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….
Disco, a style of music popularized in the 1970s, launched dance crazes, drove up record sales, and sometimes caused a lot of frustration among the era’s working drummers. (Some players found the repetitive rhythm to be mind numbing.) Much of today’s music also heavily relies on repetition. Pop, dance, R&B, and even country music make use of strong four-on-the-floor pulses. In this lesson we’ll explore ways to spice up the basic disco feel….
This routine takes a little over an hour and is split into two thirty-minute sets. Each set consists of six bass drum patterns that are played for five minutes each without stopping. Even if your technique starts to fall apart, dig deep and push through until the end. The goal is to reach your breaking point and then push a little further….
In the second part of this series, we’ll continue to create new grooves by displacing the snare drum. We’ll start with a basic pattern that consists of 8th notes on the hi-hat, snare hits on beats 2 and 4, and a funky bass drum phrase….
There are sixty-four 8th notes in eight bars of 4/4, so the 11/8 riff repeats five full times. Then the band fills the remaining 8ths with the a portion of the riff before cutting back to the top on beat 1 of the ninth bar….
For this lesson, we’ll use a six-note grouping that begins with an accented stroke, continues with two sets of unaccented (tapped) double strokes, and closes with another accented stroke. This grouping has a powerful sound and really swings. At first, try playing the rudiment on the snare, and play the accents as rim shots. Also, practice these with a variety of ostinatos on the kick drum….
This lesson starts off with the five-stroke roll on the hi-hat as it dances around these “money-beat” feels. The rudimental cornerstone also sounds great on the snare after a strong backbeat. As the exercises progress, we’ll voice the five-stroke roll between the hi-hat and snare drum, experiment with hi-hat openings, and apply bass drum variations. The five-stroke roll is the super glue of the drum world, so make it stick!
In the first part of this series, we’ll create new grooves by displacing the snare drum. Our basic pattern consists of 8th notes on the hi-hat, snare on beats 2 and 4, and a specific bass drum phrase….