Ska Music Lessons Orangeburg SC

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.

Christopher Teves
2520 Atlantic Palms Ave 1010
North Charleston, SC
Instruments
Guitar
Styles
Blues, Classical, Folk - Country - Bluegrass, Jazz, Kids, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
over 20 Years

Data Provided by:
Brewer Guitar Studio
(803) 366-2966
1129 Deas St
Rock Hill, SC
 
Greenville Guitar Academy
(864) 248-0606
1900 Laurens Rd
Greenville, SC
 
Marvins Guitar Studios
(864) 490-1743
750 E Main St
Gaffney, SC
 
Gibbs Guitars
(803) 775-5195
505 Broad St
Sumter, SC
 
David Kimbell
47 Queens Way
Hilton Head, SC
Instruments
Banjo, Cello, Electric Bass, Guitar, Mandolin, Other, Stand Up Bass, Theory, Viola, Violin
Styles
Blues, Classical, Folk - Country - Bluegrass, Jazz, Kids, Rock - Alternative, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$45
Years of Experience
23 Years

Data Provided by:
Carliers School of Guitar
(843) 884-2907
1340 Ben Sawyer Blvd, Ste A
Mount Pleasant, SC
 
Newells Music Inc
1724 Bypass 72 NE
Greenwood, SC
 
MT Pleasant Music Guitar
(843) 849-1004
217 Lucas St Ste M
Mount Pleasant, SC
 
Johnny Guitar Shop
(843) 626-7930
1325 Tranquility Ln
Myrtle Beach, SC
 
Data Provided by:

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.

 

Click here to read the rest of the article from Guitar Player


Guitar Player is a trademark of New Bay Media, LLC. All material published on www.guitarplayer.com is copyrighted @2009 by New Bay Media, LLC. All rights reserved