DVD 8 ROCK BEAT BUILDER 2 - icanplaydrums.com Rock Builder 2.pdf · Start out by playing a regular paradiddle between RH ... Since the last 2 exercises in the matrix ... In the final

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By Jack Bennett – Icanplaydrums.com

DVD 8 – ROCK BEAT BUILDER 2

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TABLE OF CONTENTS

Matrix RH 1 – Page 3





Bass Sextuplets – Page 8

32nd

Note Hihat Rolls – Page 9

Tom Beats 1 – Page 10



5/4 Time – Page 13





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ROCK BEAT MATRIX – RH PATTERN 1 The idea of the Rock Drum Beat matrix is to teach you many common rock/funk patterns both in a 16th and swung 16th feel. These beats will help you develop a large vocabulary to draw on in most rock/funk settings. Aside from regular straight rock feels, you will also be learning 16th grooves, half time beats, and half time shuffle beats. With ALL RH patterns, play all accents with shoulder of the stick on the edge of the hihats, all non accents with the tip of the stick on the top. Usually the only thing that changes is the hands, the bass drum figures remain the same throughout, and the snare (despite anything else it might be doing), always plays on 2 and 4. In this first example the RH pattern is a 2 sound level pattern, with accents on the downbeats, and sort notes on the 3rd and 4th 16ths.

Put that above the following bass/snare combinations

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ROCK BEAT MATRIX – RH PATTERN 2 In this next pattern we will pretty much do the opposite of the first. This time play the first 3 16ths of each beat with the RH. Only the first is an accent, which means the 2nd and 3rd are not. Play the accent with the shoulder of the stick on the edge of the hihats, then raise the wrist so that the tip of the stick may play the non accents on top of the hihats. This is the pattern..

Once again over the top of the bass/snare combinations.

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ROCK BEAT MATRIX - RH PATTERN 3 Next we will move the RH up on to the hihats and play continuous 16ths. This time the RH will come across and play the snare drum on 2 and 4. Make sure the RH is playing accents on all the downbeats, and that all the other 3 16ths are played softly with the tip of the stick on the top of the hihats. Here is the hand pattern:

Put that over the top of the bass figures..

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ROCK BEAT MATRIX – RH PATTERN 4 This next example is quite challenging. We are going to play a single parradiddle over the top of the rock beat combinations. Start out by playing a regular paradiddle between RH on hihats and LH on snare. We are going to use the 2 sound level concept. Play accents on the downbeats, and non accents on the 3 in between 16th notes. On the hihats, pay an accent by playing the shoulder of the stick on the edge of the hihats. All the non accents should be played by raising the wrist and playing the tip of the stick on the top of the hihats, whilst also dropping the stick from roughly 2-3cm from the hihats (further helping to create a softer sound). Here is the hand pattern..

Play that over the top of these patterns

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ROCK BEAT MATRIX – RH PATTERN 5 This is the first pattern that deals with the “half time feel”. Here we will play 16ths on the hihats, and play an accent on every 2nd 16th. Which means the pattern will look like this..

The technique used here is basically the technique you use when playing regular 8th note beats, but twice as fast. All accents on edge of hats, non accents on top..

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ROCK BEAT MATRIX – RH PATTERNS 6 & 7 The above pattern looked at playing a half time feel within a straight 16th context, next we’ll look at playing a half time shuffle. This effectively means we subdivide each beat into 6 per beat, in other words, sextuplets (32nd note triplets). In the first RH pattern we play on the 1st, 3rd, 4th and 6th sextuplet of each beat. The accents are the 1st and 3rd one. Like this..

In the last variation, we add in the middle triplet as a ghost note on the snare drum. This really fills out the “6 per beat” feel, and gives a nice underlying subdivision through the beat..

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BASS DRUM SEXTUPLETS

Since the last 2 exercises in the matrix were focused on sextuplets (groups of 6 per beat) let’s continue on with more sextuplet patterns, this time focusing on the bass drum. A popular technique for playing 6lets (sextuplets) on the bass drum is to leave the first note out and play the 2nd and 3rd notes on the bass drum. We’ll think of them in triplets rather than 6lets at this stage as it’s easier to read.To begin learning the technique play the following pattern.. This will get you used to playing the bass on the 2nd and 3rd triplet while maintaining the pulse with the hihat. From here try playing a backbeat on the 3rd beat, this will give you a half time feel. Once you have this basic technique down, its time to incorporate it into some actual beats, here they are..

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16TH NOTE BEATS WITH 32ND NOTE ROLLS. Just while we’re looking at a fair few 16th note beats, let’s look at playing 32nd note rolls within them. 32nd notes are exactly twice as fast as 16th notes, and in these exercises we play the 32nd notes with a double stroke sticking. We will be playing the 32nds as either 3 strokes, 5 strokes or 7 strokes. 3, 5 & 7 STROKE ROLL. In this exercise the last 16th has been turned into 2 32nd notes. Given that the 16th would’ve been played with the LH, the LH now plays both 32nds as doubles. To play a 5 stroke roll, double up the last 2 16ths. To play a 7 stroke roll, double up the last 3 16ths.

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TOM BEATS 1 – BASIC

Let’s now break things up and learn some rock beats focused primarily on the toms. The first section of beats are fairly standard 8th patterns, but the RH is playing on the floor tom instead of the hihats, you’ll notice it gives these patterns an entirely new flavour.

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TOM BEATS 2 – INTERMEDIATE The next group of beats use more ghost notes on the snare drum, and the RH moves around the toms more. In addition to what is written below you can also add the bass drum on beats 1 and/or beat 3.

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TOM BEATS 3 – ADVANCED In the final tom beats section we add more advanced bass drum figures..

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ODD TIME BEATS Next we’ll look at odd time beats. Time signatures like 5/8, 7/8, 9/8, 5/4, and 7/4 are odd times. This means they have a different number of notes and rests allowed in the bar total, as compared to regular 4/4 time. We’ll start by looking at quarter note odd time signatures like 5/4 and 7/4, as they are more basic than 8th note signatures like 5/8, 7/8 and 9/8. 5/4 TIME This means you’re playing 5 quarter notes in every bar. Seeing as we’re used to hearing 4/4 so much, 5/4 will sound like a regular bar of 4/4 with an extra beat thrown in at the end.

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7/4 TIME 7/4 time sounds like 1 beat short of 2 bars of regular 4/4.

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Let’s now look at some 8th note odd signatures, this is where things get really interesting! 5/8 for instance means you are allowed 5 x 8th notes in the bar. 7/4 means you are allowed 7 x ¼ notes and so on. 5/8 TIME

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7/8 TIME

7/8 is a nice odd time to play. Since it’s 7 8th notes to the bar it’s one 8th short of being 4/5 time, so it constantly feels like a regular bar is being cut short, and there are some interesting things you can do inside it. Let’s have a look.

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9/8 TIME. Again like 7/8 this is an interesting signature because it’s one 8th short of regular 4/4. 4/4 is also 8/8, so 7/8 and 9/8 are one 8th short, in either direction. In the case of 9/8, it sounds like you’ve played a bar of 4/4 with an extra 8th attached to the end.

Documents

DVD 8 ROCK BEAT BUILDER 2 - icanplaydrums.com Rock Builder 2.pdf · Start out by playing a regular paradiddle between RH ... Since the last 2 exercises in the matrix ... In the final