Ska Music Lessons Linden NJ

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.

Jeff S.
(877) 231-8505
Rector Street
Perth Amboy, NJ
Subjects
Guitar, Music Performance, Songwriting, Music Recording, Speaking Voice
Ages Taught
1 to 99
Education
American University - communications - 1973-1977 (Bachelor's degree received) Long Branch High School - college prep - 1970-1973 (High School diploma received)
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Annie L.
(877) 231-8505
Shore Rd
Brooklyn, NY
Subjects
Music Theory, Singing, Guitar
Ages Taught
10 to 80
Specialties
Guitar, Voice, and Music Theory: beginner to intermediate levels. I specialize in teaching contemporary music, particularly roots music and americana, folk, and rock. I like to teach guitar students how to use flat-picking and finger-picking. With voice students we will focus on the significance of breath and facial resonance in achieving a desired tone. I also like to teach voice students how to sing in harmony. In teaching Music Theory, I like to start with Peters' and Yoder's Master Theory…
Education
Berklee College of Music Five-Week Summer Program - Guitar - 07/06 - 08/06 (Degree received) Berklee College Of Music - Professional Music - 9/04 - 5/08 (Bachelor's degree received)
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Jeffrey A.
(877) 231-8505
3rd Street,
Jersey City, NJ
Subjects
Bass Guitar, Music Theory, Music Recording, Music Performance, Classical Guitar, Guitar
Ages Taught
5 to 99
Specialties
Blues, rock, pop, Latin (salsa, merengue, cumbia, etc.), gospel, funk, rhythm and blues (classic and contemporary), jazz, as well as classical guitar repertoire. I am knowledgeable about the Suzuki method and incorporate these concepts into my lessons.
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University of Pittsburgh - Music, concentration in Jazz Guitar Performance - 1994-1998 (Bachelor's degree received)
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Benjamin M.
(877) 231-8505
Hopkins Ave. 1R
Jersey City, NJ
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Music Recording, Music Performance, Guitar, Saxophone, Music Theory, Songwriting, Bass Guitar
Ages Taught
5 to 75
Specialties
I am fluent in Rock genres, Blues, Beginning Jazz, Beginning Classical technique, Prepared Guitar, Electronics/Sound Art.
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Boston School of Contemporary Music - Music Theory - 1973-74 (Degree received) Chicago Columbia College - Music Composition - grad. 2002 (Bachelor's degree received)
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Amy R.
(877) 231-8505
Garden St.
Hoboken, NJ
Subjects
Music Theory, Guitar, Music Performance, Piano, Songwriting, Singing
Ages Taught
5 to 99
Specialties
I specialize in pop, folk, and rock, but also have extensive training in classical and jazz, and can incorporate any of these genres into your lessons.
Education
Skidmore College - Music - 9/2003-12/2006 (Bachelor's degree received)
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Wiley G.
(877) 231-8505
harriet st
West Orange, NJ
Subjects
Guitar, Music Theory, Music Performance
Ages Taught
5 to 99
Specialties
I have an in depth knowledge of jazz and classical harmony. And would love to work with any students who are pursuing a college degree in jazz studies. I also love classic rock, r&b, reggae, and funk. These are my specialties.
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Goddard College - music composition and education - 9/08- present (not complete)
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Jay H.
(877) 231-8505
42nd St.
Brooklyn, NY
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Guitar
Ages Taught
5 to 99
Specialties
I use the Mel Bay guitar method with my beginner to intermediate students, and the Berklee method with my more advanced students. This is generally the reading/theory portion of the lesson. If the student is of the proper age, the other half of the lesson is more tailored to the student’s interests/goals.
Education
Berklee College of Music - Jazz Guitar Performance - September 2002 - May 2006 (Bachelor's degree received)
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Ian S.
(877) 231-8505
Wayne Street,
Jersey City, NJ
Subjects
Songwriting, Bass Guitar, Piano, Guitar, Music Performance
Ages Taught
5 to 99
Specialties
I specialize in pop, rock, folk, and jazz, as well as beginner classical piano. I also teach improvisation and songwriting, and try to develop the student's ear for figuring out songs they like on their own.
Education
Rutgers University - Chinese / Economics - 1994-1998 (Bachelor's degree received)
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jeffrey k.
(877) 231-8505
ovington ave
Brooklyn, NY
Subjects
Piano, Music Theory, Organ, Songwriting, Bass Guitar, Guitar, Music Recording, Music Performance
Ages Taught
5 to 99
Specialties
I like to find out what styles of music and songs the student is interested in learning and teach them according to that. I've found that this keeps the student interested and makes them learn faster. I have a very good ear and can play almost anything.
Education
SUNY Purchase - Music composition - 88-92 (Bachelor's degree received)
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James B.
(877) 231-8505
Henry Street
Brooklyn, NY
Subjects
Bass Guitar, Guitar
Ages Taught
5 to 60
Specialties
I teach almost all styles of guitar including Rock, Jazz, Blues, Classical and everything in between. The only genre I do not specifically teach is Flamenco Guitar. I studied and use the William Leavitt Guitar method, which is used at Berklee College of Music. Additionally I have developed several of my own techniques, embracing the use of standard notation, tablature and playing by ear.
Education
James Madison University - Psychology & Jazz Studies - 2000-2004 (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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