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Groove Of The Week #11

It’s that time of the week where we get groovy! Here’s groove of the week #11:

Groove of the week #11 is brought to you by I’m The Only One by Melissa Etheridge, Dazed & Confused by Led Zeppelin, and, countless Blues Songs. Let’s get into it.

Get The Groove

This beat is based on the eighth note triplet. A lot of Jazz & Blues & early Soul music is based on the eighth note triplet and it’s important to become familiar with it. It was also heard in a lot of pop and rock music from the 1960s and 1970s as the music was heavily influenced by blues and soul music.

Listen to bands like Led Zeppelin, Aerosmith, Deep Purple, Queen, & The Jimi Hendrix Experience and you’ll hear the triplet feel come up quite often. More recently, Duffy, Ed Sheeran, Meghan Trainor and Alicia Keys have had hit songs with the triplet Feel.

Let’s start by counting the triplet Hi-Hat:

Count Out Loud

Next, lets add the bass drum on 1 and 3 and the snare on 2 & 4:

Keep Counting

Once you are comfortable with that basic groove, then you can add the remaining bass drums.

The Full Groove

This is a great sounding groove and one of my favourites to play with a band. Try it out at your next blues jam session.

Taking It Further

A common thing to do with an eighth note triplet hi-hat pattern is to add the occasional 16th note triplet to it. Check out these two examples:

Side order of 16th notes during beats 1 & 3
Bonus 16th notes during beats 2 & 4

Have a listen to “Bring It On Home To Me” By The animals for ideas on where this is used.

Another thing we can do to spice up this groove is add accents to the hi-hat pattern. Let’s start with the basic one:

Accents on the beat

Accenting the main beat helps to drive the groove along even more. Try this one for more fun:

Quarter Note Triplet Accents

Accenting every other note highlights the quarter note triplet and makes for interesting listening. Hear it in action on “Black Velvet” By Alannah Myles. Play the 8th note triplets on the ride cymbal and put the accents on the bell for more fun. Or… try this:

My Head Hurts!

Now we’ve displaced the quarter note triplet accent to create another interesting variation… you can hear something similar to this on the Tears For Fears song “Everybody Wants To Rule The World”. Again try it with the accent on the bell of the ride cymbal for extra fun.

I hope you’ve enjoyed groove of the week #11. If you’re in Singapore and you’d like a free trial drum lesson, let us know on the contact us page.

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Fill Of The Week instagram Tips for students

Fill Of The Week #10

It’s fill of the week time. Here’s number 10:

This is a simple accented 16th note fill that shows how accents can bring life to anything you play. Let’s learn it.

Learn The Fill

There is not a great deal to this fill. It’s 16th notes played on the snare drum and we’re accenting some of them. Here’s the fill.

Fill of the week
Let me hear those accents

Practice this fill slowly at first, really exaggerate the motions and difference between the accented and unaccented notes. Your accented notes want to be as loud as a shout, your unaccented notes should be as quiet as a whisper. Speed it up slowly and try to maintain the different sound levels.

A common problem I hear when people try to learn these fills is they don’t focus on what the sticks are doing & they don’t listen to the sound they are producing. Often the fill sounds flat because the soft notes are too loud and the loud notes are too soft.

To prevent this, play all of the soft notes with the sticks at a 0 degree angle – parallel to the drum, 3 – 5 cm or 1 – 2 inches above it – don’t let them come up any higher than that. Play all of the loud notes from a 90 degree angle – perpendicular to the drum – don’t start them any lower. This should ensure your accented and unaccented notes sound different as you have a lot more time to accelerate the stick when starting at a 90 degree angle as opposed to a 0 degree angle.

As you speed up you may need to lower the accents from that 90 degree angle, but don’t let the soft notes get any higher and make sure there is still an easily discernible difference between your accented and unaccented notes. Focus on what your sticks are doing and the accents will come out naturally.

Take It Further

A simple way to make this fill sound a little fuller is to add the bass drum on the quarter note pulse. This adds more weight to the fill and highlights the contrast between the pulse and the accent pattern more.

Fill of the week with added bass drum

The easiest way to vary an accent pattern is to put some or all of the accented notes on the toms. This can create melodic ideas between the snare and toms. Here’s 3 examples:

Fill of the week with added toms

When you moving from an accented Tom note back to an unaccented snare note, focus on playing the unaccented snare note quietly. Often with this type of fill, the student focuses on playing the accents on the tom toms and completely forgets that most, or maybe all, of the snare drum notes are supposed to be quiet. If you play all of the snare drum notes loud, you’ll drown out the accents on the toms. It’s the Tom Tom melody that we want to hear, not the the snare drum (unless it’s accented and part of the melody.) Try adding the bass drum in on the quarter note pulse to spice these fills up further.

Another good exercise to try that will work on your stick control is to take a pattern that is commonly played around the kit and apply the accent pattern to it. In this first example I take a pattern that everyone has played, four 16th notes on each drum going around the kit, and apply the accent pattern to it.

Common pattern with toms added #1
Four 16th Notes Per Drum

What was originally a very simple pattern to play has now got more difficult. Take your time with it and develop the ability to drop accents into common ways of moving around the kit. It’ll help you to express yourself fully on the kit.

Here’s two more common patterns to try:

Common pattern with toms added #2
Two 16th Notes Per Drum
Common pattern with toms added #3
6-6-4 Fill With Accents Added

Have fun trying out all those variations of Fill Of The Week #10. If you’re in Singapore and you’d like a free trial drum lesson, send us a message on the Contact Us page.

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Groove of the week instagram Tips for students

Groove Of The Week #10

Here’s groove of the week #10.

This week’s groove is a two handed 16th note groove and it’s basically the main groove from the Simple Minds’ song Alive & Kicking but with accents added to give it a little twist.

Accents added in this manner can bring a groove to life and give it a new feel. Let’s learn this groove.

Get The Groove

The first step in learning this groove is getting the accent pattern correct. Here it is played on the hi-hat:

Count 16th notes while playing this.

Next, lets add the snare drum on 2 & 4. Focus on the accents with the right hand before and after each snare drum hit.

Hit the Snare on 2 & 4 instead of the Hi-Hat

Our final step is to add the bass drum. Here’s the full groove:

The full groove

It you are having trouble with this groove, you may need to practice the groove without the accents first. Try this:

Groove minus accents.

Get the base groove into your muscle memory first and then try adding the accents once you find the base groove easy. You may also want to try the first two examples from the next section as they feature a simpler bass drum pattern.

Taking It Further

Once you are comfortable with the hi-hat accent pattern, try it with different bass drum patterns. Here’s a few to get you started.

Let me hear those accents!

For different take on this, you can try putting your right hand on the ride cymbal and playing the right hand accents on the bell of the ride. You may need to play a little slower as the right hand has a long way to travel between snare and ride bell; Hitting the bell consistently may be a problem to start with.

Ring The Bell!

I hope you enjoyed Groove Of The Week #10. If you’re in Singapore and you’d like drum lessons. send us a message on the contact us page.

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Fill Of The Week instagram Tips for students

Fill Of The Week #9

Here’s fill of the week #9

This is one of the those fills that sounds easy but needs careful practice to play precisely. There is a fill similar to this on Extreme’s Get The Funk Out. During the song it’s played while a horn section plays the same rhythm and it sounds huge. Let’s get into it.

Learn The Fill

Lets take a look at the fill with the counting added.

Count it out!

That’s a lot of “Es” and “AHs” we have to play without any support from the notes in between. The first step is to get comfortable playing all those 16th notes on the “Es” and “AHs”. Try this exercise:

Keep counting!

Work with a metronome at 40bpm and count out loud. I recommend a metronome that can play 16th note subdivisions clearly – such as TempoPerfect by NCH software (it’s free.)

If you can’t play those 16th notes accurately, you can’t play the fill. Keep practicing and counting – it may take a while. Try mixing it up with this exercise to help feel the difference between playing on the 8ths and 16ths:

Still Counting?

If you’ve made it this far, you should be able to play the fill now. While playing the fill, focus on keeping your left hand moving smoothly; it should help get those 16th notes played evenly.

Taking It Further

As the original fill is all played on the snare, the simple way to change it up is to add in some toms:

Add some toms

Another simple way to change this fill up is to add a quarter note bass drum to it. It’ll help to keep the time going and hopefully prevent your bassist from getting lost.

Add some bass drum

I hope you’ve enjoyed learning this fill – take it slow and play with precision. If you’re in Singapore and would like a free trial lesson, send us a message on the contact us page.

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Groove of the week instagram Tips for students

Groove Of The Week #9

Here’s groove of the week #9:

This week’s groove of the week is brought to you by the song Monsters by Shinedown. I’ve been working on Monsters this week and the groove stuck in my head. You’ll also recognize this beat from chorus of Maroon 5’s This Love, although it’s played about 20bpm faster than this. Let’s learn it!

Get The Groove

The main challenge on this groove is the 16th note bass drum pattern. You may need to spend time just practicing the hi-hat and bass drum part & focus on separating the right hand from the right foot. Keep a nice steady 8th note pulse on the hi-hat and don’t let the right foot interfere with it. Take it slow – 50bpm – and count out loud. I’ve beamed them together to make the relationship more obvious.

Hi-hat + Bass Drum & Counting

Once you can do that, throw in a snare drum on 2 & 4 and you’re all set to rock!

Full Groove + Counting

Taking It Further

If you’re trying to learn the song Monsters by Shinedown then you’ll need this variation on the groove:

Groove of the week #9 + extra bass drum

Adding an additional bass drum on the “ah” of 4 gives the groove a little extra forward momentum. Listen to the song and try to hear where it happens.

If you’re trying to play This Love by Maroon 5, then you’ll need to be able to add an open hi-hat on the “&” of 4, like so:

Groove of the week 9 + open hi-hat

You’ll hear the open hi-hat every other bar in the song. Another variation that you’ll need for the This Love is this one – you’ll hear it at the end of each chorus and during the bridge.

Add some crashes to the bass drum

In this variation the hi-hat is replaced with crashes that copy the bass drum pattern. This is a cool way to create interesting variations on a groove. Substitute the crash for the bell of the ride cymbal or a stack and it creates more options. Try the whole of groove 9 like this:

Ride bell copying bass drum

Try playing 2 bars of the groove normally & then 2 bars with the right hand following the right foot. To hear this idea in action listen to Absolution Blues by Coverdale Page.

I hope you’ve enjoyed Groove of the Week 9. If you’re in Singapore and would like a free trial lessons, send us a message via the contact us page.

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Fill Of The Week instagram Tips for students

Fill Of The Week #8

Here’s a simple polyrhythmic triplet fill you can use next time you’re playing a shuffle or another 8th note triplet groove.

This fill uses groups of 4 over the triplet subdivision to give a polyrhythmic feel. It’s not quite as simple as it seems. Let’s break it down.

Learn The Fill

Our first step is to understand the polyrhythmic nature of the fill. The fill is based on a 3 over 4 polyrhythm. Try playing this exercise:

accented triplets
Count out loud and hit those accents hard

If you are playing it correctly, you should hear your bass drum playing the regular 4/4 pulse and the snare drum accent playing a regular pulse over the top. The bass drum is playing a 4/4 pulse, the snare drum appears to playing a 3/4 pulse but in the same amount of time. If we remove the unaccented snare drum notes and add the counting then we get this:

3 over 4 poly rhythm
3 over 4 polyrhythm

Being able to play this rhythm will give you a better understanding and feel for this fill and enable you to create your own ideas.

Fill of the week 8 uses four-note groupings over the 8th note triplet to create the illusion that we are briefly playing in 3/4 time. Here’s the fill with the counting added; we change from one drum to another where the accents were happening in our first exercise – beat 1, the “puh” of 2 and the “let” of 3

Fill of the week + counting
Count out loud while you play it

The fill is simple to execute physically, but mentally it can be challenging. Don’t lose your timing while playing the fill!

Take It Further

Adding the bass drum under this fill on the quarter note pulse brings out the polyrhythmic nature of the fill more. It may also give people who are clapping along with you a better chance of staying in time!

Fill of the week with added bass drum 1
Keep the beat with your feet

Having the bass drum playing on the 3/4 pulse will add to the weirdness of the fill and really make it difficult for people clapping along.

Fill of the week with added bass drum 2
The drummer has lost the plot!

We can also make the 3/4 pulse more obvious by playing something like this:

alternative fill 1
Play a tom tom on the 3/4 pulse

This fill just has a tom tom played on the 3/4 pulse. Accent the tom tom and play the snare quietly to really bring out the 3/4 feel.

The next variations just use different 4 note groupings.

alternative fill 2
Common 4 note pattern played in triplets
alternative fill 3
Another common pattern including the bass drum

Both of those fills will make your next blues jam more interesting.

I hope you enjoy working on fill of the week #8 and if you’re in Singapore and would like a free trial drum lesson, reach out to us on the contact us page.

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Groove of the week instagram Tips for students

Groove Of The Week #8

Let’s bounce along and enjoy Groove of the Week #8:

Groove of the week 8 is, of course, a shuffle. A groove that has powered countless Blues and Country songs as well as many popular Rock & Pop songs. You’ve probably heard shuffles on Confident by Demi Lovato, Ex’s & Oh’s by Elle King, Grace Kelly by Mika, Black Night by Deep Purple, Crazy Little Thing Called Love by Queen, Roadhouse Blues by the Doors and many other great songs. Let’s check it out.

Get The Groove

The most important thing for the shuffle is having a consistent feel between the notes on the hi-hat. The shuffle is formed by playing the first and last notes of the 8th note triplets. It can be hard to keep this steady at first. Lets try to develop a nice steady shuffle.

Step 1:

Shuffle development exercise 1
Pay attention to the sticking and count out loud.

In step 1 we play all of the 8th note triplets. The right hand plays the first and last note of the triplet, the left hand plays all the middle notes (the “puh”)

Step 2:

Shuffle Development Exercise 2
Move the right hand to the hi-hat; Keep counting.

In step 2 the pattern is the same as step 1 but we move the right hand to the hi-hat. You should be able to hear the shuffle rhythm on the hi-hat now.

Step 3:

Shuffle Development Exercise 3
Stop the left hand; Keep counting.

In step 3 we stop playing the left hand on the snare drum, we now have just the shuffle rhythm playing on the hi-hat. Keep counting out loud to make sure you are leaving space for the middle note of the triplet. Try moving smoothly between step 2 and step 3 without stopping. Play 4 bars of each. Does you’re right hand hi-hat part remain constant?

Step 4:

The shuffle complete
Add some bass and snare drum. Keep counting.

Finally in step 4 we add the bass and snare drum to complete the groove. Keep counting out loud to solidify the feel.

Taking It Further

There are many great variations on the shuffle, but for now we’ll stick with this basic one and look at adding fills to it.

As with any groove you want to be able to move in & out of it using drum fills. Normally when playing shuffles drummers will stick to the 8th note triplet subdivision as a base for fills. Here’s 4 basic fills that you’ll want to be able to do.

shuffle fills
Four Basic Triplet Fills

Once you have these 4 basic fills down, then try moving your hands around the kit to create your own ideas. Check out Fill Of The Week #8 for a more advanced triplet fill.

I hope you enjoy shuffling along with Groove of the week #8. If you’re in Singapore and you’d like a free trial drum lesson, please contact us via the contact us page.

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Fill Of The Week instagram Tips for students

Fill Of The Week #7

It’s fill of the week time. Here’s number 7:

This is another fill that uses the 6-6-4 phrasing; check out Fill Of The Week #6 if you’re not sure what that is. Let’s break this fill down.

Learn The Fill

Our first step in learning this fill is to get the Right hand part correct. The right hand is playing a eighth notes on this fill and the other limbs will fit in with it. Here’s the right hand part:

Right hand pattern for fill of the week 7.
Right hand pattern

Our next step will be to add the left hand. Be sure to count when you do this. You should be counting “1 e & 2 & ah 3 & 4 e & ah”. Here’s the both the right and left hand.

Right and left hand part for fill of the week #7
Both Right and Left Hands

This is a nice fill sounding fill on it’s own. But to complete it, we need to add in the bass drum in the spaces to get the full 16th note flow. Here’s the full fill:

Full fill of the week #7
Adding the bass drum.

If you are having trouble learning this fill, just focus on the first 6 notes to start with. Get the first 6 nice and smooth. Then look at the last 4 notes. Because this is a 6-6-4 fill, we only need to learn the first 6 notes and the last 4. The middle 6 is the same as the first 6, so once you can play the first 6 notes, just need to focus on playing them twice in a row. Easy!

Take It Further

A good exercise to do with this fill, is to just vary the last 4 notes. There is a myriad of things you can do on that last beat. Practicing like this will again help to make you more responsive in playing situations. Here’s some suggestions:

full fill with variations on beat 4.
Just change beat 4

If you are more rhythmically advanced, you can try these suggestions:

Fill of the week 7 with rhythmic variations on beat 4
A little rhythmic variation

These variations all bring something different to the fill. The 8th notes on beat 4 in the first variation bring the fill to an end with a certain authority – especially if you accent them. The 8th note triplets in the second variation give a more dramatic feeling. The 16th note triplets in the 3rd variation just help to push the energy of the fill up a little more.

Have fun with fill of the week #7 and if you’re in Singapore and would like a free trial drum lesson, use the contact us page to let us know!

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Groove of the week instagram Tips for students

Groove Of The Week #7

Here’s groove of the week #7 – possibly the happiest groove on the planet!

What a great groove. It is of course a Soca & it has to be one of the most popular grooves on the planet. You’ll have heard a slow version of it in Despacito. Ed Sheeran strongly hints at it in his hit song Shape Of You. Shakira used it in Waka Waka & Sia did a slow version in her song Cheap Thrills. There are countless Techno/Dance songs that use this beat because it is so upbeat and just makes you want to dance.

I first came across it on holiday in the Caribbean in the late 1980’s. It’s a beat that propels a lot of the music across the islands and can be heard behind steel drum bands and influencing the local pop music. It instantly became one of my favourite beats to play.

Get The Groove

You may need to start this one by learning the hands separately. Here’s the hands on their own. Focus on letting the right hand maintain consistent 8th notes on the hi-hat and just slot the left hand in between on the “ah of 1” and “ah of 3” and together with the right hand on the “& of 2” and “& of 4”

Just the hands
Just the hands

The next step is to add the bass drum on 1, 2, 3 & 4 to make it easy to dance to.

The full  Soca groove
Add the bass drum & Soca away!

When I play this groove I tend to accent the snare drum on the “& of 2” and “& of 4” as this is how I first heard it and I like how it adds a little more movement to the groove.

Taking It Further

Adding a busier hi-hat pattern to the Soca can increase the energy of the groove again. Here’s 3 suggestions

Hi-Hat variations of the soca
Hi-Hat Variations.

Variation 1 has the classic disco open/close hi-hat pattern added to it. Variation 2 has the right hand playing three 16th notes at a time instead of just 8th notes. This pushes the beat along even more. Variation 3 features two-handed 16th notes played hand to hand. The snare drum notes are shared between the hands, be careful with your aim when moving from the hi-hat to the snare – try to get both hands to hit in the same spot.

Here’s one of my favourite variations that I used to create a tribal groove for a cover version of a Rolling Stones song. It may inspire you to create your own variation.

Tribal Tom Tom Soca
Tom Tom Version

For this variation I just moved the right hand from the hi-hat to the floor tom and left hand played the snare drum part first on tom 2 and then on tom 1. Don’t play the floor tom too loud, the bass drum and Tom 1 and Tom 2 need to be the stars of this groove.

I hope you enjoy playing the Soca as much as I do. If you’re in Singapore and you’d like a free trial drum lesson, let us know on the contact us page.


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Fill Of The Week instagram Tips for students

Fill Of The Week #6

It’s fill of the week time! Here’s number 6:

This is a cool 16th note fill incorporating flams and the bass drum. When I’m playing flams in a 16th note fill, I like to play the bass drum just before the flam. This gives me plenty of time to set up my flams so I can make them sound big while keeping the 16th note flow going.

Learn The Fill

To learn this fill, we can break it down into smaller steps. Step 1 is to get the Right hand moving correctly. Our Right hand is playing 8th notes between the snare and the toms. The left hand and the bass drum will fill in the 16th notes between these 8ths. Here’s the Right hand pattern:

Right hand part from fill of the week 6
Step 1 – The Right hand

Our next step is to add in the Left hand. This will create the flams on beat 1, the “&” of 2 and beat 4 and, fill in 16th notes on the “&” of 1, “e” of 3″ and “ah” of 4. I’ve included the counting on this one to help you out.

Right and left hand part for fill of the week 7.
Step 2 – Adding the Left hand

Step 2 actually sounds quite good as a fill on it’s own, try it out with some of your favourite grooves. We’re going to take one more step which is to add the bass drum in the spaces. Here’s the whole thing:

Fill of the week 6 - complete with bass drum
Step 3 – The bass drum

Practice this slowly at first at 40 – 50 bpm. You may want to build it up a note at a time. Start with the first 4 notes and then add the next one, and then the next one and so on. If you can play the first 6 notes you have most of the fill already because the next 6 notes are just the same thing repeated and beat four is just the first four notes played on a different drum.

Spotting repeated patterns in fills can help you learn them faster. The phrasing of this fill is 6-6-4. This is a very common pattern employed in 16th note fills. Here’s the fill with the 6 6 4 groupings pointed out:

fill of the week 6 - 664 groupings
Can you see the 6-6-4 pattern now?

Let’s change it up

A simple way to change this fill is by removing some of the bass drums. Here’s the fill with the bass drums only after the flams:

Fill of the week 6 with bass drum after flams only
Bass drum only after flams

Here’s the fill with the bass drum only before the flams:

fill of the week 6 with bass drum only before flams
Bass drum only before flams

Another simple variation is to play on the move the non-flammed notes to different toms – this still gives you the impact of the flam on the snare.

Tom variation
Moving the hands around a little differently

But of course, you can also move the flams around as well:

Tom variation
Move it ALL around

I hope you’ve enjoyed fill of the week #6 – play around with it some more and create your own variations.

If you’re in Singapore and you’d like a free trial drum lesson then use the contact us page to let us know & we’ll arrange it for you.