Ska Music Lessons Lincolnton NC
Guitar, Music Performance, Speaking Voice
5 to 99
Heavy background in blues, rock, contemporary Christian. I have developed a specialty in providing lead and rhythm simultaneously (for environments with one guitarist). I've developed the ability to jump start new guitarists' (especially those who prefer electric) chording skills, and teaching them how to leverage this in developing their lead playing.
USAF Academy - Basic Sciences - 1973 - 1977 (Bachelor's degree received)
TakeLessons Music Teacher
Music Theory, Flamenco Guitar, Banjo, Bass Guitar, Guitar, Ukulele, Classical Guitar, Music Performance
9 to 99
I use method books tailored to the students interests and needs whether it be Classical, Folk, or Rock Guitar. When helpful and desired, I also include other avenues of music such as theory, ear training, literature, and history.
Duquesne University - Master of Music Theory - 1980-1983 (Master's degree received) Carnegie-Mellon University - Bachelor of Fine Arts in Music-Guitar Performance - 1975-1979 (Bachelor's degree received) Baldwin-Wallace College Conservatory of Music - Music-Performance in Classical Guitar - 1972-1975 (not complete) Lakewood High School - General Studies-Emphasis on Music - 1968-1972 (High School diploma received)
TakeLessons Music Teacher
Chapel Hill, NC
Audio Recording, Drums, Electric Bass, Guitar, Mandolin, Recording, Violin
Blues, Folk - Country - Bluegrass, Rock - Alternative
Advanced, Beginner, Intermediate
Years of Experience
Winston Salem, NC
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.