Ska Music Lessons Lamont CA

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.

Peddy Wayland Guitar Studio
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Tony P.
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music, acoustic guitar, guitar, music theory, songwriting, electric guitar Finger style, and oscillated picking for jazz guitar
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Bishop Kenrick - Acacemic - 1961 - 1965 Pasadena City College - Astronomy - 1973 -1976 UC Berkely - Classical Guitar - 1969-1971 Private Guitar in LA - Jazz Guitar Composition - 1971-1975
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Having grown up in an academic environment, I find it imperative to begin students with the basics (unless they demonstrate a certain level of proficiency). With upright bass - my strongest instrument - I like to emphasize playing with a bow. As far as method books go, I'd start off with Rabbath vol. 1. It contains fun, short études that are relatively simple and easy to digest. I prefer this method rather than forcing students to play scales all day! For the acoustic bass, I specialize in Fo…
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specialize in kodally method,advanced knowledge in hybrid picking,finger picking,travis picking,chicken picking,cross picking,flat picking,slide guitar and open tunings.Knowledge in styles like blues,swing,rockabilly,western swing,country, Nassville sound,southern rock,honky-tonk and rock.
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I draw upon over 100 music theory, songbooks, and musical techniques that I use. I'm currently working on writing my own music theory/method book for the guitar.
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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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