Great lesson. When you said "I was stuck on the same kind of sixteenth note triplet fills" and then demonstrated a few, I thought 'that's exactly where I'm at.' Some of the exact same licks. So excited to try this out!
I remember seeing Vinnie live in the 80's, and among all the stuff I couldn't understand, I did catch a particular sixteenth note triplet fill (thinking 6 notes to a quarter at a reasonable 120-ish tempo). He doubled cymbals with his kick, but just focusing on the kick and hands linearly, the 4-note pattern was displaced, "Stick Control" style. Writing the triplet grouping to see visually on the page, with K=kick, the two-sextuplet + downbeat pattern was: KLR KKL RKK LRK K Just like in Nate's lesson, it's a 4-note pattern, here played three times over two quarter note pulses, then the final downbeat. It's kind of a 3 beat "hyper samba" over the two quarter notes.
I do a lot of this stuff more intuitively than anything else so it's nice to have an actual analysis of what the heck I'm trying to accomplish. Something to practice in this isolated times.
I've been following your content for a while. Helped me grow as a drummer and for that I am grateful. Having said that, I would urge you to introduce on-screen cues along with the pieces you give when citing examples for a certain idea. It would be a great help insofar as consolidating the points you try to make. Like maybe dots/visual cues counting along the grooves. I would also be very invested in a masterclass on "rhythm appreciation" maybe? Or how a drummer of the western tradition would perceive a piece. Cheers
So I've been watching these videos for months... And I'm a singer. But honestly this is the first time I was truly clueless about what was happening. :( I guess not being a drummer eventually shows it's limits somewhere. Still, I watched the whole thing!!! And I've saved it to come back to in a few months.
Something I've enjoyed doing is taking the duple stick control patterns and playing as triplets which is kinda what you're talking about here. Keeping four on the floor really contrasts with the half-note triplet outline. Makes it stick out as this really massive polyrhythm which is easier for an audience to notice. Playing really linearly is something I should work on more though. I need to get my bass drum into my melodies.
Extremely advanced lesson. Literally the bread and butter for how to get those gospel chops. I guess it’s all about watching it slowly and trying to get it on your own time although I would love a lesson
I always found counting this way One triplett , two triplett to be slightly clunky , I mean it doesn't fall of your tongue easily . I kinda prefer a variation of 16th note counting by just going 1 an a 2 an a, 3 an a so on and so forth. Or another variant is 1 e an 2 e an 3 e an . They just are much easiier to focus on what your playing than what your saying !! That's my 2 cents !!
That permutation thing you mention is something I've been coming across and realizing lately. At first it was really annoying because I would get lost in the cycle over some time I started to realize how valuable it is for blending mistakes and being able to improvise through them to prevent having to stop and start over.. even so too much of it can cause too much confusion and end completely lost to the point of starting over in order to get back to the origi al exercise..One thing that permutation is great for is knowing which beats can link/ fit together easier with better flow and less of a seam so it doesn't sound so choppy.. i get these concepts but in practice i still feel like a beginner..
Thank you...oh and by the way, I got a chance to witness Chris Coleman live playing for Chaka Khan and I also had the pleasure of watching Aaron Spears live playing for Usher and both were extremely entertaining to watch. They both were flawless.
One thing that helped me a lot in this kind of thing was to just be able to play trips with a double stroke roll. Easiest way is to start with a 12 hit pattern over a metronome. Accent every 3rd hit to keep your brain in gear. LlrRllRrlLrr
Putting 3 groups of 4 over 4 groups of 3 is a great way of making 12/8 sound like 3/4 and you can mess with people's minds with that. Selectively doubling triplets is a common part of a lot of samba percussion calls.
@@8020drummer Well thanks. I'm really enjoying your videos. I'm a returning drummer and coming back with a lot more wisdom. Watching these only helps. And the drum set up video since I know bugger all about drum set up.
“My first thought was I SUCK!” LOL...that’s me! I had just sat down this morning to work on my KLR (or KRL for righties) triplets, and here this video was. Thank you.
I purchased the roadmap with intentions of buying the course, but I noticed that I could only download it 3 times. Does that mean I only have access to the material 3 times and then it’s gone? I would only buy a course where access was unlimited. The
hey man! from NYC and i drum in bands that headline rooms all over the boroughs. would love to meet up and talk drums when this is all over with .. lemme know if youre down!
“How would I do that Nate? You’re all the way over in New York City, wherever that is, and I’m here, in greater Dubuque...”😆 oh, wait, I live in greater Dubuque...hmmmm, maybe its time for me to sign up for those lessons. By the way, ten bonus points to anyone who knows where Dubuque is!! 👍
@@RandyBrooksKnows which is about 200 miles from Dsm where I live! Too bad we cldn't all three get together and hash this out! Lol Props to IA drummers!
Thank you, you dont know what you just did for me. Ive been suspecting a double kick or a double R or a double L. Ive been struggling to speed up the standard RLK or LRK to a mountain of frustration. So basically its a lie within a truth. It’s actually not a triplet, its 4 beats 3 times 🧐 Its a magic trick. So basically the RLK or LRK is little more than a good exercise in separation and syncopation. You can use them in spots for color but if you really want to blow some minds double up the kick🦵 🦵. I get your statement about your triplets getting “stale”, thats exectly where I am. I knew there was something that the 1100 drumming videos Ive watched wasnt telling me. My mind is blown, I just worked it out for 5 minutes and a giant weight has been lifted off my shoulders. Months of frustration just ended. Any combination RLKK, LRKK, RRKL you can think of works. I can’t thank you enough for this video.
A really fast way to explain this would be to just reference the original "Art of Bop Drumming," exercise were you play 2 left hand and 2 right foot as 8th triplets with no rests under the regular ride pattern and hi-hat. This way people can hear the regular pulse and the 4 over 3 thing at the same time.
Nate your stuff is really great, but it sometimes makes me feel like SpongeBob SquarePants (you) is trying to teach Patrick Starfish (me) how to successfully open a jar of pickles..😂
The saddest thing is, when you are in a band, those chops don't fit in the music ( cover bands/top 40s) I am a more is more player who loves Zach Hill and Mahavishnu Orchestra, but I also work as a player a lot, and in my case, having brutal chops only work when they say: on the drums mr (my name) and I go for it. Maybe in the USA drummers got the chance to play that crazy stuff. The chop thing is for fun and I love it, just like you, but I barely have the chance to put them in a practical situation.
Why couldn't it be triplets? What if you had one triplet, a group of two double-pulse notes, and the third triplet, then repeated this four times in a bar? What defines what's a triplet is its relationship to the primary meter, not the particular choreography of the lick.
I hadn't a clue at the beginning - trying to decipher the timing. I mean - I know a triplet when I see one - but fast drumming? non. Glad I stayed to the end - I got a good deal of it. Thanks.
