Ska Music Lessons Manchester NH

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.

Ian Walsh
5B Upper Rd
Plaistow, NH
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Robert M.
(877) 231-8505
Water st.
Exeter, NH
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Banjo, Bass Guitar, Music Recording, Mandolin, Music Theory, Guitar, Songwriting, Violin, Classical Guitar, Ukulele
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6 to 99
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Winnacunnet - - 1988-1991 (High School diploma received) Hesser - Business mngmt - 1992 (not complete)
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Allegro School of Music
(603) 645-9885
250 Commercial St
Manchester, NH
 
Flying Fingers Guitar Studio
(603) 382-4585
Plaistow, NH
 
Lembos Music
(603) 606-4051
1100 Hooksett Rd
Hooksett, NH
 
Robert M.
(877) 231-8505
Lafayette Rd.
Hampton, NH
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Bass Guitar, Banjo, Mandolin, Songwriting, Guitar, Ukulele, Music Recording, Classical Guitar, Music Theory, Violin
Ages Taught
6 to 99
Specialties
Rock, Pop, Blues, Country, Folk, Heavy Metal
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Winnacunnet - - 1988-1991 (High School diploma received) Hesser - Business mngmt - 1992 (not complete)
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TakeLessons Music Teacher

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Westbay George Guitar Lessons
(603) 665-9076
922 Elm St
Manchester, NH
 
Manchester Community Music School
(603) 644-4548
2291 Elm St
Manchester, NH
 
Music Clinic
(603) 528-6672
197 Daniel Webster Hwy
Belmont, NH
 
Rockingham Music School & Supply
(603) 425-7625
37 Crystal Ave Unit 4
Derry, NH
 
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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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