Let your right hand teach your left.
This one’s for my friend, Dauven, because he asked me about the beat-shifting thing.
Here’s an example with a click and a handclap on 2 & 4. Note: the high note of the click is on count “2.”
- I shift the starting point of the groove, from 1 to 1E, to 1&, to 1 A – moving it one sixteenth note at a time.
- It’s tricky because your mind tells you you’re off, and wants to establish a new reference point, a new “One” ….. I love this sh*t
Here’s the last video of my short drum lesson on timing/coordination/subdivisons/rates.
My playing is not as clean as I want it to be, … I’m still working on these drills and ideas, but that’s what practice is all about.
I hope you find the information presented inspiring and useful.
I love teaching drums.
The most rewarding part is meeting new people, watching them progress, and helping them on their journey to become better drummers and musicians.
Yet, I’ve noticed the learning curve is not a linear one.
There are many set-backs along the way, and as an instructor, I often find it challenging to keep my students motivated and inspired.
When I reflect and look at my most proficient students, I’d say they have two things in common:
- A passion and love for drums & music.
- The willingness to put in the time and dig deep on the fundamentals.
Let’s face it, all great drummers have great fundamentals.
What do I mean by fundamentals?
- timing: knowing quarter notes, eight notes, triplets, 16th notes
- solid timing within a beat and when transitioning, e.g., going from a beat to a fill-in and back
- basic coordination between the limbs; bass drum independence
- playing singles and doubles
There’s more, of course, but these are the big pillars of drum set playing, in my opinion.
Focusing on these things, I believe, will make you a great song and groove drummer.
When I was younger, I played along to music, all the time. I loved Tom Petty, AC/DC, and straight-forward rock tunes. I didn’t focus on crazy fills or drum chops, my goal was to lock in with the band, and play with them, as if I were the drummer on the recording.
I’m convinced that this is the most important drum-practice, I’ve ever done, because it made me focus on my groove and timing, and what it means to play with others.
One problem I’ve noticed is that many of my students want to move on too fast, when they aren’t ready yet, and haven’t mastered some of the basics.
I get it, we watch all these drummers on YouTube or Instagram and we’re inspired and fired up to do what they do.
Problem is, 90% of those drummers have been playing for 30+ years and, therefore, have way more mileage under their belts than the average drum student that comes to learn with me.
I admit, I often struggle with keeping folks motivated, because I can understand and see their frustration and where they want to go.
Learning an instrument, especially later in life, can be challenging.
So kudos to all of you!
But I keep coming back to The Basics.
A house is only as strong as its foundation.
As a drum teacher I’ve noticed that one of the most difficult things for beginner drummers is to switch rates, e.g., to go from triplets to 16th notes, and moving between different 16th note variations.
This short exercise is designed so you can play along with me (or the click only), get comfortable with counting, and develop confidence in switching beats while keeping the tempo.
Try to keep a steady quarter note pulse on the bass drum during the exercise.
If you’re wondering about the sticking of some of the variations, you can find them in my PDF Kick Start.
Ps.: I posted both play-alongs in the educational section on my website.
I love playing the brushes.
There’s a meditative, soothing quality to it. Playing brushes can assist you in developing better timing and flow (because of circular/elliptical stroke patterns) — which will also show when playing with sticks.
All time great brush players include Papa Jo Jones, Clayton Cameron, and Jeff Hamilton.
A little history on brush playing, from Mike Tarrani’s website:
Clayton Cameron devotes a segment to the same relationship. The arguments are compelling and valid. However, Mr. Paton cites a deeper source: shoe shine boys who employed their individual rhythms in brushing down their customers with whisk brooms after they shined the shoes. He backs this up with copious citations within the article. He also traces the development and evolution of suitcase drumming in which brushes were used, as well as the importance of barbershops as musical centers of gravity and where some of the whisk broom rhythms were born and evolved. In the latter it appears that Louisiana was particularly important. The irony is the pioneering New Orleans drummers, such as Louis Cottrell, Sr and Baby Dodds eschewed brushes.
If you’ve never tried playing brushes, I encourage you to get a pair and start fooling around with them. You’ve been missing out 😉
Here’s a cool exercise one of my teachers shared with me, a long time ago:
- You play 14 different 16th note variations on the hi-hat, one per measure, while keeping a continually repeated pattern (ostinato) on the bass drum and snare.
- The bass drum syncopation includes a note on the “a” and “&” of the beat one and two, which makes it more challenging, coordination wise.
- If you struggle with the independence between bass drum and hi-hat, try to play the variations over a four on the floor beat (quarter notes on the bass drum) first, and work your way up from there.
- Focus on clarity, consistency, and groove. Make sure all the notes land in the right place.
- Practice to an 8th or 16th note metronome, to identify where there’s a tendency to push or drag.
- Practice each measure individually before putting them all together in a loop.
For a lot of people this is a hard exercise — it definitely is for me.
Its benefits are many: improved timing, coordination, and being able to stay in the pocket while transitioning between different variations, are just a few that come to mind spontaneously.
Remember: Slow, steady, and relaxed wins the race!