Ska Music Lessons Mastic NY

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.

Michael Belajonas
146 Terrace Road
Bayport, NY
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Composition, Guitar, Theory
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Blues, Classical, Jazz, Rock - Alternative
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Advanced, Beginner, Intermediate
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$55
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25 Years

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Jose G. M.
(877) 231-8505
SUNY
Stony Brook, NY
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Classical Guitar, Guitar, Music Theory, Music Performance
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5 to 99
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Classical, pop, reggae, acoustic, electrical guitar. Musicianship ( Music theory & sight singing) Music history.
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SUNY Stony Brook - Classical Guitar Performance - 2009-2010 (not complete) Conservatory of Music PR - Classical Guitar - 2004-2009 (Bachelor's degree received)
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TakeLessons Music Teacher

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Family Melody Centers
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77 S Ocean Ave
Patchogue, NY
 
Tim Lannen
(646) 400-1014
55 Linden blvd 6E
Brooklyn, NY
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Guitar
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Blues, Folk - Country - Bluegrass, Kids, Rock - Alternative
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Beginner, Intermediate
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$35
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6 Years

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Michael Belajonas
146 Terrace Road
Bayport, NY
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Composition, Guitar, Theory
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Blues, Classical, Jazz, Rock - Alternative
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Advanced, Beginner, Intermediate
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$55
Years of Experience
25 Years

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Matthew M.
(877) 231-8505
Samuels Path
Miller Place, NY
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Acting, Music Theory, Viola, Guitar, Singing, Piano, Clarinet, Upright Bass, Speaking Voice, Music Performance, Violin, Cello, Bass Guitar
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5 to 99
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I am well-versed in the Suzuki, Strictly String, Muller-Rusch, and Essential Elements methods. I find it helpful and insightful to include both classical and contemporary/pop music. In addition, I am constantly coming up with unique activities and lessons of my own that I think will benefit the student.
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Susquehanna University - Music Education - 08/2006-05/2010 (Bachelor's degree received)
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Guitar Studio
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Shirley, NY
 
Music & ARTS Center
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Lake Grove, NY
 
James B.
(877) 231-8505
Henry Street
Brooklyn, NY
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Bass Guitar, Guitar
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5 to 60
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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.
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James Madison University - Psychology & Jazz Studies - 2000-2004 (Bachelor's degree received)
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Peter S.
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Schriever Lane
New City, NY
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5 to 99
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When teaching guitar, I help the student learn chords and strumming from the first lesson to keep their interest level high. I found that as they learn to play simple songs of their choice, they're more likely to practice and continue with lessons. With drum instruction I start with a simple understanding of notes and rests and then get them on a drum kit as soon as possible while teaching and showing them how the drum rudiments will apply to everything they play on the kit. The excitement le…
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Rockland Community College - Social Work/Human Services - 9/1/70 to 6/30/72 (Associate degree received) Mercy College - Psychology - 9/1/72 to 6/30//74 (Bachelor's degree received) Lehman College - Special Education Teacher - 9/1/09 to present (not complete)
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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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