Yeah I really agree with nick smith on the whole "gospel chops" thing. As a drummer with a gospel background, I feel like over the past couple years our style of drumming has been exploited in a sense. Some people love it, Some dont really understand and hate it. Similar to what Coleman said, i believe someone saw something they didnt understand and just labeled it. Either way,still a good lesson nate. You're really good at breaking things down to a real technical level. Its kind of scary lol. Your ability to break things down is truly ridiculous. You're the only drum channel who does lessons going deep into drumming. Not the traditional, "here's this new chop" lesson that simply Kick kick Right left orchestrated around the kit. (Been working on micro time and changing subdivisions seamlessly, and your videos on that just blow my mind lol. Especially the Mark Guiliana lesson.)
Just like music genres, overtime drum styles evolve and also are encompassed by other genres. I think the term 'gospel chops' has merit because there was a time when it was distinct. Using the kick with linear fills instead of using the kick as a way to emphasize what the hands are doing is something that is/was different. Also, the kick is as important as the hands. You really need to have a solid and fast foot. Something that wasn't so necessary in years past. Also, gospel drumming seems to be more explosive. The fills are more 'over-the-top' which is why they are so impressive. Most of the noted and followed mainstream drummers of the 70's, 80's and 90's didn't play this way. Yes, there are exceptions of course....
Ryan Dylla yes however it's all been done before john bonham was using rl kk nearly 50 yrs ago,and to me rlkk is page one chapters one out of the gospel manuel
Nice breakdown! This reminds me of the Hand/Foot combos by Gary Chaffee in his "Technique Patterns" book. To me, it seems Dave Weckl (a student of Gary) was one of the first to bring this stuff to the drumming mainstream (splitting 16th and triplet based rhythms). I would love to talk to a gospel drummer and ask how much influence Weckl had on gospel drummers. I also wonder then, if the opposite is true...could gospel drummers have influenced Weckl? A step further...have gospel drummers always had this vocabulary? That would be a great "starbucks conversation" haha I digress. I have been studying with Gary since September and we are working on this hand/foot stuff. Where I'm struggling is putting combos together to make interesting sounding phrases. This video is extremely helpful, thank you! Also, my name is Nate!
DobasDrums I was born in south jersey. A lot of the church drummers all swore by Dave Weckl’s Next Step VHS. The one segment of hand/foot licks was the start of everything.
Hey I love your videos! My favorites are the ones on Chris Dave and Richard Spaven. I have a few questions on your hats. How did you decide to go with the EFX? Why did you go with the zildjian EFX over meinl or sabian? And finally what cymbal do you have on the bottom?
thank you so much for shearing this lesson, i like the fact that made it so easy in breaking it down to detail. excellent job keep up the good work. I bought your 80/20 Road map best investment EVER!!
Haha. Was waiting till somebody spoke up:p it's also a little awkward because a lot Is transcribed in my course. But which parts in particular would you like?
At 11:52, what do you mean by the 4-note and 3-note groupings? I can only hear the first 4-note groups, the rest seemed like paradiddles? RLRL LRLRRLRLL
Hey Buddy, I've heard great things about you from my friend Jon Wert. Cool videos. I know it's not going to be thought of as much with the whole linear bit. But man, I've heard these phrases before on Max Roach records. The signature three note phrase from Roy Haynes as well. Not going to run the risk of being the old man here. lol But I'm always curious as to why those guys ( along with others ) are never mentioned.
Lately I realized the other aspect to that stuff. gridung ur phrases through all sub divisions. Like sometimes it's easier to do a lick gradated into 64ths or whatever. certainly for odd placings. Like grid 8th in triplet b6 16th triplets n 32rd
Question, what did you do @ 17:33-17:39? I think you did mention that they were just paradiddles but if that's the case, I think I have the problem of 1.) making my paradiddles sound really robotic and not so rhythmic like you did & 2.) if I try to use paradiddles as part of a solo or long fill like you did in 17:33-17:39 I tend to lose where I'm at. By this, I dont necessarily mean that I get off tempo (which I do), but what I mean is that I'm so used to hitting with my right hand on every pulse of the tempo (1, 2, 3, 4) & when that is not the case (because in paradiddles you basically divide the priority of the rudiment to each hand, where as, the right hand is not necessarily the leading hand). With that being said, how do I fix my #1 & 2 problem? I'm looking for more than a "practice" answer. Thank you!
Hey bro had the same problem work on alternation on the pad work on leading with the left hand this is why it’s good to take a rudiment and practice on both left and right
So to make even shorter for anyone that still don’t have an understanding take a rudiment and instead of playing it on just the snare move the pattern around the drums in different ways and times and use ur feet to replace the hand notes and do that really fast and boom chops and practice to time
Gospel chops is actually Neo-soul from the D-town era. start fills 2 measures ahead of transitions...(yes, im exaggerating how early. save your knee jerk comments)
So...just how do 'gospel chops' differ from funk or jazz fusion playing. Take linear triplets for example. That's the kind of stuff Dave Garibaldi, Dennis Chambers, Vinnie Colaiuta, et al have been doing forever.
First of all religion got nothing to do with drumming.! @ 9:40 you said: we don't do the JBonham stuff we get more sophisticated than that! what I am missing here??? what a shame to publish that statement!.
I actually don't find them to be all that awesome. I think drummers think they are awesome, well not me ... but everyone else is like "... um, ok? Can you go back to the beat?" Even when they hit the mark, they still miss.
The 80/20 Drummer bro you are the man!!!! Music is universal. If you've shown me anything its that music "drums" in this case has no color. Its to big to be subjected to a certain demographic! You've successfully broken down and executed the form of improvisation known as "gospel chops" the only difference is your barley moving your upper torso! Which is mind blowing to me! So inspiring bro! Thank you
I usually back off on stuff like this, but I gotta say, as a white man who grew up around all kinds of music, regardless of culture, no body has a "color" to your soul. The most high build ever one of us to feel energy and respond to it a different way. We are all different, the way one person feels a groove is not going to be the same way someone else feels it. There's nothing wrong with pride in culture an music, but don't shun the next man for wanting to feel gods music, cause it's everywhere, regardless of culture. Peace and love. Keep drumming.
Gospel chops = you can't do them so you salty....lol def doesn't mean overplaying because you only do them when shedding a breakdown or where properly placed...pocket before anything
come on man . first most gospel music is in 6/8 time ,once you get that feel down ,you build your groove or fill off the paradiddle. the key to any drum style is where you apply dynamics. i ve never loss a gig cause i couldn't play a fast lick.
