Ska Music Lessons Sedro Woolley WA

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.

Northwest School of Guitar
(360) 336-2547
1308 S 3rd St
Mount Vernon, WA
 
JC H.
(877) 231-8505
12th Ave S
Seattle, WA
Subjects
Music Theory, Guitar, Bass Guitar, Upright Bass, Music Recording, Songwriting, Music Performance
Ages Taught
13 to 99
Specialties
Jazz, Classical, Progressive Rock, Celtic, Funk, R&B/Soul For jazz, I tend to work on individual tunes from the Real Book and some of the Jamey Aebersold books. I also like Barry Galbraith's books on jazz chord comping. For rock guitar I have transcriptions of various techniques (tapping, sweep)/ For slap bass I have bits transcribed from Marcus Miller and Vic Wooten pieces. For reading, I'll work with Bach's 2-part inventions and then excerpts from rock or jazz charts.
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Wayne Status University - Music - 06/81 - 06/85 (not complete)
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TakeLessons Music Teacher

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David S.
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N Cincinnati St
Spokane, WA
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Bass Guitar, Songwriting, Music Performance, Music Theory, Classical Guitar, Guitar
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5 to 65
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Northern Illinois University - Guitar Performance - 2007-2008 (not complete)
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Ryan H.
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NW 62nd St
Seattle, WA
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Music Recording, Guitar, Music Theory, Songwriting, Music Performance
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5 to 99
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I teach various popular music guitar styles: rock, blues, jazz and folk. I specialise as a performer in Gypsy Jazz and swing jazz guitar and also as a teacher of that genre for students who are specifically interested in that style.
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University of Kansas - English Literature - 09/84 -12/89 (Bachelor's degree received) Seattle Central Culinary Academy - Culinary Arts - 09/97 -12/98 (Associate degree received)
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Scott T.
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SE 267th Place
Maple Valley, WA
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French Horn, Music Performance, Guitar, Singing, Classical Guitar, Songwriting, Bass Guitar, Percussion, Trumpet, Music Theory, Music Recording, Drums, Piano, Trombone
Ages Taught
5 to 99
Specialties
Classically trained. I focus on theory with my students. It is the base that they can leap from. I also have taught and performed jazz, salsa, and reggae.
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Navy School of Music - AA equivalent in Music - 1982 (Associate degree received)
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Ray Wellborn Guitar Studio
(360) 293-0959
619 Commercial Ave
Anacortes, WA
 
JC H.
(877) 231-8505
58th Ave
Mountlake Terrace, WA
Subjects
Music Theory, Upright Bass, Music Performance, Guitar, Music Recording, Songwriting, Bass Guitar
Ages Taught
13 to 99
Specialties
Jazz, Classical, Progressive Rock, Celtic, Funk, R&B/Soul For jazz, I tend to work on individual tunes from the Real Book and some of the Jamey Aebersold books. I also like Barry Galbraith's books on jazz chord comping. For rock guitar I have transcriptions of various techniques (tapping, sweep)/ For slap bass I have bits transcribed from Marcus Miller and Vic Wooten pieces. For reading, I'll work with Bach's 2-part inventions and then excerpts from rock or jazz charts.
Education
Wayne Status University - Music - 06/81 - 06/85 (not complete)
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TakeLessons Music Teacher

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Brendan O'Donnell
768 Bellvue Ave East # 35
Seattle,, WA
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Ear Training, Guitar, Recording, Theory, Ukelele
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Blues, Jazz, Rock - Alternative
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Advanced, Beginner, Intermediate
Rate
$55
Years of Experience
7 Years

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Dan F.
(877) 231-8505
Fremont Ave. N.
Seattle, WA
Subjects
Music Theory, Guitar
Ages Taught
10 to 99
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Music, Music Theory, Guitar Music Theory, Classical Guitar, Rock Guitar, Jazz Theory, Songwriting
Education
University of Washington - Music, Comparative History - 2004-2008 (degree received) Agoura High School - General - 2000-2004 (degree received)
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TakeLessons Music Teacher

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Dennis Moss
634 NW 80th St
Seattle, WA
Instruments
Composition, Ear Training, Guitar, Music Business, Theory
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Blues, Classical, Jazz, Kids, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$40
Years of Experience
17 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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