles
Blues, Folk - Country - Bluegrass, Jazz, Rock - Alternative
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Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
10 Years

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Jose G. M.
(877) 231-8505
SUNY
Stony Brook, NY
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Classical Guitar, Guitar, Music Theory, Music Performance
Ages Taught
5 to 99
Specialties
Classical, pop, reggae, acoustic, electrical guitar. Musicianship ( Music theory & sight singing) Music history.
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SUNY Stony Brook - Classical Guitar Performance - 2009-2010 (not complete) Conservatory of Music PR - Classical Guitar - 2004-2009 (Bachelor's degree received)
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TakeLessons Music Teacher

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Dana V.
(877) 231-8505
Darnley Place
Huntington Station, NY
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Theatrical Broadway Singing, Music Theory, Guitar, Singing
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1 to 99
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Theatrical Broadway Singing (Belting), NYSSMA Prep for Voice Levels I-VI, Dalcroze Eurythmics
Education
Hewlett High School - Liberal Arts - 9/96-6/00 (High School diploma received) SUNY Old Westbury - Psychology - 1/06-12/07 (Bachelor's degree received) Hofstra University - Music Education - 1/09-Present (not complete)
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Family Melody Centers
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Patchogue, NY
 
Colin C.
(877) 231-8505
Woodpoint Rd
Brooklyn, NY
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Music Theory, Guitar, Classical Guitar, Songwriting
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5 to 99
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I myself am a Jazz guitarist, but teach and have much experience in many styles (pop, blues, jazz, rock, finger style etc.)
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Brighton Highschool - Math and Music - 1999-2003 (High School diploma received) Berklee College of Music - Performance/Guitar - 2003-2007 (Bachelor's degree received)
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Sebastian C.
(877) 231-8505
East 104th Street
New York, NY
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Music Theory, Guitar, Music Performance, Songwriting
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5 to 99
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I start by setting specific goals (within a defined time-frame) and develop a program accordingly. I am comfortable with jazz, rock and all popular forms of American music (r&b, funk, folk, etc) I have worked extensively with Latin American rhythms from Son, Bossa Nova, Samba, Bolero, to more uncommon like traditional Colombian (cumbia, vallenato) and Peruvian (landó, festejo) rhythms
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City College of New York - Jazz Guitar - 1999-2004 (Bachelor's degree received) Manhattan School of Music - Jazz Guitar - 2007-2009 (Master'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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