Ska Music Lessons Green Cove Springs FL

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.

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Andre L.
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Classical Guitar, Flamenco Guitar, Guitar, Music Theory
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Usually I use any easy method for kids to initiation as a base material.
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Escola de Musica e Belas Artes do Parana - Perfomance - Classical Guitar - 1992/1997 (Bachelor's degree received) Conservatorio de Musica Villa Lobos - Classical Guitar/Music theory - 1985/1992 (Degree received)
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Rollins College - August 2005 - August 2009 (Complete)
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all styles of rock, metal, blues, neo-classical, pop. have personally studied alot of medieval-rennaisance music as well as classical, but don't feel qualified to teach classical guitar, as I use an unorthodox fingerstyle approach when playing fingerstyle.
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12 to 99
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lydian chromatic theory, George Russell jazz, rock, pop, digital studio recording, record copying, recording techniques, mastering.
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Berklee College - Education - 1976-79 (Bachelor's degree received) New England Conservatory - Composition - 1991-93 (Master's degree received)
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Colegio San Jose - - August 1990 - June 1994 University of Puerto Rico - Music Education - August 1994 - June 2003
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Vanguard - - 1997-2001 (degree received) U. of Central Florida - Music Performance - 2001-2007 (degree received) Roosevelt U. - CCPA - Music performance - 2008-2010 (degree received)
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Enterprise Road East
Clearwater, FL
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rock, blues, pop, folk, and contemporary.
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University of Miami - business - 1990-1993 (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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