It might initially seem strange using the term “groove??? in conversations about patterns based in odd subdivisions. But examples of these phrases being used in popular music are abundant. A perfect song to demonstrate this concept is Snoop Dogg’s track “Protocol,??? from More Malice, which is clearly phrased in septuplets.
In this lesson we’ll use a three-rule system to create grooves with 16th notes that are broken up between the hi-hat and snare. Generally I feel that the two cornerstones of any groove are the snare accents and bass drum figures. Often when playing with others, the bass player interacts with the kick pattern, and the guitar sometimes accents beats 2 and 4 with the snare.
This month we’ll continue exploring Swiss rudimental drumming with some additional patterns and combinations. We’ll also cover their interpretation to help develop the style’s authentic phrasing. Once again, we’ll use a style of notation developed by late educator Dr. Fritz Berger, as illustrated in this lesson’s key.
During the 1980s and ’90s, fusion monster Dave Weckl and session master John “JR” Robinson, among others, revived the silky smooth right-hand-lead 16th-note fills that were previously made famous by studio greats Steve Gadd and Bernard Purdie.
In this month’s lesson we’ll continue working with ghost notes by incorporating them into grooves using an intertwined approach. When using this method, the ghost-note phrasing is interlocked with the bass drum pattern. Let’s introduce the four-step approach. We’ll start with a hand pattern using 8th notes on the hi-hat and snare drum accents on beats 2 and 4….
Welcome to the first of a four-part series on Swiss rudiments and Basel drumming. In this lesson I’ll focus on some specialties of the Basel style that aren’t usually included in the standard list of forty Percussive Arts Society rudiments. The accompanying video, available at ModernDrummer.com, demonstrates this style’s feel and includes some additional explanations.
Adding rests to complicated subdivisions can be an intimidating endeavor. But just like when you’re learning how to play a 16th-note rest on beat 1, or an accent on the middle partial of a triplet, it’s only tricky at first. After some diligent practice, you’ll find that you’ve internalized an exciting new rhythmic tool….
Groove contraction can create rhythmic tension and release. Similar to how, with implied metric modulation, we can use new subdivisions to trick listeners into feeling like the quarter-note pulse has shifted, we can use the concept of contraction to make tempos feel like they’ve changed. Unlike metric modulation, however, groove contraction modifies the subdivision while maintaining the original quarter-note pulse….
Ghost notes (notated with parentheses) are played very softly, as opposed to accents, which are much louder. Correct dynamics are achieved by maintaining the proper distance between the stick and the drumhead….
In this lesson, we’ll work on shifting our perception of a metronome so that we’re hearing each quarter-note pulse as the second 16th note, or “e,??? of each beat. Benny Greb has talked about using this concept to help improve timing and subdivisions. I found it difficult to hear the second 16th note as the pulse, so I developed these exercises to help myself. Start at a slow tempo, say, around 75 bpm….
The abundant amount of educational material on the market can overwhelm many students and aspiring professional drummers. Due to limited practice schedules or performance opportunities, some drummers fail to see how to implement new or practical material into their daily routines. Worse, others neglect practical information altogether in hopes of becoming the next superhuman, speed-obsessed drummer or soloist….
We’ll continue working with linear grooves by embellishing them using two separate concepts. First we’ll double select single strokes using the hi-hat, snare, and bass drum. Then we’ll incorporate the hi-hat foot into the groove. Remember that linear grooves never have more than one voice played at a time….
In this lesson, we’ll focus on variations of the converted triplet phrases from Part 1 [May 2016]. When practicing new material, I find it beneficial to explore as many different combinations as possible. By doing so, I’m more apt to apply this information in the real world outside of the practice room.In the following variations, we’ll build off of the first exercise in Part 1. Once you have control of each variation, I encourage you to apply them to the additional two-measure phrases that we previously covered….
In this lesson, we’ll create linear grooves by following three simple rules. Linear grooves never have more than one voice played at the same time. In general, I feel that the two most important elements of a groove are the bass drum figure and the snare accents. We’ll start building linear patterns using a skeleton groove that consists of these two components….