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You use your voice to develop a strong pulse. Both beginners and professionals are challenged here. It's a big step towards a strong rhythmic understanding.
Still working with the same rhythmic subdivisions we now start adding different sounds on top.
"Two-limbs-independence" starts right here. One hand is playing a constant pattern while the other hand or a foot is playing something else.
Play quarter notes with one hand and loosen up the knots to the other limbs. This one is quite challenging because of all the space between the quarters.
Playing 8th notes with one hand while going nuts with the other is one of the most common things in the drummer world.
The constant pattern on the HiHat sounds a bit like fusion and funk and the exercise really stretches your independence.
Technically this is the Swing-pattern you are playing with your right hand. Though in this case it's a binary feel. Sounds great and promises a lot of fun.
Your coordination will make a big step with this one. Playing the quarter notes around the drumset will sound like a storm when you've reached a certain tempo.
Double strokes and single strokes combined in a very simple way. You suddenly open up to your snare and the tomtoms.
Bringing opposites like loud & soft in harmony is always a challenge. However, in the end it's the most natural way to create tension and relaxation. Before you jump into this workshop please check out "Accents 1" first. It's one of the "Free Workshops"!
Playing both hands in unison provides you with a very powerful sound. Your wrists get a strong training to build up speed and power.
Ravel's Bolero showed us what it means to combine these two rhythmic components. This is your entry to the world of triplets.
The most natural technique to approach the drums. When you play "hand to hand" it always sounds and feels different. But nevertheless great! Speed will be no problem, it's the coordination that might give you a headache.
This groove is based on single strokes and accents. Always a ear- and eye-catcher! The first workshop of this series includes a general explanatory introduction to the Backbeat Groove system.
Yes, this is the groove everybody wants to master. Look into it deeply because the whole world knows what it sounds like when it's played good. And the world also recognises when it's played not so good :)
You'll just love to shuffle these drums. This groove is a companion for life.
It just sounds funky, even when you play it real slow. This one trains your right hand and opens your mind for the backbeat-system.
Slow and heavy, fast and easy. The space inbetween the quarter notes may appear bigger than it actually is.
Off is top! Reggae, Ska, Disco, Funk,....just to name a few – the oofbeat groove is always a funky choice.
Switching the drums while still playing unison hands adds a quite special melodic component to the exercise. The next step is to add the Bassdrum between the beats and that finally burns the house.
Find and play all the stickings you've ever dreamed of. And please don't kill me for not mentioning Moeller in the video - yes, it is after all the technique we are talking about!
Combining different rhythmic patterns with your feet while playing a constant groove with your hands on top trains you for the real-life-doublebass-situations.
After you`ve mastered this exercise triplets will never be able to harm you again. The quarters are the true companions for this mission.
Great material for fillins!!! Snare/Tom-Accents upside down – but don't let it mess with your ears.
Yes, it is a rudiment and yes, it feels weird and yes, it sounds great.
It swings and rolls like an approaching train. One of the most beautiful rudiments!
RLRR LRLL Here's a great way to practice and include this pretty drum rudiment into your playing on the whole drum set.
Paradiddle meets Padiddlera. It's love at first sight.
What came first: the Swing or the Swing?
So here comes the actual swing pattern. Keep it groovy, keep it hot. The melodic variations are created with your snare and your bassdrum - for the first step we are using only quarter notes. Sounds great, feels great...and brings your swing to the next level!
"RLF" - John Bonham of Led Zeppelin played that combination of strokes in a unique way and made it an remarcable drumsolo-component. Listen to it in the song "Moby Dick" for example. You can add the left foot to every first stroke of the combination. The master himself always used an extra HiHat-tambourine on top of the cymbals – especially great!
Some songs are blessed with a magical groove. Let's take a look behind the curtain and find ourselfs a white rabbit.
... and this it what happens when you combine the two most effective drum-weapons...
These two grooves are probably the most funky para-items ever heard.
Your drumset is an orchestra. Just listen and shake that think!
We are training the flowing motion of single strokes between the your hands and the bassdrum.
Second step to independence.
A slightly unusual motion in the beginnig. An endless love in the end.
This time we play a quarter-note-groove on top of the double bass storm. More space, more need of stability, more options for the meter.
Diddlepara combined with our friend the Paradiddle.
The swing goes on and on and on...bass and snare are doing the big 8th-notes-job. Groovy and soloesque at the same time.
Get to know your pedals and make them work for you in a smoth and relaxed way. If you think about Double Bass playing, 16th-single strokes are one of the first things every drummer should have in his pocket.