Ska Music Lessons Danville IL

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.

B & J Music
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3232 N Vermilion St
Danville, IL
 
Judy Lei
9500 S Avers
Evergreen Park, IL
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Cello, Guitar, Piano, Viola, Violin, Voice
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Classical, Kids, World
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Advanced, Beginner, Intermediate
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$50
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Mark W.
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N. Kildare
Chicago, IL
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I specialize in rock and souther rock.
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Osage High School - general - 9/1979
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5 to 99
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Again, I am very confident in my teaching skills. I love so many genres of music that its hard to say where my best talents lie. But no matter what the style, I will say one thing that I have always been strict about is proper technique and rhythm. I feel like timing is something that a lot of musicians lack and often have to learn the hard way later on. I try to incorporate it soon after and onward after a beginner's first lessons.
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Southeast Missouri State - guitar - 9-01-01 to 5-15-06 (Bachelor's degree received) Northwestern University - guitar - 12-27-07 to 12-20/08 (Master's degree received)
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St. Viator H.S. - general - grad 1967 (degree received) Harper Jr. College - general/music - 1968-1971 (degree received) St. Josephs College - music - 1972-1973 (not complete) Harper College - music - 1974-1975 (not complete)
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I am most well versed in jazz guitar and pop/blues guitar. I also have a strong background in classical piano and am a strong sight reader. I teach Music composition, music theory, beginning banjo, music performance, and music recording.
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Columbia College Chicago - Instrumental Performance - 2005-present (not complete)
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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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