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
Styles
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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Jose G. M.
(877) 231-8505
SUNY
Stony Brook, NY
Subjects
Classical Guitar, Guitar, Music Theory, Music Performance
Ages Taught
5 to 99
Specialties
Classical, pop, reggae, acoustic, electrical guitar. Musicianship ( Music theory & sight singing) Music history.
Education
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
(631) 475-3210
77 S Ocean Ave
Patchogue, NY
 
Tom H.
(877) 231-8505
West 142 Street
New York, NY
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Music Performance, Saxophone, Piano, Classical Guitar, Bass Guitar, Flute, Music Theory, Guitar, Drums
Ages Taught
5 to 99
Specialties
I have developed my own method for teaching guitar to large groups. I am a Jazz specialist and can teach improvisation and advanced harmony.
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CUNNY City College - Music - 1997-1999 (not complete) SUNNY Empire State - Music - 1999-2000 (Bachelor's degree received)
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TakeLessons Music Teacher

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andrew h.
(877) 231-8505
greenbriar lane
Port Washington, NY
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Guitar
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5 to 99
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I have a background in rock and metal. I have also studied jazz heavily along with composition. I can also sight read quite well.
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New England Conservatory of Music - Contemporary Improvisation - 9/08-3/10 (not complete) Berklee College Of Music - Guitar Performance - 9/06-6/08 (not complete)
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TakeLessons Music Teacher

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Matthew M.
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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
Ages Taught
5 to 99
Specialties
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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TakeLessons Music Teacher

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Guitar Studio
(631) 399-3998
Shirley, NY
 
Music & ARTS Center
(631) 585-2323
2960 Middle Country Rd
Lake Grove, NY
 
Phillip D.
(877) 231-8505
64th street
Brooklyn, NY
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Music Theory, Speaking Voice, Guitar, Piano, Music Performance, Classical Guitar
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5 to 99
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I have been teaching guitar using the Mel Bay series, Aron Sheerer series and enriching it with personal items. Music theory I have used several different texts books and workbooks. For piano I have used the D'Auberg series as well as the Mel Bay series.
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Brooklyn College - Music Performance - 2005-2010 (Bachelor's degree received) Brooklyn College - Childhood Education 1-6 - 2005-2010 (Bachelor's degree received)
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TakeLessons Music Teacher

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Jon Tario
1 Barney Rd
Clifton Park, NY
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Audio Recording, Composition, Ear Training, Electric Bass, Guitar, Mandolin, Piano, Recording
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Blues, Classical, Folk - Country - Bluegrass, Jazz, Kids, Rock - Alternative
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Advanced, Beginner, Intermediate
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$40
Years of Experience
6 Years

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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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