Ska Music Lessons Lynn Haven 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.

Leitz Music CO INC
(850) 769-0006
508 Harrison Ave
Panama City, FL
 
Beach Music
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7127 W Highway 98
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Jill H.
(877) 231-8505
Country Club Dr.
Titusville, FL
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Guitar, Accordion, Music Theory, Theatrical Broadway Singing, Banjo, Opera Voice, Trumpet, Bass Guitar, Percussion, Ukulele, Harmonica, Piano, Clarinet, Classical Guitar, Singing, Music Performance, Songwriting, Drums, Music Recording, Speaking Voice, Violin
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4 to 99
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My specialty in voice comes from years of lessons and experience. I used many methods and books to bring out various ideas on how to teach voice lessons. I take each individual at his/her level and try to improve breathing technique, posture, enunciation with style and phrasing, depending on the student's aspirations.
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Charleston HIgh School - academic diploma - 1971-75 (High School diploma received) Evangel College - music education - 1975-79 (Bachelor's degree received)
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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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Matthew K.
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Dunedin, FL
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7 to 70
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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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Jill H.
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Lake Underhill Road
Orlando, FL
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Bass Guitar, Guitar, Accordion, Music Theory, Theatrical Broadway Singing, Banjo, Opera Voice, Trumpet, Percussion, Ukulele, Harmonica, Piano, Clarinet, Classical Guitar, Singing, Violin, Music Performance, Songwriting, Drums, Music Recording, Speaking Voice
Ages Taught
4 to 99
Specialties
My specialty in voice comes from years of lessons and experience. I used many methods and books to bring out various ideas on how to teach voice lessons. I take each individual at his/her level and try to improve breathing technique, posture, enunciation with style and phrasing, depending on the student's aspirations.
Education
Charleston HIgh School - academic diploma - 1971-75 (High School diploma received) Evangel College - music education - 1975-79 (Bachelor's degree received)
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Nicole O.
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Donna Lynn Lane
Orlando, FL
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1 to 99
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Voice (contemporary and theatrical) Violin (classical, fiddle) Piano (classical, Latin, jazz) Guitar (classical, Latin)
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Rollins College - August 2005 - August 2009 (Complete)
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Allan Lane
Melbourne Beach, FL
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1 to 99
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Music, Guitar, Piano Specialize in beginners and intermediate adults and children. Play Classical Guitar and Piano. Also play rock guitar and acoustic guitar.
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Horlick High, Racine, Wisc. - Academic - 1981-1984 (degree received) Florida Atlantic University, Boca Raton, Florida - Music - 1993-1998 (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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