Ska Music Lessons Lakeland 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.

Intune Studios-Music Education and Entertainment
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Carlton Music Center
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Rene R.
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Miami, FL
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Singing, Songwriting, Music Theory, Flamenco Guitar, Bass Guitar, Guitar, Cello, Piano, Upright Bass, Music Recording, Drums, Music Performance, Classical Guitar
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5 to 99
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My classical training began in High School with Influences in Segovia, and Romero I studied classical for 4 yrs. and trained in Jazz and Improvisation with performances In Big Band and group ensemble. Also sang and played in the school gospel choir.
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Miami-Dade College - Music Education - 2004-2006 (Degree received)
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Metal, punk rock, Afro-Cuban, jazz, rock;
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University of Central Florida - Psychology - 06/2000 - 08/2004 (Bachelor's degree received)
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Adam G.
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Oldsmar, FL
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Guitar, Bass Guitar, Music Performance, Songwriting, Music Theory
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12 to 99
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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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Tampa, FL
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5 to 99
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Classical Guitar, Bluegrass, Flatpicking, basic jazz, latin, country, what ever is needed.
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US Army Element School of Music - Electric Bass - 1995 (Degree received) Trinity College of Florida - Leadership - 2000-2003 (Bachelor's 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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