BEGINNER Drum Lessons - Basic POP Grooves! (8th Note HiHat Grooves) | Dex Star | Skillshare

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BEGINNER Drum Lessons - Basic POP Grooves! (8th Note HiHat Grooves)

teacher avatar Dex Star, Professional Drum Lessons

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (42m)
    • 1. 0- Introduction (8th Note HiHat Grooves Explanation)

      3:01
    • 2. 1- Basic Pop (8th Notes on the HiHat)

      7:12
    • 3. 2- Double Kicker (Adding a Second Bass Drum)

      4:46
    • 4. 3- Triple Kicker (Adding a Third Bass Drum)

      5:00
    • 5. 4- The Inverted Double Kicker (Moving Kicks Around)

      4:32
    • 6. 5- The 1, 2, Busy Shoe (Joining Phrases Together)

      5:38
    • 7. 6- Not Quite Drum n Bass (Leaving Space Between Kicks)

      6:04
    • 8. 7- My Foot Hurts (Bass Drum Variations)

      6:01
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About This Class

Welcome to the Basic POP Grooves Course! Designed for Beginners and New Drummers, this course will teach you the basics of creating Grooves, which are the foundation of music and a key part of Drum Kit playing. Whilst these Grooves are common in Pop Music, they can be played with a variety of musical styles, and the aim of the course is to build up your independence with your Bass Drum Foot! Good Luck!

Meet Your Teacher

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Dex Star

Professional Drum Lessons

Teacher

Hello, I'm Dex Star, a Drum Teacher from the UK. I have been teaching drums for over 15 Years, and  taught Thousands of students Privately and Millions Online, I have made over 800 Video Drum Lessons, and I will be releasing my Exclusive Drum Courses here as time goes on, which have been written and refined throughout years of experience.

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Transcripts

1. 0- Introduction (8th Note HiHat Grooves Explanation): Heather guys, how's it go index star here and today we're looking at some basic pop groups. So this is the kind of introduction kind of video to this course explaining exactly kinda what's gonna be going on and what you can expect from the rest of the course. And then we're gonna get onto it kind of exercise, want access to all the way. And when it will go here, we've got seven exercises we're gonna have in this one. So a whole bunch of pop groups in order to get you ready for playing in a band. So again, this lesson leads really nicely off of the lesson titled your first lesson, which I introduced kinda your initial first, kinda what we call a quarter note group where we played one to want to suicide like high hats at this speed. And we're gonna be getting in this lesson into what we call eighth-note groups. So again, let me quickly explain exactly what's going on with that. So here's a metronome, 80 BPM. So that's a metronome 80 BPM. So we have 1234 and then what we call coordinates, we're splitting a bar into quarters, so 1234. But in these lessons, we're basically going to start looking at eighth notes, playing grooves with eighth notes on the high hat. So rather than 1234, we're gonna take each one of those notes and split them into two. So we're going to count it 1234. And so you can see we've now got eight notes rather than quarter notes, because that's why we call them eighth notes, because we have eight of them. How many 16th notes or in a bar, you guessed it 16. How many 30-second knows you're in a bar, you guessed it 32. So it is pretty self-explanatory. To this point. Later on it gets more complicated, but we'll get them. So they are eighth notes. So if we have a metronome, 80 BPM, 123, that's going to be this fast. 1234 and twice the speed of two notes per-click. Or you can think 121212. So that's going to help us get the hang of playing along with a metronome. And that's what we're going to be doing throughout this course, is playing 1234 and on the high hat. So that's going to be the main factor. And then we're going to just kind of slot these bass drums and snag rooms 1234 and giving us this kind of group. And then throughout the course we're going to add some extra bass drums, creating some more funky little grooves that just that. And again, we'll, we'll play along with the metronome. We'll speed it up, giving you some, some really cool little pop groups that you can use. Not just in pop music and music and rock music and pretty much anything. But just gets you started playing some grooves which we're then going to use in future to put some films and things against as well. Now, this course is available to members. So again, this lesson is available to the general public. So if you're watching this, great, if you want to watch the rest of the course, you can sign up to the members section, you get hold of that. But if you're already a member, jump onto the next video. Let's dig in and see what we've got here. 2. 1- Basic Pop (8th Notes on the HiHat): Heather guys decks here and we're on to our first exercise of the basic pop groups cost. Now, if you've not seen it, there's an introduction video just before this won't wear explained the difference between quarter notes, which are four beats in a bar, and an eighth notes, where we split each one of them too. So we've actually now got eight notes in a bar, and that's essentially what we're going to be doing for all of these groups. Now, I'll just jump in and see what's going on with this group. So for this particular one, we're going to have four notes on the high hat still played is eighth notes. Now this is where the cannon note rate thing, it gets really confusing. And I do have a lesson available on the members section, which kinda explains counting in a bit more detail half ago it less, I think you'd be able to get these grooves, but if you're struggling with the understanding of the theory, go check that lesson out. I've actually got whiteboard in it and I kinda explain exactly what's going on with eighth notes. So, but let's, let's jump in and just have a go at the groove and kind of bear with me on the theory for now because the brain stuff will come as you've got something to apply it to. So we're going to be doing this. We've got four high hats. So we've got 1234 played with the right hand still. And then what we're gonna do is we're going to line the bass drum, which is the, again the right for on the big drama before. We're gonna play that with the very first high hat. So we're going to play a hi hat with the right hand and bass drum at the same time. Followed by the next note which is at a high hats on its own. So that's the first half of this group. So again, high based on together, followed by a hi-hat RNA-seq. And then we've got high hat and a snare drum together. So again, hands crossed over, right-hand high outlet and snare drum, same time. And that's going to be our third beat. And then the fourth B is going to be high on it's own again. So the second half, snare drum hi-hat, followed by the high half. So if you did the lesson that was titled your first lesson, the groove that we learned that was based on high hat, german higher. And we played it one to one. Now that groove Just there is actually this group. There's just more hi-hats in between. So you've still got your 1212, but in between each of those beats, you've got the high hat on it's own, which we're gonna call ends, because we're getting into eighth notes which are faster and don't worry about theory. So we have based on high up. So that was the one that we didn't hear the grief. And then you've got high on its own. And then we've got snare drum hi-hat that was beat two. And then if I hadn't inside, so it's just taking that first group we learned 1212 and adding more house, 12341. First grief, we let now this roof. And again, just to get the hang of the counting, train counts at 1234 and ANOVA and got the first half of the bar. Basically a whole bar of music is going to be four beats along or 8 eighth notes long, bear with me. And again, we'll double this up. So if you play this twice, you get a whole bar, 12 and then play it again, 34. And so that's the way that we count rhythm and again, bear with the rhythmic stuff, with the theory stuff. You will get it. You will understand that you will get it. So can again happen with me. I used to watch like drum DVDs and stuff when I was learning people that say like 32nd note, cool Robert shoppers. And I'm like, what is that? And I just go with it and learn the pattern. And then gradually the theory would start to see Penn, Okay, and I'm very slow with this kind of thing. So again, stick with it. You will get it. If you don't understand anything, stick it in the comments are trying it back to you guys. And we'll, we'll get through this together anyway. So we've got the groove, just that. So Again, thinking, splits it in half if you're having trouble with it and have a gap. And then 22 based upon IS higher than its own snare drum hi-hat on its own. So 12 and gives you brain time to think and then work up to playing it without stopping that, keeping a slope, okay, there's no rush. And then when you've got a groove a bit, you can start to speed it up. And you'll find this will fit along with most pop and rock songs. So the goal that we're gonna do with this is to be able to play along with the metronome at, will start with 60 BPM and then 80 BPM. So if I get the metronome Here, you can also play along with me. So here's metronome here. So I feel really slow, but we're playing an eighth next, which is twice the speed of the clip. So that's quarter notes, we're going 1230. And so if we try it along with the click sound like this, 34 here we got 1234. Again, don't worry too much about the counting, just focused on the bass drum and snare drum. With the higher hi-hat should be nice and solid. Careful not to speed up or slow down. There it is. So again, that's 60 BPM. And again, one thing that throws people off playing with a metronome is that, OK, I can play with the metronome that playing 123, you've got, you've got the beat with the click, but then it's the one in-between. It feels like it's floating in midair and you feel really exposed. But stick with this even if you find that you speeding up and slowing down, because it's all about rhythmic awareness. This is the most important thing on the drumming is timing, and it takes time to get this right, okay, so if you feel like I just can't play with the metronome digit for now again, come back to you, keep Nochlin threat. But the main thing to get from this lesson is playing this groove Just at any speed to start with, and then gradually gain control and be able to play it with a metronome. So that's 60. And if you guys are comfortable with that, and again, you don't need to get this to 12C in order to move on to the next lesson, just move on anyway. But for those of you that are trying to absolutely nailed this group, here's 128 twice the speed. So quarter notes. But we're gonna go even faster at twice the speed of the click. Eight notes, 123. Here we go. And there we got enough. Anyone that struggle into play that tried just the right-hand. It might just be that you're right hand's not quite quick enough. So try and get that with the Clicked. So 12341234. And so trying to get the right-hand width click first, because if you can't do that, then the grooves not the problem is your right-hand speed, which again, something you build up over time. And then if you are comfortable with that, but you can't play the groove, then it might be based rooms not quite lining up. Deconstruct it, try at slower tempo. Again, we've gone from 60 straight to a 120. Okay? This little, this tempo isn't between stick imaginary model, try and play along with it. If you find it's off is all practices all time. You're investing time into this instrument and I know you want it now, but it's all a process, okay? And you will get it. You'll always get it. The only time you won't get it is when you stop and you stop, give up, you'll never forget it that if you keep on continuing, trust me, you will get this. So that's the first group had just they're, so have some fun with that one guy. So that's the basic pop group. And then join me for the next video, which is going to be on the double kicker, where we start adding some extra bass drums in their sees. It. 3. 2- Double Kicker (Adding a Second Bass Drum): And the guys I was going to write, we're on to Exercise two of our basic pop groups costs. And this is going to be the double kicker. And yet the names get progressively worse as you go down the playlist here because you'll see the next few groups that he came up with a stupid names. Ok, let's jump. So same as we had an exercise. Want we're playing for hi-hat notes and we're counting at 12 aunt. And again, we're just doing half a bar here. We'll double it later. And we're going to be playing a bass drum now with the first two hires. So go hi-hat base drawn together. Hi, I'm bass drums together again. And then we've got both hands high and snare drum. And then the very last note is just a hi-hat on its own. So note wise, pretty straightforward, but began pulling it off smoothly. That's where we're gonna put the time. And so we're going to try a couple of those issues. First thing to practice, just those first two, base German hi-hat twice. And try and get comfortable. They're just playing them both. And then you gotta bring into snatch them hire, followed by hi-hat on its own. Now troubleshooting tip, I've taught this group for years. And one issue people tend to have sometimes is when they get to that kind of Third Eye hat, Note that playing bass based and then you have snare drum hi-hat together. The latchkey play a bass drum with it. And all three limbs were kinda activate, but you're only looking at your hands and your right foot will start to try and do its own thing. So again, it's all about control here. Keep an eye on you bass drum, even though you're busy focusing on your hands and make sure that there's no notes kind of firing and going off when you don't want them to. Again, it's all about control. If that is happening, you've got to slow it down. So slow it. Focus on every note and make sure you're playing the right things. Leave a gap in between, even if you go bass, drum, facial, chill out, think about it. Oh yeah, there we go. That's the next step. Don't try this at again two tempos that we're going to start at 60 BPM and at a 120, which is a massive jump. So if you don't get it today, Don't worry about it. This is something I want you to build uptake. So 61st of all metronome quarter notes were an eighth notes. 123, here we go. 1230123. There we go. If my talking through you off a little bit, my apologist, but again, talking is not as bad as guitarist and try a new guitar solos in your face when you're on stage. That's really distracting. So again, getting used to me talking at the same time. And so getting you ready for the big yep. Okay. And also if the audio cuts out a little bit, that audio interface has this little glitchy thing which happens every so often. But again, keep playing lock and you will get it. Technical stuff anyway, right? So that's the kicker at 6120. Now, here we go. Stick with me. And again, if you can't get this, don't worry about it against not with your right hand to see if that's playing along the same speed. If not, take it slower. So we were at 60 or 70 or 80, if you're talking about Go 75, 76, building opened increments. One twenties, I gold tempo, which would give you access to a lot of cool pop songs and rock songs. Here we've got 1234. And keep it relaxed. She usually the right-hand that burns out first. The trunking, you're omniscient, relaxed on fluid. Again, you can see there I've got my grip really loose on my stick. Nice and relaxed and that's gonna help me to play it faster. Again, you can come off from the rest of you trying to get more into your fingers, which is tricky. You might be using your arm, like, why can't I play faster? Because your elbow is about to explode. So again, try and get it from your elbow into your rest a little bit. And again, key grip very list. You don't actually grip a state. You more Guide the stick to the, to the drummer for the symbol. So really relaxed and start paying a bit more attention. So you grip, if you're struggling with that, get into the rudiments section. We start looking at like single strikes, doubles in a bit more detail. And we start talking about kinda how to hold the stick and keep our great cities stick tricks. I have a playlist on that as well. But that's not important at this point, is it will say, and have some fun with that one guys, that's a double kicker. And then we're gonna move on to the next video. Number three, the triple kicker. Good luck. 4. 3- Triple Kicker (Adding a Third Bass Drum): And there guys, right then we're on to Exercise three of our pop groups, cause this is called the triple kicker. Now, you're probably thinking pop groups that didn't sound much like pop music. When you speed this up, all of these groups can start sounding like they should belong in like a rock band. But again, it's because they're very similar. Just kind of increase the speed, make it a bit more aggressive and Rockwell. Okay, you guys used to think I was cool and then I did that. Write triple kicker. Let's give this a shot. So you can see now, still got the four hi-hats along the top 12. And snare drum is still with that third hi-hats accounting 12. And you can see every of the beets now got a bass drum. So we have three bass drums, but if there's a gap on the third hi-hats, so base room and I got together. And again, that's gonna be the first to. And we've got the snare drum in the high hat and the final one, bass drum hi-hat. Now, here's what people get this wrong. They play through this. And because you've got this mentality of Oh, every beats, got a bass drum, you start playing a bass drum, but you play them with the snare drum. So careful not to do this. So basin, basin and then base higher and snag them all at the same time. We don't want that. If you did play that, it would sound like this. So I've got bass drum on every beat that high out every beat. Snatch them a third one. But you don't want that, okay, could control thing. We want to learn to not play a bass drum with astronaut room. There's times when you do, But for now, we're trying to bring it out just to help us get control of this pain in the instrument. Right here we go. So we have based on bass and snare hi-hat, base in high hat. You could think base, base, base. So that's the phrase Nazi. But here comes the trouble. Why I've called it the triple kicker. When you repeat it, you've got to base them on the end, but you've also got a bass drum at the beginning. Meaning you've got base, base, do bass drums, snap. And then this last base drop, followed by the first two bass drums again, gives you three bass drums in a row, which is why when you repeat it, it sounds like you've got three nations, 123123123. Yeah. You do have three based rooms at the same time. Uh, but we'll kinda one after the other. But when you counter, it's two bathrooms and then one at the end. So it's more of a head thing getting your head around that. But eventually you do go to bass, bass, bass, snare, bass drums interact. But at all times you always want to know whether one is Web beat. One is, you see these guys doing drum solos. They always know where B1 is. So they might be bene had to go in. And they're always aware of where those numbers are. So it's a brain thing. Again, you probably found already hitting the drums isn't hard. It's the brain, it's the independence is the coordination, is the control. That's what we're trying to get the hang of him. So stick with it. It's gonna make you a much better drama even there you just want to jam along with Green Day. I understand you just want to play your favorite songs but slow down, stick with it. It's all about control, right? Okay, that was the triple kicker. So again, take your time with it, you will get it. Let's go to 60 BPM then. And then we're gonna go a 120, which is killer for this group. So you will see 630. And there you go. Tricky. So always be aware of the weather one as you can hear that too. That allowed a click or that kinda high pitch click that's telling you where the one is really important, you get the 160. So again, build up to this. And so I wanted to say one hundred and sixty, one hundred and twenty, not 160 yet, 123. Here we go. And there you have it. Another troubleshooting tip for you guys, I wish maybe tricky when you speed the oak is just three bass drums on the road. 1-2-3, hats kinda heavy for your right foot and your right leg. So try and practice. Just 3's, 123123123123. Jingle Bells, great Jingle Bells, twinkle, twinkle old Blake. And you've got that quick group to at the end. It's horrible, but little exercises. 123123. Again, it's just like kind of fitness training as you will build up strength and speed over time. It's going to take it slow and build it up over a period of time. That's the triple kicker guys. We're gonna move on to Exercise four, which is the inverted double kicker, which sounds very fancy. And we're just going to be moving the bass drums into some more kinda or could places now, but which make it some very cool. See you in the next video. 5. 4- The Inverted Double Kicker (Moving Kicks Around): And the guys right then before the inverter double kick up. So the double kicker exercise too that we had, we had two bass drums that stops. So we played bass, bass. This one we've still got to bass drums, but we've put them into some different areas now to make it a little tricky f, but also sound super cool, right? So still got four, has 12. And we're gonna be playing the bass drum on the first b. And then you can see we've got one on the last beat as well. So I base German, hi, hi hat is o. That's the first off. And then snatch jumunhada, followed by a base drum and high at the end. So the third, third, third, third, and the fourth beat. So that's the way you'd count. The counting and the neat thing, again, the theory that can get confusing there with it as long as you hit in the right thing for now. Drum hi-hat, base German higher. Right? Now, doesn't look that hard, but the trouble comes where you can see we've got bass drum at the end of the phrase, and then a bass drum at the beginning of the phrase, giving us two bass drums, one after the other, even though they look like they're miles away. So watch out for that change. So we have base, base and then base again. And based on it again and again. So again, like I say on paper, it doesn't look like complicated. But people seriously get ahead mixed upon this, wants to take your time with it. Now, couple of troubleshooting tips where people go wrong with this. Exercise two, we had the two bathrooms at the beginning, base, base snap. People kinda jump into that grief if they're not careful. So we have bass drum and then a high hat on its own. So there's a gap for the drops, that basin and that high hat, and then the snap. And then straight after you've played that snow, you need to make a mental effort when she played that non-Agile bass drum or to bass drums because you got last note and first straight after that snare drum. So you've got snare drum and then you've got to have two bass drums now, bass, bass, and snare pertubations base, base, two base pairs. So you really gotta make that conscious effort to get these bathrooms in the right place is all about control here. It's so easy to slip into a different group. So again, really pay attention to what you're doing. Make sure you've got it right. Really great thing you can do, which is agonizing, is to record yourself and then watch it back. Because when you're playing deck, so I've got this down and I'm doing it. But that's because you're using 95% of your mental energy to play the thing and the other 5% is checking its correct. So if you record it, you can then set up a camera or even just listen to it and listen back to it. And you'd be able to use a 100% of your focus to check you were playing it correctly. So really good tool during bit time consuming, filming it and then checking it back. But it will let you know if you're doing it right or doing it wrong. So anyway, moving on. So again, keeping a going to base them at the end, basically the beginning, tricky, spend some time with it until 60 BPM. But let's give it a try with this. So we'll try 61206234, rigor base, base, base, base. There it is. So that's 60 and then up to 120. You've gotta watch out for those bass drums, make sure they're in the right places. You might be up to this point. You might be like I've got it right. You might not. So check zone if people get this wrong. So I've taught this hundreds of times and we have 121 to UGA narratives. Killer. Anyway, stick with it guys, you will get, that can be a tricky 10 you probably think index what you going on about that was super easy. Ok. Everyone's different and that's fine. Okay. For me, that used to be very, very hard. Okay. Spend your time, you will get it right. We're gonna move on to Exercise five, which is why we're going to be looking at longer phrases. And the next one is called the 1e busy shoe. This is where my naming skills for grooves starts going and keeping that. You already know about that. Anyway, next lesson. See you in a sec. 6. 5- The 1, 2, Busy Shoe (Joining Phrases Together): Hi there guys, right there and you made it onto exercise five, the one too busy Hsu, One of the slightly less awesome named videos, but let's jump. And now there's a reason I've taught this. And it's again, the name product came from, I've talked to many kids in the past. But the, on this one you can see we have one bass drum followed by two bass drums later on in the groove. So that's ten to the 12, and here's your right foot shoe and you get it anyway. Moving out. So you can see now we're getting into some longer phrases were actually doing an entire bar here. And again, I explained before that were in eighth notes. Okay. And you're probably thinking before, like you're calling an eighth notes, but we're only playing for hi-hat next. That's because I was too she was smaller phrase. So this one we're doubling, doubling up. We've got the full eight beats. This is an entire bar or measure of music, which is how you measure, how you measure your music and you can explain where you are within a piece of music. It makes more sense as you go. But anyway, so this one we're going to be counting at 1234. And, and you can see I kind of split it into two halves here. So your first half is going to be basically what we did an exercise 11 base room at the beginning with the high hat, snare drum, hi-hat, high hat. So you got 121 base room at the beginning. And then the second half, you can see it was Exercise two that we did. So we're basically mixing two groups that we did in the past. What is mixing them together now to make a longer phrase, which is a bit more interesting. So this next part is going to be two bass drums in Iraq was a bass drum and bass drum and snare drum. And I had so base, base on its own. So you wanna make sure you're happy with both of those groups. If you've been going through the course in the right order, you will, you'll have that again. There is a playlist with all of these in order if you've been getting confused. So then you put them together. So you got to think of it like this. One bass drum, and then two bathrooms. And then start again, one. And then 21212, busy Jew, terrible naming anyway. But that's the groove, just that in a nutshell. So it's a longer phrase. So you want to be able to get comfortable with it takes a bit more kind of mental energy, but it sounds so much cooler that you get a bit more of a longer phrase, graze interests rather than just having one beta, one, beta two will start the grief again. Again, very short phrase. This one's longer, one. Stops again, stag, and you can actually make even longer phrases. Then you repeat it. You'd see that sounds like a much more interesting groove. That's because it's a much longer phrase which then repeats. So 2-bar phrase that we're repeating. Again, terminology, don't worry too much about it, will gradually get into more detail. So let's have a look at if you're panicking thinking, I don't understand what you're saying. Don't worry. This is the first time you're hearing it. You'll then hear me talk about it again. You'll hear it again and again. It starts to soak in and then it starts to make sense when you start playing this stuff. So again, any of this terminology you don't understand, don't freak out about it because I didn't understand it for a long time. And now I do think and I hope I do. All right, let's have a look. We're going to try that at two different speeds again. So we're going to start 60 and we're going to start at a 120. Here we go. 1234. Here we go. Thanks. Thanks. Pace. Extra terms. There we go. So that's the ones you busy shoe at 60 and then onto 1-20. Here we've got a good look. And again, build up to this one to eight. So 123, here we go. And there are heavy guy. So that's the once he busy shoot a bit faster. And you heard when I was counting in there, I started the counts again. That's because if you're counting and abandon the bands ready, you're onstage. Audiences watching. Everyone begins at the same time. That's the dramas job. That's your jump. But if you don't count clearly, then everyone or mess the first beat, you could go back. And you might start on that beat. The guitars might start in the next week. The base paleo player might start the beat before. No one knows. So always really clearly. Sorry for everyone knows, that's going to be the first beat. So always really clearly, nice loud, obvious accountant and just that, which is why I started again because if that happens, I would say I did that because no one's going to hit that first beat unless your clip and right, accountants, let's have a look. And so that was once you busy shoe it next week we're gonna go on to number six. They're not quite drum and bass. I'll explain why I called it that in the next video because I need to explain these things because that really stupid names, but we're going to have a good one. But I'm guys, I'll see you for the next lesson. 7. 6- Not Quite Drum n Bass (Leaving Space Between Kicks): And there guys, I was going right and we're unseen. Number six, the not quite drum and bass. So I've called it this because at the beginning that I played a drum and bass groove, something we call the amen break, which is this. And that you can see there's lots of little snare drums going on in that. And that's predominantly what's used to start kind of drum and bass music. What I've done is I've taken that groove and I've just taken out the complicated little left-hand stuff. You've gotten to that and the ghost notes course get checked out if you're interested that batteries in them. But it's the one I'm taking all the fancy stuff out with the left-hand and getting into this bass drum pattern which is happening within this group. So again, eight high hat 1234 and based on the first beat, so the first half is just a normal kind of bug, standard pop group, less than one that we did. So bass and snare. And then the second half, you can see there's no bass drum. With that first, I had just got high out on its own. And then a bass drum and high hat, and then a snare drum hi-hat, and then a hi hat. So the second half of this group feels really imbalanced because you don't have a base drum on that kinda first beta. So it's just gonna be HAT base. This is the last group of four we're talking about. Base. I have very unbalanced. So first bet Nazi bad, The second part feels a bit weird. The key thing that people get wrong in this is that this to high house in the middle of this group, which are on their own. So you've actually got bass and snare hat. So there's two high hats on their own, and then it's bass, snare, hi-hat. So it feels really kind of wrong and backwards towards the end. But altogether it sounds cool. You wouldn't think there's anything weird about it, is just a kinda hip groove. Instead I'll say hip anymore. But you can see it's that middle bit which throws people out. So you gotta take it slow a lot. People lose control with this group. So again, bass and snare hat, hat, bass, snare, hi-hat. Now here's something people do wrong a lot. The first three beats you can see you've got bass and snare. That's not too bad. But then the play the hat, hat, the two high hats on their own. And then the last 3B is rather than playing bass snare, hi-hat, they'll play the first three bits again, bass and snare. So it's basis now but with a high hat in the middle. So a lot of people do that kind of thing when I've shown it to them as a base and snap, tat, hat, bass, and snare. And it all goes kinda pear shaped towards the end. So make sure you've got base at the beginning, then as gap on its own, then it's an Agile. And then at the end is based straight into a snake oil and then a hi hat and the end. Another thing people leave that last high half. So There's a lot of things people do wrong with this grief. So you've gotta take it super slow. Again. The way that I explained it, I will say to people to do it is split into three smaller chunks, like I say, first group at first three, base for my app, I have snatch them high up. And then you've got the E13 to high hats on their own. And then the last three beats with patient hi-hat, snare drum, hi-hat, i hat, which is and and for us it so 12341234 in the middle. Get it absolutely spot on. And then what you've got to the end. You then got to repeat the thing. So people get the whole groove right, and then repeating it twice. They might even get that CFE can play it four times in a row without stopping at a slow speed. You can see there's this building up that you need to get all of this, even though it's frustrating practice and you'd rather just be hitting stuff and record it and then crazy. This is stuff that's gonna make you better at drops, okay? This is your awareness, you're working out, this is your timing, this is your independence. All of this is helping you become a much better drummer. And at some point, you're going to sit down and you just think, I feel so free behind the kit. You want to be free. You want to be thinking about your dinner rather than about which you're doing it. That's the point you want to get to. And that comes through this kind of tough restraint in practice. But trust me, it is worth it is really with it. So stick with it. Don't give up. Don't think I threw in the towel. I give it the course, stick with it. You will get it 60 BPM, first of all, and then 120. Here we go. 234. There you have it. And again, build it up, go through each time po, if you need to. And then we're going to gradually aim for a 120. Of course, you can have faster if you want to. And if you go into driven bass music will be a lot faster. Again, drank it, this ghost notes before then. And then he can speed the whole thing up with the cool stuff in there as well. Anyway. Alright, let's only goes next course if you're interested. We've got 121212. Here we go. And there you have it. So that's the not quite drum and bass grew, grew six of this course. And then the final one of this course is going to be the number seven hertz, where it might hurt already. Yeah. Stuff names anyway. I'll see you for the next video. 8. 7- My Foot Hurts (Bass Drum Variations): Another guy is right and you've made it on see, aggrieved number seven, if I pop groups costs, the my foot hurts. And you can guess why? Because there's lots of patients coming on and let's jump at the start of that. I will just point out, I was playing on the floor, tom, I was playing the exact same groove that we're going to learn here. But rather than my right handle, my high hat, I just put my right hand on my floor tom and pretended that was my hi-hats. With any groove that you've learned in this course. And just take your right hand, move it somewhere else, and you get a different group. So again, I'll leave that with you guys to experiment with, but cool little tip just to give you some new groups to play with. Rather, Number seven, let's see what happens. We're going to be going to be playing this bass drum hi-hat together and then a hi hat on its own. So that's one. And again, we can split this into four parts, so one and then two and is going to be snagged from and I haven't followed by a high activation. And again put them together. And That's the first four beats. And then you've got from beat three. So you got three. And so hi hat on its own, on three, basic them together, just that. So three. And then you've got snare drum and high out, followed by high hat before. And so you've got the first half, one and two, and then you've got 34. And which incidentally the last four beats, it's the same thing for notes that we had on the last group of grief six. So that's, that's the whole thing. Now, this seems really weird, really. We've got snare drums, bass drums kinda littered all over the place. So the strangest thing about this and where people go wrong is you've got one bayesian to begin with. But then you've got a snap followed by a bass drum. And he said, and then you've got a base follow bison agile. So you kind of got this kinda mirrored kinda image thing going on to snare, bass, bass, snare. Okay, and when I first learned this groove, whenever it was, it was, that was the thing that threw me off. I tried playing snare bass and snare bass again because I'm trying to, again, our brains trying to figure out patterns. It's trying to find patterns and meaning within whatever we're doing to just organize it and make it easier for us to understand and be able to pull off. But the pattern is snare bass, bass now. So you've got to watch out for that and try and teach your subconscious. That's the way we're going to do it, not the way that you are trying to do it because your brain will try and make you do some kind of groove that you already know, but you're trying to stretch it and make it do something different. So again, and there you have it, 60. And then finally, this last exercise out a 120. And then you've completed the course. Well done guys. Sorry, here we go. What do 123. Here we go. And there he noted that he'd done it. There you have it. You've done it. Get the words out. Second limits, right? So what I'm gonna do now, I'm just gonna quickly to teach you a couple little things that you can do with these groups, again, right-hand and bring it out to the fluorescent light gives you one thing. Another thing you hit start doing is trying to put crushed symbols in them. So again, we did a crash at the end of the section. But what you could do is take any grief that you've learned in this course. And rather than playing high out on the very first note, crushed symbol in them. So for example, this grief, you've got hi-hat base form to begin with. But your right hand to your crash and play the bass drum with it and then carry on the group. So that was the first beat. And then the next note was the hi-hat, snare drum, bass drum. So that's the, that's how you start using the crash cymbal with a new group. So we'll get into more detail as the lessons go on. But that's one little thing that you can start have a look at. Now. Another thing is the EPA hi-hats will start to bring them in later. So base, base is actually trying to lift your foot up and play an open high hat. All these little trinkets, she can use it once you finish this course, have a mess around with a few of those little ideas. You may have already come across them already, but just a few little things just to finish off the course that for you guys. Fantastic jump. And again, please get in touch and let me help you get better at these things as well. So because again, it's one thing doing it on your own, that's fine. But again, if you need some help, ask for it, it's fine, you know, will need help. I've I've had lessons. You guys about having lessons kinda as videos right now. But again, it does help having someone watch and see what you're doing and be able to actually instruct you in cases anything you may have missed. And the thing is you don't know if you missed it because if you did, you would have fixed it. Check out how some phones that guys, I hope you've enjoyed this course. I'll be getting on some more stuff pretty soon and I'll see you later. Zhao.