Ska Music Lessons Haverhill MA

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.

Ian Walsh
5B Upper Rd
Plaistow, NH
Instruments
Audio Recording, Composition, Ear Training, Electric Bass, Guitar, Other, Piano, Recording, Theory
Styles
Blues, Classical, Electronic, Folk - Country - Bluegrass, Jazz, Kids, Other, Rock - Alternative, World
Experience Levels
Beginner, Intermediate
Rate
$30
Years of Experience
8 Years

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Robert M.
(877) 231-8505
Lafayette Rd.
Hampton, NH
Subjects
Bass Guitar, Banjo, Mandolin, Songwriting, Guitar, Ukulele, Music Recording, Classical Guitar, Music Theory, Violin
Ages Taught
6 to 99
Specialties
Rock, Pop, Blues, Country, Folk, Heavy Metal
Education
Winnacunnet - - 1988-1991 (High School diploma received) Hesser - Business mngmt - 1992 (not complete)
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TakeLessons Music Teacher

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Brian K.
(877) 231-8505
Calvin St.
Somerville, MA
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Music Theory, Music Performance, Guitar, Songwriting
Ages Taught
5 to 99
Specialties
My playing covers a broad spectrum of styles of including pop, rock, jazz, metal, hip hop/r&b, funk and acoustic/folk. I am equally proficient in all.
Education
Berklee College of Music - Professional Music: Guitar Performance - Fall 2006- Spring 2010 (Bachelor's degree received)
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TakeLessons Music Teacher

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Brad G.
(877) 231-8505
Lake Shore Drive
Wayland, MA
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Music Theory, Bass Guitar, Guitar, Music Performance, Songwriting, Music Recording
Ages Taught
1 to 99
Specialties
In terms of teaching guitar, my main instrument, I specialize in teaching improvisation and developing solos or lines over chord progressions. I also am versatile in early any style of music and can help any student play what they want to play fast because I understand anything they throw at me. I also excel at teaching jazz and bluegrass because of my extensive knowledge in theory and mandolin, respectively.
Education
Wayland High School - GED - 2000-2004 (High School diploma received) University of Massachusetts Lowell - Music, Sound Recording Technology - 9/06-5/09 (Bachelor's degree received)
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TakeLessons Music Teacher

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Diane Sanabria
453 Bridge Rd. 453 Bridge Rd.
Florence, MA
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Autoharps, Banjo, Composition, Dulcimer, Ear Training, Ethnomusicology, Guitar, Mandolin, Musicology, Other, Theory, Ukelele, World Music
Styles
Classical, Folk - Country - Bluegrass, Jazz, Kids, Other, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
40 Years

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Robert M.
(877) 231-8505
Water st.
Exeter, NH
Subjects
Banjo, Bass Guitar, Music Recording, Mandolin, Music Theory, Guitar, Songwriting, Violin, Classical Guitar, Ukulele
Ages Taught
6 to 99
Specialties
Rock, Pop, Blues, Country, Folk, Heavy Metal
Education
Winnacunnet - - 1988-1991 (High School diploma received) Hesser - Business mngmt - 1992 (not complete)
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TakeLessons Music Teacher

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Christopher Chesna
64 Wilson Street
North Billerica, MA
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Composition, Drums, Ear Training, Electric Bass, Guitar, Music Business, Other, Percussion, Recorder, Recording, Saxophone, Theory
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Blues, Classical, Folk - Country - Bluegrass, Jazz, Kids, Other, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$45
Years of Experience
12 Years

Data Provided by:
Christopher Chesna
64 Wilson Street
North Billerica, MA
Instruments
Composition, Drums, Ear Training, Electric Bass, Guitar, Music Business, Other, Percussion, Recorder, Recording, Saxophone, Theory
Styles
Blues, Classical, Folk - Country - Bluegrass, Jazz, Kids, Other, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
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$45
Years of Experience
12 Years

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Cameron S.
(877) 231-8505
Chiswick Rd
Brighton, MA
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Music Theory, Guitar, Bass Guitar, Songwriting, Music Recording
Ages Taught
12 to 99
Specialties
I concentrate on ear training, improvisation, and explore styles ranging from pop, alternative, rock, prog, and blues, to metal, funk, and folk etc. I do not sight read. Rather, I work with the student with theory and arrangement conventions to really understand the music. This intern, greatly sharpens their musical ear and helps them to learn music much faster because they understand how it is put together; why and how it works, etc.
Education
State university of new york at purchase. - Music, with a concentration in studio production - august 2003 - July 2007 (Bachelor's degree received)
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TakeLessons Music Teacher

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Khris M.
(877) 231-8505
Summer St.
Somerville, MA
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Music Performance, Music Theory, Guitar
Ages Taught
1 to 99
Specialties
I teach various styles ranging from Jazz, Funk, Rock, Blues, and Gospel and R&B.
Education
Berklee College of Music - Guitar Performance - Sept/2005-December/2008 (Bachelor's degree received) Los Medanos College - Music Major - Sept/2002-December/2004 (not complete)
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TakeLessons Music Teacher

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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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