Ska Music Lessons Peachtree City GA

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.

Parker N.
(877) 231-8505
Riverwood Cir
Decatur, GA
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Guitar, Bass Guitar, Songwriting, Classical Guitar, Music Performance, Music Theory
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1 to 99
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When teaching music, I consider a hands on approach to be most effective. This allows the student to become excited about music, learning music, and improves overall brain cognition. A hands on approach is a really great way to teach. The student learns to feel, and to play with feeling.
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University of Georgia - Music Business/ Psychology - 2005-2009 (Bachelor's degree received)
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Olivers Music
(678) 412-5782
7257 Mount Zion Blvd
Jonesboro, GA
 
Atlanta Premier Guitars
(770) 860-8551
875 Flat Shoals Rd SE Ste 150
Conyers, GA
 
Dylan C.
(877) 231-8505
Pine Valley ct.
Hiram, GA
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Songwriting, Bass Guitar, Guitar, Classical Guitar, Music Performance, Music Recording, Music Theory
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5 to 99
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Guitar- Sweep picking, Two hand tapping, Alternate picking, String skipping, etc Genre-Rock, Classical, Jazz, Metal, etc
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Atlanta Institute of Music - Guitar - 2007-2010 (Degree received)
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Rhetta B.
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Matterhorn Drive
Lilburn, GA
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Theatrical Broadway Singing, Songwriting, Opera Voice, Music Theory, Guitar, Piano, Music Performance, Singing
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5 to 99
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Singing and songwriting are her strengths - pop, rock , blues Piano: beg to inter Guitar: beg I specialize in assisting the artist to find their own style and music whether that is theatre, rock and all the way to opera. I consider myself a music teacher as well as a music career consultant. I don't consider myself an opera teacher, but I do work with singers to help them decide if they are an opera singer and/or a pop singer.
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Hunter College, New York - Music - 1972-1975
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Nathan S.
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Ormewood Ave SE
Atlanta, GA
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Music Theory, Piano, Bass Guitar, Guitar
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5 to 99
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Can teach classical piano, rock or r&b bass and guitar. I tend to include non-performance aspects in my lessons such as theory and songwriting.
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Florida State University - Piano Performance and Pedagogy - Fall 2000 - Fall 2004 (Bachelor's degree received) North Carolina School of the Arts - Music Composition - Fall 1997 - Fall 1999 (not complete)
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Jonesboro, GA
 
Chasteen Guitar Instructions
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Griffin, GA
 
Mitch N.
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Appalachee Dr NE
Atlanta, GA
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Music Performance, Classical Guitar, Music Theory, Guitar
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8 to 99
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Guitar: beg to adv I have a jazz and classical performance degree. but spent a majority of my life as a musician as blues and rock player ... I've successfully taught and performed most styles. I do have a structured method that I generally customize to each individual students needs .. I have plenty of successful students who have gone on to study at a collegiate level, and others who have taken lessons with me to brush up before auditions. I also teach plenty of beginner/intermediate studen…
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MTSU - Classical Guitar Performance - 09/2001-12/2005 (Bachelor's degree received) McNally Smith College of Music/Musictech - Jazz Guitar Performance - 08/2000-08/2001 (Associate degree received)
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Michael B.
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Collier Trace
Kennesaw, GA
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Guitar
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Specialize in Jazz, Rock
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Georgia State University - Music Management - 2004-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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