Ska Music Lessons Goodyear AZ
Viola, Songwriting, Oboe, Opera Voice, Clarinet, Saxophone, Trumpet, Music Performance, Piano, Cello, Trombone, Violin, Percussion, Organ, Theatrical Broadway Singing, Guitar, Upright Bass, French Horn, Music Theory, Singing, Classical Guitar, Flute
3 to 60
I use methods commonly known where the students can recognize the pieces. I like to teach the students to create their own music. Besides teaching regular methods I like to supplement my teaching with songs that they like to play.
Los Angeles State College - Music - 1/1963-7/1964 (Bachelor's degree received) California State University at Los Angeles - Music - 9/1964-7/1965 (Master's degree received)
TakeLessons Music Teacher
Drums, Guitar, Piano, Violin, Voice
Blues, Classical, Folk - Country - Bluegrass, Jazz, Kids, Rock - Alternative, World
Advanced, Beginner, Intermediate
Years of Experience
Music Recording, Music Theory, Songwriting, Music Performance, Guitar
5 to 99
I like to customize methods for the individual. I do prefer the Berklee series for more serious guitar students. I have used Alfred's for some younger ones. Personally, I was brought up on the Mel Bay method and I don't really care for it. Besides general guitar lessons I can offer instruction to bands as I play bass keys and drums as well. Music Theory is a very strong point for me. Ear training goes hand in hand with theory. Being a performer too, I can teach the student the ropes of stage …
Queens College - Communications/Music - 1970-1975 (Bachelor's degree received)
TakeLessons Music Teacher
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.