Ska Music Lessons Flowery Branch GA

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.

Wes Shepard
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Benjamin H.
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Cumming, GA
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5 to 99
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Michael B.
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Collier Trace
Kennesaw, GA
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10 to 99
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Specialize in Jazz, Rock
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Georgia State University - Music Management - 2004-Present (not complete)
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The College Of Charleston - Music Theory / History - 08/03 - 05/09 (Bachelor's degree received)
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5 to 99
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I have used many of the published methods for all of the instruments over the years. I am always open to any approach that will work for any given student.
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Norman T.
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McGinnis Ferry Road,
Suwanee, GA
Subjects
Banjo, Bass Guitar, Piano, Saxophone, Flute, Music Theory, Guitar, Classical Guitar, Clarinet
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5 to 99
Specialties
I have used many of the published methods for all of the instruments over the years. I am always open to any approach that will work for any given student.
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Columbus State University - Music Education - 9/1973-6/1977 (Bachelor's degree received) Southwestern Seminary - Pastoral Ministry - 8/1991-12/1994 (Master's degree received)
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Riverwood Cir
Decatur, GA
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When teaching music, I consider a hands on approach to be most effective. This allows the student to become excited about music, learning music, and improves overall brain cognition. A hands on approach is a really great way to teach. The student learns to feel, and to play with feeling.
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University of Georgia - Music Business/ Psychology - 2005-2009 (Bachelor's degree received)
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Joseph A.
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Ralph McGill Blvd.
Atlanta, GA
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Univ. of North Carolina-Chapel Hill - Jounalism - 1995-1999 (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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