Ska Music Lessons Scarborough ME

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.

Music House Studios
(260) 724-3306
118 N 2nd St
Decatur, IN
 
Music Together
(609) 924-7801
66 Witherspoon St
Princeton, NJ
 
Mannington Music School
(856) 935-4322
198 Route 45
Salem, NJ
 
Kloss Studios
(215) 885-1203
1216 Easton Rd
Abington, PA
 
Dmg Music
(609) 383-3832
6701 Black Horse Pike
Egg Harbor Twp, NJ
 
New Sewell Music Conservatory Inc
(202) 722-5361
712 Kennedy St NW
Washington, DC
 
Suzuki School of Houston the
(713) 667-2777
Houston, TX
 
Dalcroze School of Music
(212) 580-2009
129 W 67th St
New York, NY
 
Vivace Music Academy
(210) 558-1805
4770 Research Dr
San Antonio, TX
 
Hawaii Yamaha Music School
(808) 988-9973
Honolulu, HI
 

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