Ska Music Lessons Sumner 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.

Daniel P.
(877) 231-8505
100th Ave SE
Kent, WA
Subjects
Music Theory, Opera Voice, Bass Guitar, Guitar, Songwriting, Drums
Ages Taught
6 to 99
Specialties
I've received instruction in classical singing (opera). I understand basic form and technique for that style of singing. I'm well rehearsed in rock-pop guitar methods (rhythms, chord progressions, lead, strumming patterns, scales and arpeggios, etc.) Music theory, ear training, and rhythm are things I feel are important to teach no matter what instrument is being taught.
Education
Moses Lake High School - General requirements - 1998 - 2002 (degree received) Big Bend Community College - AAS courses - '03 - '04 / '06 - '07 (not complete) Brigham Young University - Idaho - Music Education (choral) - 2007 - 2008 (not complete)
Membership Organizations
TakeLessons Music Teacher

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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.
Education
Wayne Status University - Music - 06/81 - 06/85 (not complete)
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TakeLessons Music Teacher

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Garray Music Studios
107 E Stewart Ave
Puyallup, WA
 
Brendan O'Donnell
768 Bellvue Ave East # 35
Seattle,, WA
Instruments
Ear Training, Guitar, Recording, Theory, Ukelele
Styles
Blues, Jazz, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$55
Years of Experience
7 Years

Data Provided by:
Chris H.
(877) 231-8505
E. Roy St.
Seattle, WA
Subjects
Guitar
Ages Taught
5 to 99
Specialties
Rock, Blues, and beginning-intermediate jazz and country.
Membership Organizations
TakeLessons Music Teacher

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Colby S.
(877) 231-8505
N Proctor
Tacoma, WA
Subjects
Guitar
Ages Taught
9 to 99
Specialties
I have a strong background in classical guitar technique and performance. Currently I apply this towards my interests in the various genres of the electric guitar, including: country, reggae, blues/funk, and americana. I also have a lot of experience and knowledge in various styles of slide guitar (electric, acoustic, dobro).
Education
University of Puget Sound - Music- Emphasis in Classical Guitar - 2002-2006 (Bachelor's degree received)
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TakeLessons Music Teacher

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Scott T.
(877) 231-8505
SE 267th Place
Maple Valley, WA
Subjects
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.
Education
Navy School of Music - AA equivalent in Music - 1982 (Associate degree received)
Membership Organizations
TakeLessons Music Teacher

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Dan F.
(877) 231-8505
Fremont Ave. N.
Seattle, WA
Subjects
Music Theory, Guitar
Ages Taught
10 to 99
Specialties
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)
Membership Organizations
TakeLessons Music Teacher

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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.
Education
Wayne Status University - Music - 06/81 - 06/85 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
David S.
(877) 231-8505
West Main Avenue
Spokane, WA
Subjects
Classical Guitar, Songwriting, Guitar, Bass Guitar, Music Theory, Music Performance
Ages Taught
5 to 65
Education
Northern Illinois University - Guitar Performance - 2007-2008 (not complete)
Membership Organizations
TakeLessons Music Teacher

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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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