Ska Music Lessons Niceville 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.

Playground Music Center
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Eric F.
(877) 231-8505
SW 54th Way
Boca Raton, FL
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Trumpet, Music Theory, Music Theory, Guitar, Trumpet, Guitar, Bass Guitar, Bass Guitar, Music Performance, Songwriting, Songwriting, Music Performance, Piano, Piano, Music Recording, Music Recording
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12 to 99
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lydian chromatic theory, George Russell jazz, rock, pop, digital studio recording, record copying, recording techniques, mastering.
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Berklee College - Education - 1976-79 (Bachelor's degree received) New England Conservatory - Composition - 1991-93 (Master's degree received)
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NW 9th Drive
Hollywood, FL
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Bass Guitar, Guitar, Music Performance, Songwriting, Banjo
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4 to 99
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I specialize in teaching beginner to intermediate students proficiency in reading chord sheets and TAB for guitar, bass, and banjo while exploring power chord voicing, dynamics with distortion, barre chords, blues progression basics & diversity, pentatonic scale guitar improvisation, and drop-D melodic techniques.
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Charles W. Flanagan High School - Music/Art - 1997-2001 (High School diploma received) University of North Florida - English - 2002-2004 (Associate degree received) Florida International University - Education/Music - 2004-Present (not complete)
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Daniel S.
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SW 136th St
Miami, FL
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Classical Guitar, Guitar, Music Theory
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5 to 99
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I specialize in classical guitar music and technique. I also give instruction in Music Theory.
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Vanguard - - 1997-2001 (degree received) U. of Central Florida - Music Performance - 2001-2007 (degree received) Roosevelt U. - CCPA - Music performance - 2008-2010 (degree received)
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Erik A.
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Collins Ave
Miami Beach, FL
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St. Olaf College - - 1997-2001 (Bachelor's degree received)
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William W.
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phoenix cir
Tampa, FL
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Guitar, Bass Guitar, Singing, Music Recording, Music Theory, Songwriting, Harmonica, Mandolin, Banjo, Music Performance, Percussion
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5 to 99
Specialties
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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Singing, Guitar
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5 to 18
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Blues, Rock, Pop
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Valencia College - General Studies - Jan 2006-Dec 2008 (Associate degree received) Florida International University - Music - Aug 2010-Present (not complete)
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Andrew B.
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Music Theory, Piano, Drums, Guitar
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Visualization method of practicing guitar: classical style, rock style, contemporary christian song style.
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Stetson University - Music Composition - 2008-2010 (not complete)
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Robert R.
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Affirmed Lane
Boca Raton, FL
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Upright Bass, Bass Guitar, Guitar
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8 to 99
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Guitar and Bass: beg to adv Specializing in Jazz but not limited to that. I have played and taught all styles of music.
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University of Miami - Studio Music and Jazz - 9/1990-12/1992 (Bachelor's degree received) University of Miami - Jazz Pedagogy - 9/1993- 5/1995 (Master's degree received)
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Craig S.
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Brushcreek Drive
Sanford, FL
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Guitar, Classical Guitar, Music Performance, Music Theory
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9 to 99
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Stetson University - Classical Guitar Performance - 2005-2007 (not complete) Stow-Munroe Falls high - Music Theory - 1985-1989 (High School diploma 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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