**all of these exercises require learning the pattern and playing it straight through the entire track. no deviations, no fills, no crashes.
can you keep these grooves steady?
can you keep your attention and focus without faltering?
the simplest tasks require the most energy.
PARTNERS IN TIME "REGGAE"
ex. 1
a straight one drop with the added triplet on the hat.
ex. 2
now adding 16ths into the hi hat groove with a simple bd and snare pattern.
ex. 3
a trick to get a "tougher" hi hat sound is to use the butt end of the stick in the right hand and dig the tip of the stick into the hat as opposed to using the neck of the stick. notice the simple syncopation on the bass drum part, this creates that "reggae skipping" feel in the beat. also the odd snare fills every once in a while with no crashes, very effective for this style of music. also pay close attention to the subtle opening of the hi hat on the "and of two", it's not a harsh big open sound.
ex.4
four on the floor bd and side stick.
a little trick i use in the studio when doing these reggae side stick grooves is to raise my snare drum up so i'm not hunched over the snare. i also like the consistency of a tight hi hat so notice that my left foot is off of the hi hat pedal. this allows me to focus on only three elements and tends to help me lock down the side stick patterns. i have cranked the clutch down and tightened the hats together to get a very crisp even sound. you'll also notice i'm using a pair of mismatched sticks. i like the crisper sound of a nylon tip on the hats, for certain reggae grooves, and a beefier side stick so i'm using a vater nylon tip blazer maple in my right hand and a cooperman mike rosen hickory #6 in my left hand.
ex. 5
classic side stick and bass drum "one drop" focus is on beat three.
the real trick/technique here is to play on the tip of the stick on the downbeats and on the "ands" you're hitting the hat with the beefier neck of the stick, accenting with the keyboard player who is doing that offbeat "skank" rhythm.
also notice that i'm intentionally leaving the side stick off of beat "3", every other pattern or so, to let the bass drum stand out, a very common stylistic flavor in a one drop.
ex. 6
ok kids you can now hate me.
this is a bitch of an exercise but will very much strengthen your right foot and test you to keep an even 16th note pattern for 3 minutes. keep the hands light and relax your breath. notice the tension in your body. do not tighten up your jaw, be aware of all senses here.
ex. 7
a ROCKER REGGAE groove.
steady 8th notes in the hat.
a few fills on the snare.
ex. 8
a variation on a STEPPERS reggae groove sometimes called "MIX IT" where the snare plays this specific syncopated pattern over and over with occasional breaks or little fills or flourishes. bass drum usually is four on the floor and the hat is doing a consistent pattern on top.
CAN'T STAND LOSING YOU / STEWART COPELAND (iso drums)
now here is all of the rock and reggae thrown into a beautiful percussive blender. notice the unusual and unorthodox drum sounds here..... this is the beauty of stewart and these recordings: the only place these drums fit are in this band and on these tunes.
this is a special performance that needs a few listens. listen for the one time he hits a wood block. brilliant.
b
21 окт 2024
