30/03/16 session 1

This week we developed the linear exercises from previous weeks by learning some grooves and fills by Gavin Harrison. Below are the resources from your hand out.

The groove below is the one we started with and is a really great example of how to make odd time Signatures feel natural and relaxed when played well. Here is a link to a video of the grooves being played by the man him self Sound of Muzak. 

Then we started looking at the fills below. They all utilise a 3:4 linear phrase that we started looking at last week. Start be learning the sticking pattern on it's own first before moving on to the orchestration/voicing. 

Good luck! we will continue looking at these examples next week.

Also Ben brought in a great fill from a live version of "Made up Mind" by The Bros. Landreth. I occurs at 1'25 in this video Made up Mind. Check out the swung to Straight feel Change!

16/03/16 Session 2

This week you took the herta fills from last session and applied them around the kit to create some more varied 16th note fills. Try now incorporating the 2nd variation into your fills. Practice this to one of the tracks in the links below.
You also applied Linear warm up 1 to both a slow rock track and to a funk track which was slightly faster. Practice all three variations ( basic sticking, alternate sticking and groove voicing) of this fill to the tracks linked below. It is important to practice these techniques in context so they become a part of your playing vocabulary.
We finished by re-capping the intro and first verse to Arlandria by the Foo Fighters. Make sure you get the chorus grooves established and then try to work to the track.

Funk track play along 110bpm

Rock Play along 70bpm

16/03/16 Session 1

Today you looked at improving your six stroke rolls. Playing them to a metronome at 60-85bpm.
When your comfortable place the single stroke accents on the toms (RH on the floor tom and LH on Tom 1)
Then practice placing the accents on the cymbals and reenforcing with a bass drum.
You then split the sticking into it's A and B form and used this to build different accent phrases.
(Variation 1 and 2 on your sheet from last week). Remember to practice these fills starting on beat four of the bar to fill over the bar line and create space at the end of the lick.
We developed Linear warm up 2 into fill a voicing and used the alternate sticking to create a groove.

09/03/16 Session 2

Good work today. We continued looking at the first 16th note Herta sticking. This you played to a click as a fill at 90bpm. We then looked at incorporating herta's into other 16th note fills and playing them to a funk backing track (the link below). 

Also you should be practicing the triplet combinations (variation 1) to play as a full next week. 

 Practice developing the voicing for linear warm up 2 as a fill. Darrius you made good progress using and alternate sticking approach to create some different grooves and fills. 

Everyone should still be working on the chart to Arlandria. You should all know the parts that you need to practice to play to the track next week. 

Funk backing track link 

http://youtu.be/xheJtymw-uM

09/03/16 Session 1

Ben today we looked at sequential double bass drums in a groove you brought in. You worked on fig A to with a ghost note on the snare to help place the bass drum doubles.

Ben and Mason: you played both 16th bass drum variations for dub step grooves creating 2+4 bar loops at a click from 130-138 bpm. We then recorded you playing these grooves to a drum less backing track. The link to this track is here 

http://youtu.be/E9RXUdHi4nI

02/03/16 session 2

The technical study for the next two weeks will be herta's. A single stroke sticking comprising of four notes. They are  great chops builder and way to spice up your fills! The first three ex's are 16th note combinations. When you are comfortable with these try the triplet variations. Remember to start slow, try splitting over multiple surfaces to improve your dexterity, practice to a metronome so you can measure your progress and play them in a fill and groove context. 

We are also looking at linear warm up 2. 

This is like linear warm up 1 but moving the bass drum to the second 16th note. Take your time with the basic sticking. Practice to a metronome. When you're comfortable start playing over two surfaces or have a look at the groove variation (ex 3) 

We are also looking at Arlandria by the foo fighters. You all have a copy of this chart. Take care coordinating the bass drum in the 1/4 note grooves in the pre chorus and chorus. Count carefully! 

Take care with the 16th note fills!! 

02/03/16 session 1

The next two weeks technical study will be 6stroke roll variations. When you are comfortable with the first 5 variations place the single strokes on the toms to create a melody. Then try splitting the hands over two sound surfaces (hi-hat and snare to create a groove). 

The last four are "hemiola" variations using a 3,3,2 clave feel. Only move on to these when you are secure with the first 5 patterns. 

This week we are moving onto the second linear study. Still a 16th note exercise but this time the bass drum is on the 2nd 16th note or the "e" of each beat. Go through the same steps as with the pervious exercise. 

Basic sticking

Sticking split over two surfaces

Groove variation (alternate sticking over hi hat and snare) 

 The last part of the weeks lesson is the dub step groove variations. Dub step grooves are based on a basic "two step"groove but with more syncopated bass drum patterns to fit two or even four bar heavy bass lines. Take your time making sure your note values are correct for the bass drum patterns and that your triplet subdivisions are accurate! 

24/02/16 session 2

Keep working on the alternate sticking patten for linear warm up 1. 

Also have a go at the 4:3 example for next session. 

Have a listen to some dub step. See if you can hear the features we spoke about in the last session. 

Practice the groove variations on the hand out. Take care with the 1/4 note triplet examples! 

24/02/16 session 1

Well done this week guys! Practice the alernate sticking variation of warm up number 1. When it's comfortable try alternating the RH part over two sound surfaces. 

Practice the complete Bryson Tiller groove ready to record next week!

16th linear warm up 2

This week's warm up build on the phrase we learned last session. By moving the bass drum on to the "e" or the 2nd 16th note of the beat. Go through the same process as before:

• Learn the sticking on the snare drum first.
• Orchestrate the phrase around the drums
• Split the Left and Right hand parts over two sound sources (ie RH on the Floor tom and the LH on the snare) to hear the "Melody" of the phrase.
• Practice both left and right hand lead.
• Apply to a groove context

Below is a a chart to help you go through these steps

Trapp Beats

This week we are taking a look at some of the components and techniques associated with the grooves of Trapp music.
   
"instrumentals are propelled by 808 kick drums or heavy extended sub-bass lines, double-time, triple-time and other faster time division hi-hats,^[3] layered synthesizers, and "cinematic" strings".  

As drummers this means being able to create layered sounds on an acoustic kit and have good dexterity and stamina to cope with the up tempo hi-hat sections, and a strong control of time.

16th note linear warm up 03/02/16

Here is this weeks 16th note linear warm up. This is a first step into developing your linear playing, an approach which has revolutionised almost all styles of drumming and has come to the fore in recent years in styles such as Gospel funk and Rock drumming. It is an essential part of the modern drummers playing vocabulary and a great way to spice up your fills and grooves and create a more musical approach to groove construction and phrasing.

Tips

• Aim for an even and consistent sound across all sound sources 
• Take your time, start slow and always practice to a metronome
• Once you are comfortable with each step experiment by changing leading hands, adding accents or starting and finishing on a different beat of the bar

Great Grooves with Steve Jordan

Over the next two weeks we will look at the style and grooves of master Drummer, Steve Jordan.
He combines an in depth knowledge of swing and feel with immense technical mastery to create a sound that has made him one of the most sought after session players in the world. Most recently touring with John Mayer he has the most incredible CV and recording back catalogue. His warm vintage sound combined with a new orleans influenced feel and groove create a tight but easy listening groove. Below are some examples of his work. Some are easier than others, take your time and try to emulate the feel Steve Jordan creates in his groove. Don't forget to Blog your practice and record/ video your self as evidence!