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Online Drum Lessons NYC

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The Gift

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Happy Holidays, everyone!

Here is my gift to you.  It’s a little motivational video that I think can help you.  The mental exercise I describe in the video did–in fact–literally change my life.

I don’t want to steal my own thunder so I’m not going to tell you that much more about it, except that I stumbled upon it when I was going through a bit of a tough time.

My path was not the one it is now.  I was playing drums, but not enough.   I was doing OK, but I thought I could be doing better.

I was making a living, but it didn’t feel like I was flourishing.  It wasn’t clear to me that I was on the right path.

But how was I supposed to figure out what the right thing was?  How would I know what to do?

Are any of you in a situation like this?  Could you benefit from a little help?

Well, that is my gift to you for the season.  It’s a great mental exercise, and it truly changed my life.  You can check it all out in the video. And if you want to jump directly to the part in the video where I explain the exercise itself and how to do it, just go to to 4:12 in the video, which is below.

The Rock Drumming Six: A Simple and Solid Drum Fill Idea

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The other day I was listening to Clem Burke, the drummer from Blondie. He’s one of my favorite rock drummers. The song was “One Way or Another” from the album “Parallel Lines.” Clem goes to town on this song–big 16th note drum fills, a really interesting and muscular drum break–it’s a great drumming song.

Then I went and checked out a live version on YouTube and noticed that live, Clem plays different fills from on the record. And they’re cooler. In fact, I recognized the key fill he uses in the breakdown section that begins at 2:34 in the video (embedded below): it’s RLRLFF.

I’ve put together a little worksheet on PDF with some examples of how you could use the idea (aka “Nasty Lick #124”), including the two main ways that Clem uses it in this live clip. Here’s the PDF: The Rock Drumming Six

Two of the examples, #1 and #3 are very close to what Clem plays. He’s definitely using RLRLFF, but his orchestration may be slightly different, and he doesn’t always use a flam like is indicated in #1 on the PDF.

Here’s how the examples on the PDF line up with the video. At 2:38, 2:44 and 2:50, Clem plays example #1. At 2:54, Clem plays #3. I included two other ideas that use RLRLFF as well (#2 and #4). Have at it and enjoy!

Here’s the video:

Avoid This Costly Mistake When Practicing Rudiments / Hand Technique

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Here’s something I’ve been talking about a lot lately. And it’s because it’s critically important. And it is overlooked in a major way, particularly among beginners.

One of the things I’ve noticed with some students, particularly beginners, is that they think that if they just put in a lot of hours practicing, their hands are just going to magically transform.

I’ve seen this often with the idea of working on one’s “weaker hand.”

There seems to be this belief that spending time on the weaker hand will bring it up to speed with the stronger one. Sometimes I get the feeling that some students believe that it’s all about the amount of time that is being spent working on developing that weaker hand (most often one’s left hand).

But there is a problem with that thinking.

If you want to watch my video on this, you can check out that out below, or if not, just keep reading.

If one doesn’t spend that practice time mindfully; paying attention to the details of the stroke; the physicality and feeling of it; the way the mechanics are looking; how the strokes feel and sound….and have a model in one’s head of what it’s supposed to look like and sound like and feel like….

Without having that kind of mindful method to your practicing, all of that time that you spend working on that weaker hand is very likely going to be a waste.

Even further; beyond it just being a waste, it could actually be detrimental to your playing and technique.

Why is this?

If you spend a lot of time working on your weaker hand and you don’t have a goal; a visual image in mind of what your strokes are supposed to look like, you’re just acting as if you’re blind.

You need to have that image in mind and then you need to be actively working to make the mechanics of the weaker hand MATCH that image by making physical changes that move the strokes toward the “ideal” strokes.

If the above is not what you’re doing, then the time spent practicing can do more harm than good. What can wind up happening is you can make that hand worse by ingraining some incorrect movement or simply reinforcing an already sub optimal motion into that hand’s muscle memory.

So keep this idea in mind.

Time at your practice pad isn’t going to solve your technique problems.

But time spent in a mindful way working towards a goal movement/stroke and making the changes required to move the mechanics towards that goal will help you improve.

Please consider this before “blindly” pounding out some exercises that you believe will help your hands improve.

As one of my heroes used to write, “Nuff ‘Said!”

Sonny Emory Complete Transcription of “Master at Work” Drum Solo

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Every since I first watched this solo, I’ve been obsessed.

It’s masterful. It’s become one of my favorite drum solos of all-time.

I’m guessing many of you might agree.

My friend Tim Buell transcribed it for me. Do you know Tim? Not only is he one of Nashville’s best drummers (and teachers), but he is also a first-class transcribing master.

Anyway, here is the full trancription: Sonny Emory Master at Work Drum Solo Transcription

And here is the video:

Enjoy!

There’s Nothing Wrong with Simple Drumming

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As I get deeper and deeper into the video course that I’ve been creating for beginners, I’ve  been reminded of quite a few things.

One is that even though it’s almost a cliche at this point, the notion of “focusing on the groove” and “playing for the song” really is of the utmost importance.  Truly.  I mean, I’ve always known that, but it took me many years to fully implement the idea into my drumming life and really, deeply understand and believe it.

And the reason that I now fully believe it at the core of my being is simple.

The more I play this way when I play with people, the more I get hired and the more money I make.

Not to mention the fact that I have gotten some over-the-top kind of compliments about my playing that I kind of can’t believe.  You know what I mean about “not believing” it?  That little negative part of my brain thinks, “Jeez, don’t listen to that, they don’t know what they’re talking about,” or “They don’t really mean that. They’re just being nice.”

I hope this doesn’t sound arrogant; I do think what I’m saying could be perceived that way. But, I am honestly just telling you about some things that have started happening in my drumming life since I’ve applied these principles in a deep and meaningful way.

I considered not making the video I’m going to share with you today.  Mostly because of the fact that “play for the song” and “it’s all about the groove” are repeated so frequently by drummers as to have diminished the power and truth of these statements.

But also because the video shows me playing a song very simply. No fancy fills or pyro-technics. I’m just laying it down with a simple eighth note groove.

And then I thought; so what? Does that simplicity make it “bad drumming?” Is its value less than some chops-based odd-time signature progressive rock masterpiece?

The answer is a resounding “no!”

It’s value is clear. The reaction I get when I play that way is dramatic.

And so, the results that I’ve seen in my own life have made me want to put this out there, regardless of what a fusion-loving drummer might think.

So fuck it. I’m saying it.

Here goes: “There’s nothing wrong with simple drumming!”

Ah, it feels good to shout that!

I also had another reason for moving forward and publishing this post and video. You know what it is? The current online world needs to hear this!  

The social media dominated cybersphere puts pressure on musicians (and drummers in particular) to be chops heavy and play complex things in a massive game of one-upmanship.

I think to a certain degree that this online social media environment impacts the choices that drummers make in their playing. And that’s a bad thing.  Because the real world, where you play with other musicians and make music as an ensemble, doesn’t necessarily reward chops all day every day (although it does when those chops are musically appropriate for the situation at hand).

The real world rewards groove.

OK, OK. So, I’ll get off of my soapbox now. You get the idea.

But it needed to be said. Below is a video I made where I discuss this concept briefly and then play-along with a song by MANCIE (a rock band that my wife, Andrea founded and that I am now the drummer for) that demonstrates the notion.

So remember: there is nothing wrong with simple drumming!  In fact, it will get you more gigs and probably make you more money.

Here’s the video:

 

 

Want to Sound Like Keith Carlock? Try This Drum Lick.

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Want to Sound Like Keith Carlock? Try This Lick.There was a good year or so that I was obsessed with Keith Carlock’s drumming.

And who could blame me? Keith has got it all: a killer pocket, chops for days, and a truly unique sound.

There is a particular lick that Keith plays a lot, and I’ve written about that before. You can find a transcription of his “signature lick” at the following link: Keith Carlock Signature Lick Transcription

I don’t really like to play other people’s ideas verbatim, especially when the idea in question is so clearly identified with a particular person. So in this case, instead, I came up with my own way of playing this Keith lick. And that idea–a “spin-off” of Keith’s lick–has remained in my vocabulary since. And I never get “accused” of sounding like Keith Carlock either (although that wouldn’t be so bad, right?).

Let’s get into it, shall we? By the way, if you’ve been following our series of “Nasty Drum Licks,” this one is #133. If you want to check out more, just click here: More “Nasty Licks” Posts.

Below, you’ll find a video where I show you the idea, slow it down with half-speed video, and then give you the transcription within the video. At the bottom of this page, you’ll find a link to download a PDF with the lick on it so you can print it out and work on it in your very own practice room.

Now, here’s the transcription: Nasty Drum Lick 133

Alright! That’s it for today. Let me know this lick works out for you…

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PS – Imagine that you could regularly get these Nasty Licks delivered to your email inbox every time we post one. Great drumming vocabulary to raise your drumming level–free. Go do it–just type your email addy into the form below, and click that button.




A Six-Stroke Roll and a Linear Drumming Idea Walk Into a Bar…

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Welcome to “Nasty Drum Licks” #124 and #125.

The six-stroll roll in this lesson refers to the left-handed version (LRRLLR) and the linear idea is something I’ve been playing for a while now (FLRLFR). I came up with the linear thing as a way to play something kind of slick-sounding while grooving on the hi-hat, snare and bass drum.

The reason these two seemingly unrelated patterns are presented together is that—as you’ll see in the video—they work together really well. It’s very natural to play one right next to the other.

The ideas work individually really well too.

Check out the video and you’ll see what I mean. In it, I play the ideas many different ways; connected, not connected and with several phrasings. Here we go:

Here’s the PDF with all the ideas I play in the video written out note-for-note: Nasty Licks 124 and 125.

There are also two bonus ways of playing them (#’s 8 and 9 on the PDF), that I don’t play in the video.

Check it out and let me know what you think in the comments here or on YouTube.

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PS – Imagine that you could regularly get these Nasty Licks delivered to your email inbox every time we post one. Great drumming vocabulary to raise your drumming level–free. Go do it–just type your email addy into the form below, and click that button.



Nasty Lick 38

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Are you ready?

I am about to give you one of my Nastiest of the Nasty Licks!!! Nasty Lick #38 is one of my favorites. It pretty much ALWAYS gets a reaction. Just check out the screams from the audience when I launch into it in the video below. It’s a live video of my rock band MANCIE playing at Spike Hill in Brooklyn, NY in November of 2011.

Mark Feldman performing with MANCIEIt’s a cool song and the band is great, so check it out. But if you want to go right to the drum solo, it begins at around 2:52 in the video.

I begin with some rudimental type stuff on the snare, work in some hand/foot combinations, and then launch into Nasty Lick #38. You can skip directly to Nasty Lick #38 by going to 3:03 in the video.

The Video: MANCIE, Live at Spike Hill

The Transcription

Alright! Want to know how to do that? Just print out the PDF by clicking here: Nasty Lick 38 PDF

Analysis of Example #1

The lick as played in the video is written out in example #1. The pattern—three groups of five notes–is played a total of five times. I move counter clockwise around the drums, with the first note of each group of five on a different drum: 1) snare, 2) floor tom, 3) high tom.

That accented note is followed by two ghost notes with the left hand and then two fast bass drum notes. Note that at this part of the solo, the time is “free.” I’m just going off, playing the lick a bunch of times and then improvising as I see fit. It’s an open solo, so playing “freely” is always an option. I cue the band to come back in, so I don’t have to worry about the pulse.

Analysis of Example #2

Example #2 is another way to use the lick that I rely on frequently. This time, we play completely in time. In this case, each group of five takes up the space of three 16th notes. I’ve included a measure of accented 16th notes below the lick so you can see how the phrasing lines up. The first note of each group of five lines up with the 16th notes shown below example #2 as follows: 1) the “1,”2) the “a” of “1,” 3) the “and” of “2,” 4) the “e” of “3.” Finally, you can easily resolve the lick by playing an accented note on beat four with your right hand.

Let Me Know What You Think!

I want to hear from you! Please leave comments here on the blog so you can ask questions, give your opinion, or tell me how you are using this lick….

 

 

PS – Imagine that you could regularly get these Nasty Licks delivered to your email inbox every time we post one. Great drumming vocabulary to raise your drumming level–free. Go do it–just type your email addy into the form below, and click that button.



Nasty Drum Lick #128

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Last week I posted a video of my playing along with Gary Husband’s song, “Groove Grease.” There’s an eight bar solo in the song and I’ve been getting asked about one of the ideas I played in that solo. Hence, Nasty Drum Lick #128 was born!

The idea is a sixteenth note triplet phrase that uses a six-stroke roll with two bass drum notes and one tom note thrown in.

Watch the video (it’s only 1:11) and the lick we’re talking about today is played three times beginning at :27 into the video. You won’t be able to miss it because text appears on the screen saying “THIS IS THE LICK” when I’m playing it, and that text disappears when I start playing a different idea.

Here’s the video:

Now, here’s the PDF with the lick written out, note-for-note including sticking:

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PS – Imagine that you could regularly get these Nasty Licks delivered to your email inbox every time we post one. Great drumming vocabulary to raise your drumming level–free. Go do it–just type your email addy into the form below, and click that button.




Improve Your Single Stroke Roll Speed with this Killer Exercise

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If you want to improve your single stroke roll, this system, if practiced consistently, should help you immensely.

A lot of what I share here on the blog is a result of my own practicing, gigging, and recording experience and this practice system is no exception.

In addition to explaining the exercise, I’m offering you a downloadable PDF chart that includes dates and spots for your metronome markings and other info you’ll need to keep track of your progress.

The PDF is called “Technique Builder Worksheet #1,” and you’ll find it here: Technique Builder Worksheet #1

But first, let’s discuss the ever-elusive, but oh-so-beautiful single stroke roll.  Let’s begin with inspiration.  I always work harder when I’m inspired.  Usually, that inspiration comes from music and drumming.

Watch this video of Sonny Emory and you’ll see why I’m excited about the single stroke at the moment.

When Sonny plays that roll at the beginning of the solo, he holds it on the snare for about five full measures. That’s 32nd notes, at around 107 bpm. That’s not easy. He’s using french grip.

So, I’m working on that. But you can work on using whatever grip you are most comfortable with or find most useful.

I like to play my single strokes using either American or French grip. At the moment, I’m focusing on french.

Let’s get into the method. By the way, this system comes from Kim Plainfield’s great book, “Advanced Concepts” and is based on ideas from the teachings of George Lawrence Stone and Joe Morello.

As most of you know, when working on rolls, you must do work on each hand separately. If one of your hands is weaker, and usually that’s the case, then that weaker hand limits the roll.

If your left hand can only play 16th notes at 90 bpm but your right hand can play them 96, your roll will be limited to the slower number.

The exercise works by breaking up your hands and then putting them together again.

Let’s say you’re working on a 32nd note roll.

The goal is to be able to play 16th notes with each hand– separately–for 100 counts at a given metronome marking.

Next, put your hands together and play your single stroke roll (now you’ll be playing 32nd notes), with the same goal: holding the roll cleanly for 100 quarter notes.

Keep in mind that above a certain tempo it will impossible to hold the roll or the 16ths one-handed for anywhere near that long. That’s OK and it’s expected. We’re training here.

For the 32nd note roll, begin at 60 bpm and move in increments up to 140 or so. Yes, at 140 you probably won’t be able to do any of this, and 60 will feel way too slow, but do it anyway.

For the 16th note triplet roll, start at the low end at 80 bpm and work your way up to your max of somewhere around 185. Yes, I know that sounds impossible, but if you can do one-quarter note of a roll at 140 with 32nd notes, the equivalent speed for 16th note triplets is actually 186.66!

You don’t need to work on all tempos all the time. Try working on 8 at a time. When you can easily (and consistently) get through 100 counts at a given metronome marking, cross that number off and move up to the next number as your lowest marking.

Start with 60 to 100 as your first eight tempos. Let’ say you can easily get to 100 counts on every tempo up to 92. If that were the case, next time you practice, begin at 92 and work from 92 to 120.

As I mentioned earlier, you’re going to hit metronome markings that are impossible to hold a roll for 100 counts (or even for 4 counts). That’s OK. Work on it anyway. Do the exercise and mark down how many beats you can hold the roll for.

You’ll be surprised at how this increases your overall single stroke roll endurance and speed.

Don’t forget that speed comes from relaxed, efficient movements and from using bounce. Watch your form and grip. The slower tempos are great for working on your mechanics.

Also, notice what happens when things break down. One of your hands will usually have some sort of form breakdown as the speeds increase. But you may also notice faulty form at slow tempos. That’s OK. Just fix the form (I know, I know, easier said than done) and that will help you improve your roll and your overall technique.

Seriously, though, work on that form. This exercise will reveal those problems–take advantage of that and fix them.

Pick a metric–either 32nd notes or 16th note triplets–and commit to the method for 30 days. Watch what happens.

Let me know.

Here’s the worksheet again, just for safe-keeping: Technique Builder Worksheet #1

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