How To Learn Drums With a Small Electronic Drum Pad (e. g. Nord Drum 3P/Roland SPD SX) | Jannis Le Wolff | Skillshare

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How To Learn Drums With a Small Electronic Drum Pad (e. g. Nord Drum 3P/Roland SPD SX)

teacher avatar Jannis Le Wolff, Creative Music Production

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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

12 Lessons (1h 14m)
    • 1. Introduction

      1:58
    • 2. Drum Pad Basics

      8:44
    • 3. Technique Basics

      9:02
    • 4. First Grooves with Kick + Snare

      4:28
    • 5. Drum Notation

      2:40
    • 6. More Grooves with Kick + Snare

      3:42
    • 7. Adding the Hi-Hat

      11:13
    • 8. 16th Notes + Paradiddle

      6:53
    • 9. 16th Note Grooves with Kick + Snare

      6:07
    • 10. 16th Note Grooves + Hi-Hat

      5:55
    • 11. Creating Your Own Beats

      12:03
    • 12. Outro

      1:11
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About This Class

In this class you will learn some approaches and techniques on how to play Drums with a small electronic drum pad, such as the Nord Drum 3P or the Roland SPD SX. I will give you some guidance and orientation while also providing you with ideas on how to develop the examples further so that you can get creative with them and express yourself independently on the instrument. 

For who is this class?

  • Total beginners who have no experience with playing drums. If this applies to you, you can spend a good amount with the first few chapters ¬†
  • Intermediate drummers who want to apply their knowledge from a real drum kit to a small pad. If this applies to you, you can directly jump to the later chapters
  • Musicians and producers who use the pad within their performance/production context but would like to expand their techniques in order to gain more flexibility and freedom¬†

What will you learn in this class?

  • elementary technique and coordination¬†
  • how to play grooves that are usually played on an acoustic drum kit¬†
  • how to design and play grooves specifically for the drum pad¬†
  • how to practice efficiently¬†
  • how to read basic drum and rhythm notation

What won't you learn in this class?

  • how to play crazy and fast solos
  • how to play fill-ins (the course is groove based)
  • how to use a foot pedal (the course covers hands only)

Who is this guy?

My name is Jannis, I'm living in Berlin and I have a Master Degree in Jazz Drums, obtained at different conservatories around Europe (Amsterdam, Copenhagen, Paris).

Until 2019 I was mainly working as a drummer and composer (performing across Europe, winning the Biberach Jazz Composition Price) while nowadays I'm focusing on music production and content creation, for example on Youtube. You can find out more about me under those links:

Anything else that I should know about this class?

Please check the "Projects and Resources" page. There you can find all grooves that I play throughout the course plus some additional ones. You can find them as a MP3 file, which contains a loop of each example being played twice and 2 bars of just a click, which is the part where you can play. This way you always hear the correct version again and can adjust your playing until it is right. The MIDI files can be imported into any DAW or MIDI editor and you can change the sound, tempo and arrangement for some even better practicing experience. 

The most important thing that you should always keep in mind is that only a consistent practicing routine and constant repetition of the exercises will give you significant results over a period of time. You can always jump back to chapters and refresh a topic, which is the beauty of a digital class, and I highly recommend to make use of it. 

The first chapters are really designed for beginners, so if you have some basic knowledge already you may want to skip some parts, and that's totally fine. The last chapters are a bit more challenging, and don't feel bad if they seem too difficult. Just focus on constant practicing and improving over time, and it will only be a matter of time until you'll also master those more challenging exercises. 

Please drop me any kinds of questions in the discussion section, where you can be sure that I'll reply to you. Understanding things is such an individual skill, and sometimes the words in the video were just not right, so please always keep this in mind! 

Have fun with the class! 

J

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Jannis Le Wolff

Creative Music Production

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Transcripts

1. Introduction: Hi everybody and thanks a lot for being interested in this class. My name is Janice. I have a master's degree in jazz drumming and also work as a music producer and content creator. So in this course, I want to show you some exercises and techniques that will help you to just improve your drumming and rhythm skills on your electronic drum pad, such as, for example, the Roland SPD is x or the NADH from three p, which is actually the one that I'm going to use. The course aims at beginners that just cut the drum pad and just want to develop some skills in groups with it. But also at musicians and producers who are using the pad in order to play some parts, live concerts, or within their productions. But now want to approach the instrument in a more systematic way. Because will help you to develop a better and more efficient technique that allows you to express yourself independently on the pad. Added to that, I will show you how you can play groups, specifically for small drum pads. And all those exercises I show you are derived from my education as a professional drummer. And I adjusted them specifically to the saturation of the electronic drum pad. In the end, I will also show you a way on how you can create your own beats. Every chapter should be practiced really carefully and without rushing, it's totally fine to not continue to the next chapter. Several weeks to just focus on one thing at a time. And also I tried to keep the course is compact as possible, which just means that I often refer to sections instead of playing things all over again. Remember that you can always jump back to any chapter at anytime to refresh your knowledge about a specific topic. And if you have some experience already, you're also more than welcome to just jump to any chapter you're interested in, since it should be possible to get along easily. And before we start, just be known that you can always drop any kind of questions in the discussion where I will reply to you for sure and also try to help you in the best possible way. So let's start. 2. Drum Pad Basics: So in this first chapter, I just wanted to speak a little about some basic settings that you just should know about or be aware of before you start playing because they can really affect your playing experiences, the quality of how you can actually play on the pad. You can find those settings on. I think every type of drum pad that you can buy somewhere, they might be at some different menu or called slightly different. But if you just check the manual or search for the exact thing, you will always find some answers. Awesome. The Internet, I'm sure. First thing I want to speak about is the pad reaction or the velocity, because it means the way that your pet reacts to your playing. Because if you play some regular drum, you know that you can play soft, then go all the way to loud. Of course now, this is kind of controlled electronically, and therefore you will have some possibilities of fine tuning the way the paint reacts to your sound. And I really suggest that you go as dynamic as possible because you want to play dynamic, because otherwise you could also just program things unless sometimes you just want to have every hit coming as hard as it can get. And that's also cool. But for just developing some technique and skills for the instrument, it's kind of important to get a feeling for Dynamics. And on the Nordstrom three p, you can click on Shift and then the pet threshold. Because if this one is really low, it means that the pad always kind of gives you a feedback and also has a nice range of dynamics of its other way up. Doesn't react if I play soft and they have to really hit hard, and then it's also always coming with a maximum power. And then you can, of course, fine tune the values in between. But unless you really want this, as I said, I suggest just sticking to the lowest possible value and can exit here from this menu. And also under pet sensitivity, also shift and then pet sensitivity. You can have a more refined tuning of the sensitivity levels. Now, as I'm sure, as I've shown you here, I could play this kind of from soft to loud figure. But if I bring this all the way down, you can see that also doesn't react if her plate too soft, but also I can't get too loud. So the whole dynamic range is kind of narrow down and it's uncomfortable to play like that. And this is just the drastic example. Of course, you can find some values in between, but again, if you pick the highest value here, you'll just get the best playing experience for now. Maybe also go down by one or two steps because sometimes you reach the highest volume too quickly, but play around with it. And in the beginning, it's really important that you just get some dynamic feedback. Also, just a quick overview about the most important types of sound, sounds, because this is also important for the way you kind of organize the sounds on those pets. So most of the time, unless you have some experimental ambient sound effect kit, you have some bass drum. This really low sound that usually you play with your foot. But since we're here with a pet, we will apply it to this situation. You can add some foot pedal, but we won't do it. We will just stick to our hands for this course. Then you have the snare, which is this kind of drum that together with the kick, always kind of defines the beat. So you have this kinds of combinations and yeah, just has this kind of sharp sound that really cuts through and has those kind of strings underneath a drum. If you have the real drum, that makes it just really present. So it's a very, very, very present sound. And the high hat, it's also kind of important because usually this thing is here. So I would play the listing with my foot. I could have my left hand on the snare drum and usually the right-hand would be here on the Hyatt. But again, we apply it to this pet and then the height is here for now. And the higher distress, some type of rhythmic structure giver, excuse me, for this weird description. But it's basically some rhythmic grid that you often play that gives a structure to the whole beat and just makes the kick and snare gloom altogether and let the whole beat just feel more like some, something that works as a whole. And the height is really there for those high-frequency sounds. As you can here, doesn't have any kind of low frequencies. The snare kind of also doesn't really have low frequencies, but lowish frequency. So this is the one that cuts through the most. This one is really for the low frequencies. And here you have the high frequencies to put it in a very simple way. And then on those three pads on the top, you mostly have some tums. Like a regular drum kit would just have like three times and pimps two terms sometimes for TMS. And you always go from high to something in between to some low Trump. And yeah, depending on the kid that you pick, this can vary. Sometimes you also have some sound effects on those three. And also this class, we'll focus mostly on those three things because it will really be about playing some grooves. And now you know how the most important parts are called. It's now time to look at the pad layout because you can organize them in different ways, like at the not RAM p if you press shift and then you kick system. And the nucleic system once more you at PL, which means pad layout. And I think it has four mode. Sondheim at the mode where the kick drum is on the left side, there's the snare and submitted into higher. On the right side. If you pick layout one, you have the TMS on the bottom row and the kick snare hired on the top row, but in the same kind of order. And then you have laid out three, which just gives you the kick. This time on the right side, snare will always stay in the middle height on the left. And if you pick far it's the same but on the bottom row. And so you will also see during this course that there's not one formula with which you can play every group because with this type of instrument, you have to be a little more flexible in order to play your groups. So it's good to know about the pad layout to sometimes considered changing it for some parts that are just easier to play with some different pad layout. And I know from the Roland SPD is x, for example, that there you can just put any sound everywhere so you're more flexible in terms of organizing the sounds. I will change back to pet layout too for now because this is the one I use most of the time. And also it's With regular drums. It's always good to know if you're right or left-handed because as I said, usually you play the bass drum with your right foot. You put your right hand on the hi-hat crossing your left hand, which is actually on the snare. So you play like this kind of. And if you're left-handed, they are also different ways to work around. So for example, you could still have the kick drum with your right foot. Have the hired move your left hand and the snare with your right hand. So you don't have this kind of crossing motion. But you can also just put the turn the whole drum set around. Play your left, your kick drum with your left foot, the snare with your right hand and cross over with the left-hand to the Hyatt, play like this. And this whole thing also doesn't really exist for the pad here. Sometimes because I'm showing you things from a right-handed perspective. And sometimes if you think like you're left-handed and you will want to try the opposite, just turnaround the pad layout. So if I have the kick here and the high adhere, try, what happens if you turn those around? It also changed your arms accordingly because often this already solves the issue, but you will also see that changed the way I approach grooves and that makes kind of sense with such a small instrument. So this whole issue of right-handed and left-handed, it's a little less important for this type of drum pad, then it would be on the regular drum set. But just keep it in light. 3. Technique Basics: So now, after knowing some basics about how you should set up the pattern, what you should actually look out far. We can have a look at some basic technique because in order to play comfortably, there are a couple of things you should watch out for, and this is also a chapter you can always come back to to just check if you're still on track with your technique. If you maybe started doing something a little odd that you need to get rid of again. And yeah, this is something that really grows over time. So you don't practice technique once and then you are there. The exercise I also show you in this chapter are something you should always consider doing for warming up. Because for warming up, you just let the sticks jump a little in different kinds of ways. So your wrists and your fingers and your arms just warm up in some pleasant way. And you also get some first idea of the whole drumming type of thing. And by the way, one thing I didn't mention yet, far those exercises we do, it's good to pick some very dry sound because, you know, the long-term therapy, for example, that some of those very experimental sounds like this. And they are super fun. But for getting some good timing and technique, it's also checking if your groove sound some kind of groovy. It's the best to get some dry sun. Maybe something like this. Just electronic sounds that were the sons are really short because if you managed to play groovy with dry and short sounds, more groups will even be way groove year with those experimental sounds that can also cover up some weaknesses in your playing. But if you get used to this new staff with some dry sounds, It's just way healthier for your whole sense of group and you can always play for fun with everything. But if you practice, make sure you can really focus on where all those, all those strokes exactly set. And this being said, let's look at the basic group because it's really important that you have the stick, kind of the main contact point between your thumb and index finger. And then those other three fingers kind of support. So make sure you don't play like this because this is really tiring even if you still lose. What kind of services I added syn example for some experimental sound. They'll stick to the snare for this example. So you want to make sure that you're still kind of lose. You want to form some triangle that's also important. And also actually this side is what's the kind of good for demonstrating purposes. So I'm gonna take this one and you wanna make sure that you don't close in here and make it too tight. Sudaan play like this. You leave this open and try to let the stick jump. You can really see if I play that there's a lot of energy that the stick gets actually to jump back into my open hand. And that's something you can do for the beginning. Just try to feel the rebound. And even if it's all over the place and sometimes you'll stick might fall down. It's totally fine because we have to get some feeling for it. Just try to make some strokes on. So just alternating right, left, right, left. Exaggerate, really make some big strokes but makes sure they jump and you don't do this. This is by far the most important thing in the beginning. And you get the best feeling for this by having this kind of triangle position. You can also just change between the paths or not, since our little wonky. But this way you also practice a little placement of your strokes on the PET. So like four strokes per pad. This gives you some first idea already of how the whole thing feels like. And triangle and finger grip and the rebound, those other magic three things in the beginning we should watch out for next. I really recommend getting something like a metronome. And there are quite some apps up there where it can get them for free. Or maybe you have a recording program, program that also has some metronome off. So there are websites where you can get a metronome. Personally, I like to use some app called pro metronome. It's really simple to use them. Let me just check it here. It looks like this. And you can just select a 44 bar, which is the most common bar we have in music. Just make sure those four bars have all the same height because this means the sound sounds the same over time. And if I press Play now it's too soft. You can hear that there are those strokes and by turning this knob, you can just change the tempo. And I suggest start with something like 90. And I'll just put the metronome here. And now you just play exactly in the tempo of the metronome, just alternating between right and left to get some feeling for the tempo. Because if you do it without a metronome, easily tend to rush or drag. This way. See even I'm a little wonky, but it was also recursive speaking at the same time. And just try to check that you're kind of in line with the metronome, but also that you have this nice rebound and watch out for other things such as mentioned. Then you can, you can, again just move a little around wherever you are. And this type of exercise can also be interesting with some more melodic but still short sound. Let me just quickly look for one. So for example, in the C section of the drum, three PDFs and melodic sons. But this one is still percussive, so it also still fulfills all the requirements of being dry that I just mentioned a couple of minutes ago. And just turn on the metronome again and just tried to say, and the temple, we just have the type of temporalis called quarter notes because we always count from one to four in some very simple bar, you say bar for counting and 24 and then a new bar starts. So we would collect 12341234234234 and so on. And you can also add this EP at some excellent on the very first node. You can see it here. There are no edit, some excellent. So this one is always a little louder. And this one actually really helps to give you some orientation of where a bar starts. And also subconsciously, you start getting a feeling for just counting in units of 4141234 and so on. And if you're already really comfortable, you can either start increasing the speed, also just playing twice as fast at the same tempo, which is called eight nodes. If you just play two notes per cowed, and so on, just for getting some first kind of comfortable feeling with the instrument. Although those exercises now might seem really simple. It's really nice to start with them in warm yourself up before you try something more difficult because if you play something simple, you can really observe yourself. You can really check, okay, MA, in line with the kind of technique I'm supposed to use or how does it feel you can observe yourself because sometimes if you're playing really difficult things, you're so busy with playing the right notes that you kind of lose track of what you're doing and you're not not kind of keeping track of your motions and you might do something that starts to hurt, for example. And so will those easy things you can really put yourself into some nice mindset focus on. Does it look good? Does it sound good? And do this for a couple of minutes? And are you actually in touch with a metronome? You get used to keeping the time and then you can continue to something more difficult. 4. First Grooves with Kick + Snare: So now after just getting your first technique, right, we can look at some first very simple grooves only build out of kick drum and snare drum sounds. And I just switched back to some drier sound because actually if the sun was dry but to some more dram sounded actually contains kick and snare drum. So we can do this exercise. We will also now use different sticking. So let's already an example of what I said in the beginning that the right-hand, left-hand thing isn't as relevant for this type of pet is for a regular drum set. And now I have them here on my left and middle paths in front of me. Of course, you can also change the page layout if you want to, but this is how I'm going to start in not so recommend how you should start. And again, we're going to use our metronome. It's still at 90, and I think it's a good tempo, so we're going to stick to it. And the first thing you just do is use your left hand and just change between the kick drum and the snare drum pad. Kind of simple but tried to really hit the peds properly and be subscribed to be less than symbol for metronome. Note, do the same with the right-hand. And so on. I'm just quickly showing your heart. It can do it now. Do left, right. Also get the idea. And now we also once quickly change the layout little too, the other way around. So we can do the same with just right-left, same tempo. Just keep doing this for a couple of repetitions. Skip comfortable. It's a very simple, but now actually going to add some additional notes. And now I'm going to just keep all those kind of ways of practicing, practicing this in mind because I'm not going to show you all the following exercises with all PAD layouts, focus on the one that I have found the most practical for it. But keep in mind that you can always transfer every exercise to any type of pet layout that I've just shown you. So now I go back to System menu and go back to, to have it here again. Yeah. So now again the metronome, now we do two strokes with our left hand and just one with the right hand. And you'll see how the sound slag. And try to be nicely in sync with the metronome. It's really important here and the same we're actually going to do with another rhythm that looks like this. Photo to this for a little until you feel comfortable. 5. Drum Notation: Hey, I just decided to sneak in some small chapter about how to read sheet music for drums because you Swami blending in those graphics. If you know this already, just feel free to skip to the next chapter and it's not going to take long. I just want to give you some very short overview in a nutshell about how you can read sheet music and understand it. Because it kind of helps you to understand just the kind of grooves and rhythms that I'm speaking about. So the node I already mentioned, the quarter note, looks like this. You can fit four of them into one bar as we already did. Eight nodes are twice as fast and they look like this. And in this case you can fit eight of them into one bar. There are also 16th notes, which are again, twice as fast as eighth notes, which means you can fit even 16 of them into one bar and they look like this. For dram notation, we have a row for the symbols such as the high hat on top of the lines, and they are marked as across. On the bottom line, we have the bass drum and the snare is kind of in the middle, and both are having the normal round note design. If you notate something for drums, you separate between the symbol lines and the drum lines, meaning that the stems of the drums go down while the stems of the symbols such as the Hyatt go up. There are also pauses. A quarter pause looks like this, meaning that you have to play exactly nothing for the length of one quarter note. Then the same counts for the 8-note pause now, so the 16th note pause. And there's just one more thing you should know, because there can be a dot behind the node. This means that the length of the note gets prolonged by half the value of the actual note. So if, for example you have a quarter note with a dot, it means that the length of an eighth note is added to the note. So these are the basics in a nutshell about how to read sheet music for drums. But please remember that you can always get back to this chapter because you won't memorize everything right now. So just remember this chapter and once you forget something or feel like you want to have some better understanding, just return here. And also be known that instead of using sheet music, you can also use something called the mini grid or midi editor for just sketching drum grooves or sketching ideas and how you can do that. I'm actually going to show you in the last chapter where I will speak about how you can generate your own custom beats and groups. 6. More Grooves with Kick + Snare: And just show you a couple of more examples now of some additional notes for the left-hand or the kick drum, or when you practice it with another sticking bill. That's just accordingly with that sticking. But I'll also put some files in the download section where you can actually have, you have a click and you have me playing this pattern twice, and then there's only the clicks. So you can play this pattern twice, and I think they're all like five minutes long. So you can play along with this file and just always hear how I do it, then it's your time to play it. And so you can constantly check if you're kind of on the right track. And I drew this for all those exercises, you see. And now I show you a third exercise. This one is a little busier, as you can see, a play just all the nodes. And also if you're mastered this one, did it easier to then take away notes again? So it can, for example, do something like this. For example, or let's do this. And you can basically just lay out this kind of visual thing I've just shown after. I'm just constantly showing you for those speeds by yourself without including the kick drum and then just draw in the kick drum at a couple of positions where you feel like playing it and then you can try to play it. And it's really visual. So this way you can kind of come up with all possible solutions or you're just right. The third one I've shown you down where your play kind of all notes with the left-hand except from the ones where the right-hand comes and just take one or two of them away and you just to have some custom bead already in, can play around with already creating your own kind of small beads this way. And just as one quick reminder, so the other sticking with just work in a way that for example, you do only left-hand. There's this now the example 3 on the right-hand. Or just with the other ped layout. Good ones. Like this. In this way, you have quite some exercises are ready for those groups that you can do. And yeah, just be invited to use those files in the download section because this way it becomes a little more vivid for you and you are also constantly hear the right version again. So you can perfectly adjust your playing while practicing and always have a reference which is really nice. 7. Adding the Hi-Hat: So now it's time to bring in the high hat and actually get a little more realistic in terms of how a whole beat would sound. Although often you don't have high extremes, just the kick and snare. But if you play as a drummer, you often include the height and you're just used to it. And so I'm still on the old pet layer and change this quickly. So now we have our hired here. And the most classic drumbeat of all time would be that you just play the height. Remember you have told you that we have quarter notes if you just play every count. And there are also eight unknowns, eight nodes if you played twice as fast and the speed was basically quarter notes. So now we can try to add eight notes with the hired. And if this is too difficult at first, just try adding the hired at every kind of quarter note. So first with a bass snare 0, and then try to bring it in. And we'll go back. And this may take awhile until you feel comfortable, but it's really worth doing this until you have a feeling of okay, now it kind of starts sitting somewhere in there. Kind of feel comfortable because this is something you can practice for years. And also it just has been the most, probably most youth drumbeat of all time. And this is kind of how you would play it on the pet. You like to see that they prefer approaching groups differently on the pad. And I'm not a big fan of playing this group on this specific pet, but it's just a matter of getting some basic knowledge of how this could actually work. And yeah, you can just turn the whole thing around. This would definitely be some left-handed version if you have the high adhere and the kick drum here. But I've shown you how you can transfer those things. Now I'm not going to show you the different pet layout for every single example. Of course, also do it with a metronome to make sure that you actually, at some, that you keep the time. And also do this until you really feel comfortable. Because now the next step is again, going to be trickier because we bring in those patterns that you know from the previous chapter and now play the same ones, but we keep the highest running so it gets a little busier. So remember the second figure I was showing you, and so on. Again, you can find those as the download files and the download section. And here you have the highest kind of all the time played when I play the group. And then also two bars of click where you can then play your group. And thus an acid just even when you hear my groove playing, just keep the Hyatt going to just get your right-hand used to this kind of continuous motion. And also one tip is that you don't play the hired as loud as the rest because it can easily overburden the other sounds also, because it's like a more high-frequency sounds like this. I don't like it so much. Like the height to be more or a little Chris, because it's the cuts through because of those high frequencies. But still the kind of beat is the car and the men, like the peak of kick and snare. Then you remember the third example was this one. I'm actually going to turn on the click again. And this one is also amazing for getting some good coordination of playing two pairs at the same time because it's not easy. And especially with some electronic instrument that is more sensitive than, for example, some weird Rameau, less forgiving because here is just some electronic impulse that gets, gets sent to those sound creation engine. And with some real drum, you have more resonances and everything. And if it's not exactly accurate, it kind of sounds even pleasant. So that's something you have to watch out for. And that's also why I said, I don't prefer to play like this with a pet, but it's still an amazing kind of exercise to just get comfortable with it and improve your timing. And just play those typical groups. Now I want to show you something called offbeat hired because you can say on bead, which always means you play on the, on beats of some bar of 44 bar. So you have like 1234. But if you play off beat, it sounds like this. 1, 2, 3, 4, 1, 2, 3, 4. And you call those positions the end. So you have like 12341234. And together with knowledge, just take again the very simple groove. Now that we're interestingly once without a click, because slaves are not always hear the click. So if we go back to our very simple beat, now gives us play the right-hand in between, which is really fun. And together with a metronome, and so on. By the way, I'm always sticking into the same tempo right now because it just makes the whole process a little more comprehensive. And also this tempo is good for following along, but always try different tempos, even if it's just today, it's like 91 tomorrow It's like 1903. The day after, maybe 87, just small changes to not get used to just one temple because everybody has some internal clock he or she always wants to play with. So you really have to get used to just different tempos, minutes also some process over time that you can really, really just influenced by exposing yourself to as many different tempos as possible. And with this offbeat groove at some of those examples for what I like more on this pad, which is if you just play one sound at a time, that it sounds kind of groovy here. And you can now do something, which means that once you played two strokes with a height but at some even faster layer. So don't worry if it's too complicated, but I wanted to show you that you can try it because it's really fun. So for example, like this. And also do adhere. Well everywhere. Just try it. It's kind of fun and gives more motion to the beads. And you can always do too fast strokes. You don't have to do like a lot of fast strokes in this temporary can't do it for a long time. But two strokes are always possible because it can use the energy of the first one to do a second one. And this way you kind of get some cool grooves. And also as another thing you can do for varying this, you can use another sound instead of the highest sometimes, which is kind of interesting like this. Or vary. Which also trains. You're kind of coordination around the pad already ended. It's kind of fun to do and to just look for some sounds that you, that you like and you feel like you can change between. Again, I've put some groove into the download section where you have the double stroke on the position. You can again do this kind of 2-bar exchange thing with for five minutes. And what you can also try, this is also more advanced so you don't have to do it all immediately, but to just train your coordination, you can again use those bass drum figures that you, that you know from the previous chapters and do it with for offbeat higher. But this is getting a little more complicated. So for example, like this one or with this third one that you remember. But if you manage to do this, it's an amazing exercise for your coordination. And you see, we collect amine, I'm just going quickly through those things and you have those download files for listening to them in a long, longer circles. But yeah, you always think of how can you possibly practice things in how many different ways? So you can just get the best kind of coordination exercise and learn as much as you can. Because the more you can play, the more independent you get an easier lots of gets to place, play easier figures. 8. 16th Notes + Paradiddle: So with this previous example of the beat where you just add some kind of double stroke, as you would call it in the hiatus type of thing. We can now move on to some rhythmic layer that is called 16th notes, because remember I was mentioning quarter notes, eighth notes, and you also have 16th notes. And it basically means that you play four notes on one count. And with a temple we just had so far, kind of 90 would mean it would sound like this. And this is already quite fast to Riana. So that's slowed down here a little. And you can see here that a slow down to about 60 something. And now just try to play four notes just within every cout. And tried to be as steady as possible by different sounds, and so on. And now a good exercise is also to try it changing between an eighth notes and 16th notes. So it would work like this. You play one bar of eighth notes. And here it's super important that you do it with the click. Because it's not easy to make this transition smooth. And you can also add the quarter notes again. So you have some thing that is called the pyramid. And this will really increase your timing and feeling for the beads. So quarter notes, eighth notes, and 16th notes, and back and so on. I also want to show you something that is called Rudy meant, which is more precisely called periodontal. So paradigm is one of just many rudiments that are around. And rudy Mendoza word that is used for some type of basic drum vocabulary that you can practice. And it's basically just the combinations of strokes like right, left, right, right, left, right, left, left in the terms, in terms of the periodontal. And those rudiments are designed to give you some maximum independency after practice and thank them for a long time. So you can just be more free in terms of how you can express yourself on the drum kit. And so actually I'm going to go back to eight nodes now for demonstrating the paradox. So you have right, left, right, right, left, right, left, left, right, left, right, right, left, right, left, right, left, right, left, right, left, right, left, left. And try to be as comfortable as possible with this one. And also make it sound as tight as possible. So not like for example, it's just easy to get a little shaky with this type of rudiment. And if you want, try double temporal, maybe changed between those two ones. And so on. And if it's too fast, change the tempo, make it a bit slow. Just find a temporal way you can do this comfortably, but also challenge yourself a little because those exercises are also a bit like some sprint training that you just want to get a little faster day by day, but you should never go too fast. You should always still be able to observe your movements. And to show you some practical example of this paradata, which is maybe the drum rudiments. A chance to this first sum because here we have some Tums. For example, if I play this figure low on those upper three pets, you can see that it already gets little melodic. At this point, I really recommend you some book that is called sticky control. It's one of the very, very classics and it just has pages of different sticking. The parallel is also part of it and kind of version, other versions of it like double periodontal and things like that. But this class shall be compact. So I'm not going to go through all of this, but I recommend it because the way I was going through this parotid and now at the kind of slow tempo just controlling my strokes. You can do with those sticky, sticky control exercises. And this will really give you a lot of independence. I mean, you can also focus on the parallel first and just those single strokes. But you see if you have those kind of combinations of strokes, you can already make some kind of melodic things, which is something that is even more useful on this pet, maybe on the rear drum set. And that's why I recommend just working on your independence for those strokes in the paradigm is a great thing to start with. And you can spend some weeks just getting comfortable with that one. But then just consider getting this book or just look for even just the first page of the book, which just something you can already practice for years and maybe you just find the page also as a PDF somewhere in the Internet. Just done. This is a very strong recommendation. 9. 16th Note Grooves with Kick + Snare: So in this next chapter, we're going to use the, now gain knowledge about those 16th notes in order to make some groups out of it. And it's possibly a chapter you can spend years worth because it opens endless possibilities also for creativity. And I try though to make it as compact as possible and give you just enough food or kind of ingredients that you can just keep cooking group for maybe the rest of your life. Sorry for this weird analogy, but often those cooking things make sense. So first we need our metronome again, and actually this time we're looking for a sound that sounds like a high hat. And I'm going to also, could you go to the Settings tab? And there's one sound that sounds like a drum. This one. And we're going to make it really fast to some potential speed that could be our 16th notes, like this for example. So now those are 16th notes. So you would count like 12341234 and so on. Because this we need in order to not lose the orientation when we play our 16th note beats now. And again, remember from the previous chapter that those things I'm going to show you, I'm going to show you with bass drum on the left side kind of setting, but you can apply it to those other ped layout, as I've explained and shown you earlier in the video. So let's start this high hat. First. Just get comfortable with playing the beat and having like always those kind of 16th notes in between 1, 2, 3, 4. So let's get started with this. Until you feel that makes sense How the highest is going. And now we add some 16th note in the bass drum that sounds like this. We can add more nodes. Are right. And those examples you again find in the download section in the same way I was showing you before to you. So you have two bars of this listening to me, and then two bars of only hi-hat. And you can actually add those notes from those examples I've shown you a plus some additional ones. I have not shown you all those examples, but there are a couple of more, So you have some more variety later. I'm also going to show you how you can come up, come up with your own ideas. But for now, let's move on a little. Which means now we're kind of keeping the bass drum steady, but we're going to see what happens if we alter some snare drum. So let's just start this again. Start with the main dish. So get comfortable again. And now watch what happens. One snare gets pulled ahead. One additional bass drums, make it more flowy. Another snare. So you can alter the snare as well. And this one is a little trickier because you lose a bit the stability, but just doing it with this first snare and pulling it 1 16th note head is already enough you can play with. And once you establish that you can start adding, subtracting, taking away some kick drums, and it will bring up some whole new kind of type of groove. And again, you'll find some examples where for kind of 2-bar separation and some examples also that f naught played yet, but they're also listen to them and try to play them and assess a letter. I also show you how you can come up with those things by yourself. But this is already something you can really spend some time on getting comfortable with, but it's enough about the content already so we can move on to the next level. 10. 16th Note Grooves + Hi-Hat: And now we're really arriving at the point where, yeah, you have to check the sticking for every individual beat because now we're going to bring in the high hat as well. And they are just lots of different possibilities of how you can now create your groups. And one thing I want to show you, maybe to get a bit into it is this kind of offbeat hired thing. We get back to you. So you remember we did this type of groove. And now we try to add this first bass drum from the first example that was leakiness. Because now we have to play it after this first hired. And now it's also see that it's a bit difficult to do. It's possible, but since we were hired only played the offbeats, we can actually take our right hand for this ones where you have. Again, you can add. And that's what I mean with you have to be a bit flexible. So here now, all of a sudden the right-hand changes between hired and the snare drum. And if you would play all those notes with the higher, that would be a bit tricky. You can bet your left hand has to move a lot. So I kind of suggest doing this kind of one stroke at a time approach I mentioned earlier. Because this way It's also easier to kind of figure out some possible sticking. And now let's apply the same thing to the kind of snare that is pulled ahead. So, so now we have to use the left-hand to kind of find the spot and then there's some gap that you have to feel. And those two examples you'll also find in the download section. And here you don't have the 16th note hired anymore because we're playing hired against. Just get a simple click for this bar where you have to play on your, on your own and this way you can practice it. And again, I've put some more examples there also without showing you the sticking. So you actually have to think of how you can how you can find the right sticking for it. I'm also going to put it somewhere, but in some text file and finger have to figure it out still, but I'll let you know and then you can check it. But I kind of encourage you to try to figure it out by yourself. Think logically of how you could do this with your strokes. And if it's too difficult, just check how I meant it to be. But this is also some little more dynamic exercise that orange children's few little to come up with some very pragmatic thinking. I also want to show you one practical example of how you can make a group out of this periodontal and we have to change the pet mapping for it because we need now the kick drum, roll one, number four on the right path, and the snare drum here. And so now we have the right, left, right, right, left, right, left, left. And we're going to play it this way. But faster. And you can see it kind of starts swinging. It's really cool. Roof and a few yeah, check this kind of stick control thing. You get lots of those combinations that you can then try it to apply to those pet just in a way I've shown you for this periodontal. But yeah, you just have to think a little off how it could be possible and be open to change the page layout. Because as you can see for this sticking now, it makes sense to start with the right-hand on the bass drum instead of the base strand being here. And this is something you always need to be open towards. And I also want to show you one example of not exactly the periodontal, but some similar approach because we're going to play all possible notes within the bar, but we're going to also sub-divided on those three pet. So we have some nice little groove that actually sounds like this. So you can see that I included a fourth pad now, and this is just strokes of either one or two per hand going around the peds. And that's also what a periodontal kind of trains you to do. I mean, it has this basic thing, but if you check for the state control page, you will get lots of those examples. And you will actually come up with stuff this way. 11. Creating Your Own Beats: So in this last chapter, I want to show you some concepts of how you can create your own custom groups and beads. And there are two ways of doing it. There are more ways, but I'm going to show you two ways. And one of them is just to create some sticking, so some combination of strokes that you then apply to the drum pad. And the other one will be, as I mentioned earlier, using the midi editor, we're going to start with a sticking option. So for those sticking option, we're going to think that we're going to play 16th notes over one bar. So we have 16 positions. And now we just make a combination of right and left. And the only rules that there can either be one or two strokes with the same hand, but never 3. So this way you have to change at a certain point and you have to make sure that this way you can kind of generate 16 positions that still fulfill all those requirements. So let's just create some example. Let's start with right. Then let's have two times left and right again. Then left two times right, left, then just right, left, right, left, and left, right, left, left. And let's just go over to the PET now and play this. You can see I was just stunning wolf kick, snare and high-end. But at some point also tried, including some other sound at some point. And this can usually be quite fun. And let's just do another example this time Let's do left, right, right, left, right, left, right, left, left, right, right, left, right, left, right. Let's head over and try this. In this way, you can just create your own patterns. And also remember that you may want to experiment with different page layouts because sometimes it can be nice to have the kick drum on the left side, sometimes on the right side. And just start playing and see what kind of feels most comfortable to you. And also probably a good reason is to see how it starts. Because often the beat starts with a kick drum, of course not always, but it helps to get, helps to get some sort of stability. So you may want to check what kind of hand place the first node and if it's left, it's probably nice if it's on the left side, but if it's right, you may want to try how it feels with the kick drum on the right side. And also remember this book, stick control because it just has a bunch of those kind of combinations. I mean, this way you can also by just applying the system, create them by yourself. But it's also nice to just have a page where you just have to come over continuous challenges and this is the way this book is designed. So once more, some recommendation here. Another way of creating your own groups is to use the midi editor. And maybe you have some type of programs like for example, if you have a Mac, you have GarageBand that has some midi editor. Or maybe you came across some other program. But if not, there's also some website that I just found it. It's called online sequencer.com where you have listing just in your browser. And that's why I want to show you how you can use this thing. So here I just opened this website and you see that on the left side you have some type of piano. And here we have some metrics. And you can think of those units as 16th notes because you see here 1234, and this is just the count of the bars. So this is one bar here, and it's divided into four sections, which is like quarter notes, as you remember, 1, 2, 3, 4. And those continents are divided again into 44 sections, which means we have a 16th note grid, as you would say. So in total we have 16 positions for our bar. So like with this kind of sticking thing, we can now just come up with combinations. But right now we have a piano sound, which is not the most practical thing. So we have to change it here to drum kit. And let's just pick the first one. And now you have to scroll down a little to fan the classic sounds. Because here you can see where's the kick drum? You have to kick drums and for example, the snare drum. Let's just remember our very first example, which was this type of beat at sounded like this. And you see that here you kind of have our small little beat from the beginning and it just loops this bar. And if you would add a second part, would loop the second part. But this way you just have to now check the higher this here. So we could add this offset height. And you would also hear this kind of figure. Just kind of cool here. You can also change the tempo because let's go through this temporal reuse that first 90 BPM. And now you can be a little creative and just think of, okay, Let's various positions in order to, in order to come up with some new, new ideas. If you right-click, you can just delete the node. And so let's stick to this only one note at a time approach. So maybe here we do two heights. Maybe kick drum here. And you kick drum here. And the snare. Let's see how this sounds like. Kind of tool. And now you could think, how could you play this possibly on the pad. And I'm just going to head over to the PET now and just play it for you with some possible sticking really slowly. Now you saw that we had some problem, that we had two strokes playing two different two different pads right after each other, which was something I also told you is possible but not the most desirable thing. So let's now see how we can change this thing in order to avoid this. Because at the beginning it was really nice. We had like left, right, right, left, right, left, right, left, left, right, right, left, right. And now we would actually need left again on the kick drum, right on the UN. Actually here we just need to highest and then we actually get back to our beginning and let's just play it quickly. And now we have some smooth sticking without loss of weird fast jumps between two different parents. And let's just create another example. Maybe this time we use a couple of more things. So let's start with to kick drums, maybe to Hyannis, to snare drums. And this one should be quite smooth. Let's listen to it once. And let's try to play it. And as you can see in this one scale of some smooth sticking. And if you do this for a couple of times, your head will also start thinking already, okay, What would be the potential sticking here? And then you will design both things also a little bit more sticking some mind and less often run into those issues off it's a bit difficult to play them. And in my opinion, it's just a very organic thing to do because you have a very visual feedback here. You can listen to it and just change the notes immediately and again, listen to it in order to find the way of playing it or the way of arranging it, that it's the most convenient to you and just feel the best. 12. Outro: And that was it for this class. I really hope you enjoyed this class and feel motivated now to just work further on your drumming skills. As I said, this is no course that gives you some type of certificate. Now you're a perfect drummer and know everything. Because others exercises really need to be shaped, continuously practiced, and repeated over a long period of time in order to achieve a great feeling of expression, musicality and freedom. Be reminded once more to peace. Drop any questions in the discussion section where we'll try to help you in the very best possible way. And also your warmly invited to give me some review and some constructive feedback. Since I've not been creating online classes for a very long time and just constantly try to improve the quality and clarity of those. And if you know a friend that could be interested in this class, just refer him to this link. If you feel like following me, you can also do so on YouTube where I regularly post content about creative music production and also performance. And for now I just wish you lots of inspiration with your drumming and really hope to see you around some other time soon again, Bye.