Ska Music Lessons Manhattan KS

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.

Daniel D.
(877) 231-8505
Locust Ave
Kansas City, KS
Subjects
Music Theory, Guitar, Classical Guitar, Music Performance, Acting, Speaking Voice
Ages Taught
1 to 99
Specialties
Rock, Blues, Metal, Jazz, Improvisation, and Composition
Education
Pittsburg State University - Education - 04-06 (Master's degree received) Pittsburg State University - English - 01-03 (Master's degree received) University of Kansas - English - 96-01 (Bachelor's degree received) Sumner Academy - - 91-96 (High School diploma received)
Membership Organizations
TakeLessons Music Teacher

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MC Cann Guitar Studio
(913) 294-2051
106 S Pearl St
Paola, KS
 
Gardner Music
(913) 884-2929
136 E Main St
Gardner, KS
 
Fitzer Guitar Bass & Keyboard
(913) 649-5678
9107 W 100th Ter
Overland Park, KS
 
Mount Conservatory of Music
(913) 360-6175
751 S 8th St
Atchison, KS
 
Americana Music Academy
(785) 830-9640
1419 Massachusetts St
Lawrence, KS
 
Ottawa Music
(785) 242-4800
120 E 19th Street
Ottawa, KS
 
Dave Keller Guitar Instruction
(316) 945-0539
4235 W Central Ave
Wichita, KS
 
Wichita Area Academy of Music
(316) 554-8570
7546 S Broadway
Wichita, KS
 
Steinhardt & Larson
(913) 648-2696
8771 W 95th St
Shawnee Msn, KS
 
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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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