Transcripts
1. Intro/Overview: Hi, my name's banish later, Welcome to the beginner drum less than part one. In this course, we're going to take an in-depth look at everything you need to know to get started to drum. It will look at everything from how to sit at the drums, how to find the right height, pile, hold, and throw the drumstick will start to build your German vocabulary with rudiments, speeds, and fills. In addition, I'll show you how to break down beats and give you some tips to practice and a few tools practices as well as a final project. I've included play along tracks that have drums and then tracks that don't have terms, so that you can play along with the other instruments and then test your skills by playing along with the drum was tracks and see if you can make the drone spit in. Let's get started.
2. Sitting at The Drums: First, let's go over the names of the instruments in front of us. We have the bass drum, snare drum, rack town. Some people may have an extra term here or here, or here. Floor town. The two symbols that are on the foot pedal called the hi-hat, crash cymbal. And the ride cymbal. When you sit down at the drums, you should be sitting so that both feet are touching the floor. Lets make sure you're sitting up straight and you're not hurting over. Our body works better when we sit straight up and along. This can get as much air as possible. You don't want to sit too low so that your legs are up at an angle like this, but try to have them flat or maybe down a little bit whenever we sit down to play and we wanna make sure that we're as relaxed as possible and our body is this tension free as can be, starts with us sitting down at a comfortable height, making sure that our legs had no tension and that they fit on the petals without you having to turn your legs or your body at all. Again, you wanna make it just a natural position and then extends to our arms to, to find the right playing height for the rest of your drums, sit down, bend your elbows so they're roughly at a right angle. There could be a little obtuse, but we never want to make it an acute angle because that'll increase tension. So find a right angle or slightly obtuse angle, and then put a drum stick in your hand. The drumsticks should touch the snare drum in the floor tom without you having to move down at all. I can keep the same angle and my Rs and touch both of these drums. If I have to make any adjustments, I can do that with the hardware and the drones. If you need help setting up your drum hardware, check out my video how to set up drum hardware and drum tuning. But once these are at the right height, you want to make sure the other instruments are equally as comfortable to reach. Just moving your arm a little bit should allow you to reach it. By rotating our body in our arms. We should be able to reach every instrument in front of us.
3. Holding The Drumstick, and Grip - Traditional, Matched, German, and French: And you hold onto a drum stick. There are a few different ways you can approach it. The way I play is called a matched grip, where each hand has the same grip. But oftentimes you see drummers play with what we call traditional grip. Traditional grip comes from the military and marching heritage of drumming. When the drum would be war on the side and people had to put their arm, it up in the air in order to play. If they played match grip like that, there are their elbows way in the air and to be super uncomfortable to play for any amount of time. So they developed this traditional grip to facilitate that plain people learn to play this way, marching in or embed in marching bands, and then transferred over to when people started to play the drum set as well. No way is necessarily better than the other. I learned it this way. So this is the way that I teach people. You'll find great and amazing drummer Is that use both grips. It's more just a matter of what you take the time to practice when we play match grip, there are also two variations. We can play with our thumbs facing in, called the German grip. Or we can play with the thumbs facing up, called the French group. What should the playing that I do is to German grip. So that's what we'll be learning today. If we bend our elbow and bring our arm up to the angle that we need, we want to keep her hand in that national shape head as it was lying on her side. Again, put the best drumming comes when you're relaxed. So you want to keep your hand relax and then slide the stake into the palm of your hand. Leave the end of the stick out a little bit. And then the main grip or fulcrum will come from two fingers and a thumb. Notice how they are stacked. None of them are the same point of the stick. I have three separate points of control. The remaining two fingers will gently wrapped around the stick and you should still be able to slide the stick loosely into your hand. We're not gripping it tight by any means just enough so that it doesn't fly around in our hand. Make the same thing happened with rather stick two fingers and a thumb and the other fingers wrap around keeping that natural hand position. For the German grip or thumbs are in for the French script, or thumbs euro. Regardless of which group you use, use your wrists to raise the stakes up high. We want to try not to lift up the stick before we throw it down to help that we can make sure that our sticks start high and our goal is going to be to throw the stick down and have it bounced back up to where it started like this. Notice the motion came from my risks and I've tried to make it as quick and snappy emotion as possible. And I'm keeping a relaxed grip so that the state can bounce back up.
4. Bouncing and Throwing The Drumstick - The Most Important Lesson: Putting a stake is exactly like bouncing a ball. By throw it down. It comes up on its own. When you throw it down, it comes up monotone. I'm just throwing it down and catching it back where it started. When you throw your stick down and try to make it bounce straight up and down, the quickest way between two points is a straight line. So try not to make any wavy motion. If you do notice that a wavy motion is happening, try to slow down easy. That's an indication that you're trying things a little bit too fast. We really wanna throw stick hard at the drum head. That way we're pushing the air inside the drum and making it vibrate both bottom and top heads. And to do that, you really need to snap your wrist, Make it a quick motion, not a type and heavy motion. Think quick and light. It does take a little bit of thought to try to lift up and just make the only motion, a downward snap, go really slow as your first doing this. Try to do a four times on each hand. 12. Ready? Go. If you feel like you're not getting the bounce, try this, try to make the stick fly all the way back into your hand. Don't catch it. And when you can do that, then go back to trying to catch it at the point that it started. 12. Ready? Go. If something like this happens, it's not necessarily a bad thing. That means you letting the stick balance and you have a loose grip, maybe you need to wrap your fingers around the stick a little bit more, but you're headed in the right direction as we're doing this, remember, stay relaxed. We also want to keep the tips of our sticks together so that we're hitting roughly the same spot on the drum and getting the same sound. Ideally, we'll play the drum in the middle. That way we'll get the fullest sound. If you do want a thin snare sound, you can move to the edge of the drum and achieve that. 12. Ready? Go.
5. Bouncing The Drumstick While Counting: When browsing the steak is easy, start counting along as you play coatings and important tool that we'll use in music in many ways. 12. Ready? Go. If calling along is easy, we can do what we call subdivide the b, where we count faster than what we play. In this case. Or count two times for every note that we play. And it would sound like this. And, and, and, and, and, and, and, and, and, and, and, and, and, and and 12 ready. Go. And and, and, and, and, and, and, and, and, and, and, and, and, and, and, and.
6. Using A Metronome: To find a free metronome assertion that any app store or at any search engine for free metronome, playing with the metronome is helpful because it shows you exactly where the steady beat is and whether you've gotta be slow or fast compared to that city B, you want to play exactly with the metronome, meaning you might have to anticipate it a little bit. And why happen that you're so on with the metronome, you're doing what we call burying the metronome and you're playing so exactly with it. That is tough to hear it. That's a good thing. If you know the beats per minute or BPM of a song, you can play along to that. Many metronomes also allow you to tap into speed. So you can listen to the song tab and the speed and figure out what speed that song is. Many metronomes have the first b sound a little bit different to help remind you where the beginning of the pattern is. A highly recommend to write down this tempos or speeds that you work on each exercise it in a notepad or on your phone. This helps keep track of where you are for the next practice session. It can also help mentally, as you can see the progress you've made, sometimes from day to day or week to week, it's difficult to realise the progress we've made. But if you see numbers and you can see that you've changed those numbers over time. It's gratifying to seek a concrete resolve the progress you've made.
7. Drum Rudiments - Singles, Doubles, Paradiddles, and Inversions of Paradiddles: Like I said earlier, drumming comes from a military heritage. Some of the patterns and rhythms that were used on the battlefield continued to be used in drumming throughout history. Around the 19 thirties, a language was solidified called the drum movements. These are different sticking patterns or combinations of rights and lefts and rhythms that make up a large part of what drummers do. We're gonna begin with six sticking patterns. And the first sticking we call singles just one time on each hand. That would sound like this. And more. And, and, and, and, and, and and, and might not sound like much at a slow speed like that. But as I always say, slow practice makes fast progress and that same sticking pattern can sell also sound like this. The next ticking pattern will learn or doubles two times on each hand. And 221 command to read through. And as you're playing these thinking patterns, make sure you're counting along. Next, we have a combination of singles and doubles called parentals. And 24 to 312 in both. And the next three staking are inversions of those paradise hills or the same sticking, but displaced by one count. The inversion moves the double from where it is in the measure like this. One. And fold made and, and, and, and, and, and, and, and, and voting. And the next inversion of the periodontal sounds like this. And, and, and, and, and, and, and, and, and. And then here's the last inversion of the paradigm, 1341131. And, and, and to practice those will add a metronome or machine that keeps a steady beat. When we play with the metronome, we wanna play exactly with it one time. For every time the metronome plays, I recommend using earplugs as loud as you'd hear the measured on that way.
8. Dividing A Steady Beat - An Important Lesson: Most music that we listen to has a steady B and all the rhythms that we hear in that music come from dividing that be in a few different ways and then also adding rests, which means that we're not playing on some of those beads. This exercise is meant to develop your sense of a steady beat in how to divide that BY without losing track of it. Again, I recommend using headphones for this. And once we have the metronome set to 40 beats per minute, will play right along with those. And when we play one time for every count, we call that quarter notes. When replaying slow, it's very helpful to sub-divide, like we did earlier, counting faster than we're playing to keep a more steady beat. Everything we'd play in this exercise will be done using the single stroke role. Onetime using each. And it sounds like this. Ready? Go, 12312312301. And, and and and for me, a. Next we're going to play two times for each b, and we're going to play what we're accounting during the quarter notes. We call these eighth notes and it would sound like this. Ready? Go. 123123123 or three. And next we'll divide each beat into three. And these are called triplets, and they would sound like this. Ready? Go la, lead to the need for wildflower, 2341234. Up to really notice when we play triplets, that the beginning of each count lands on a different hand. One lovely to leave three loudly for La Li. This is the first rear them. We've seen that does this. But anytime we have an odd grouping of notes on a b, the same thing will happen. And lastly, we're going to divide a b into four called 16th notes. And it would sound like this. Ready and go 0s and 01 and add it to the end of week two. And then four. And our goal will be to play from one to the other without stopping using the steady beat divisions sheet that comes with this course. Play along with me. And we'll do each one of those divisions four times before moving to the next 12. Ready go. 1234123123412341234, day 123 pole. 123412313233412341234123, wave or weak 1D 2D and 3D. Four 0s and 0s and 0s and 0s and 0s. And 102341 p to the n, three feet and four feet and no one. You may have noticed that the 16th notes may have been the easiest to play. The more reference points we have, the more easy it is to keep a steady B. And again, that's why we sub-divide the b. We have to be careful because the more notes we play, the tendency is to try to play faster. And conversely, the less nodes we play, we tend to slow down. So subdividing the bee and counting is a very important tool.
9. What Is A Drum Beat?, Drum Beat 1, Breakdown Method 1, Adding Eighth Notes: Next we'll learn for drum beats. And a drumbeat is a repetitive pattern that forms the basis of what most drummers play. And a lot of drum beats we use the base drone, the snare drum, and the high hat. That doesn't mean they all well, but those are three of the instruments most commonly used in drum beats. These four beats will help you develop coordination that will let you to play with hundreds of songs. These are very common beats and they're not that complicated, which says something about what makes a good grumpy if he listened to the drum beats of a lot of songs, there's simple, repetitive and they feel good so that the other musicians can play along with it easily. As with most things will do, We should count as we play. Here's beat one at 65 beats per minute. 1231231312341234. This time, try it with me. One, two. Ready? 123123412341234. If that's difficult, try playing just two of the instruments at a time, and then all the different combinations of two instruments. So we'll start with the bass and snare. 12. Ready? Go, 13131313. Next we'll do the high hadn't snare. One, two, ready? Go. 1312341231. Next we'll do the bass drum in the high hat. 12. Ready? Go, 1234123412341234. Then try to put them all together again. If that's easy to add an eighth notes on the hi-hat. 12. Ready go. 123412313413 and
10. Drum Beat 2, Breakdown Method 1, Adding Eighth Notes: Here's number two at 65 beats per minute. 12. Ready? Go. 12341231231234. This time, try it with me. One, two. Ready? 1234131231234. If that's difficult, pledges to are the instruments together. We'll start with the bass and snare on too. Ready. 1234123123133 and next, the base and hi-hat. Two. Ready? 1234123412341234. And then we'll do the high hat and snare to reading one. And for 131313, and then try to put them all together again. If that's easy to add eighth notes on the hi-hat. Two, ready? Go, 1234123413 and n 1234 and
11. Drum Beat 3, Breakdown Method 2, Adding Eighth Notes: Here's three at 65 beats per minute. 121234123123123. This time, try it with me. One, two. Ready? 12341231231234. Another way we can break things down is by taking away the steady beat altogether and really focusing on which limbs happened on which count. 12341234. Do that enough times so each limb feels comfortable about where to play and then add the steady beat back in and put them altogether. If that's easy, tried to add eighth notes on the hi-hat. Two, ready and go. 1234123 and then 1313. And
12. Drum Beat 4, Breakdown Method 2, Adding Eighth Notes: Here's beat 465 beats per minute. To ready. Go. 1234123123123. This time, try it with me to ready 1234123423123. And with this, B will break it down without a steady be focusing just on the limbs and the counts 12301234, do that enough times so each limb feels comfortable about where to play and then add the steady beat back in and put them altogether. If that's easy to add eight notes on the high hat. 12, ready? Go. 123413123413. And
13. What Is A Drum Fill?, 4 Fill Examples: A drum fill is a variation from the repetitive pattern of the drumbeat. And it's used to signify some sort of change is coming into music. Or it can be used as an auditory reminder of sorts for the audience or musicians that you're playing with. When we're playing a filled a steady beat remains, we should always be able to tap our fee. And that change that where they were playing a beat or fill that steady B, it has to remain constant. Usually when we're playing the same thing over and over, it's not that hard to keep a steady. But when we have to change what we're playing, that's when we really start to notice the change in the steady beat. As with everything else we've played the day will count as we do these Phil's, Phil's we'll use the rhythms that we learned in a steady beat divisions, quarter notes, eighth notes, triplets, and 16th notes. According to fulfill with sound like this. During this time, try it with me to ready. 123. Oftentimes, a Phil starts on the snare and goes up to the rack toms and down to the Florida. But you can really make any combination or orchestration of instruments that you would like, as long as you're using that same rhythm, instead of being 1234. You could play 1234. Try it with me. 12, ready? Go. 1234. You can play any variation, as long as there's quarter notes. If we played an eighth note fill, it would sound like this. 1234 band. Try it with me 12 and read it and go 1234 band. Or if we had a variation on that fill, we can make it sound like this. 1234 and try it with me. 12 and ready? And Joe, 1234 and triplet Phil would sound like this. 1234. Try it with me. One, lead to leave, leave go 1234. And a variation on that. Phil could sound like this one. And to leave the room before, try it with me. One lead to leave Reddit, blah, lifo, Li, one lead to the, the, the, the, or. A 16th note. Phil would sound like this. Well, I, me and the 2P and reheat and authority and try it with me. 1i and two 0s and 0s and 0s and 0s and 0s and 0s and 0s and, or a variation on the 16th melt Phil could sound like this. One, E and F to E and D, E and F. Try it with me. 0s and 0s and 0s and 0s and one. What do you decide what filled to use in the song? You want to try to make it support whatever rhythms are already there in the music most of the time, if it's a fast song, we could play a fast fill. Or if it's a slow song, we play a slow fill. You wanna make the fill fit the mood and the style of whatever music you're playing.
14. Drum Beat 1 with 4 fills: Now we're going to connect beats with fills. And to do this, we're going to put them in measures. In music, a group of counts or a group of beads, it's called a measure. In this exercise, we're gonna play three measures of a b followed by one measure of a fill. Music won't always happen like this with a fill every four measures. But sometimes going from the end of the field back to the b is the hardest part. And that's where a lot of drama is. We'll lose the steady B. So it's worth practicing just that part a few times by itself. 12 ready? Go. 1313131313131. Notice that after I played the fill and went back to the beat, I substituted the first hi-hat hit for a crash symbol. This is a very common thing. And if you feel comfortable playing the hi-hat, try to switch it to the crash cymbal and see if you can add that in. 12. Ready go. 12313131341234123412. Ready go. 123123123312313412, ready go 1312313. 123
15. Drum Beat 2 with 4 Fills: In music, a group of counts or a group of beads, it's called a measure. In this exercise, we're gonna play three measures of a b followed by one measure of a fill. Music won't always happen like this with a fill every four measures. But sometimes going from the end of the field back to the b is the hardest part. And that's where a lot of drama is. We'll lose the steady B. So it's worth practicing just that part a few times by itself. 121341231231313. And notice that after I played the fill and went back to the beat, I substituted the first hi-hat hit for a crash symbol. This is a very common thing. And if you feel comfortable playing the hi-hat, try to switch it to the crash cymbal and see if you can add that in. 12131313413113412. Ready? Go 131313413134. Ready and go, 12341231313131 vn
16. Drum Beat 3 with 4 Fills: in music a group of counts or a group of beads it's called a measure in this exercise we're gonna play three measures of a b followed by one measure of a film music won't always happen like this with a fill every four measures but sometimes going from the end of the field back to the b is the hardest part and that's where a lot of drama is we'll lose the steady B so it's worth practicing just that part a few times by itself one two three o one two three one three one three three one three one two notice that after I played the fill and went back to the beat I substituted the first hi-hat hit for a crash symbol this is a very common thing and if you feel comfortable playing the hi-hat try to switch it to the crash cymbal and see if you can add that in one two three o one two three four one two three one three one three one three one three and four one two three o one two three one three one three one three one three one three one four one two three one three one three one three one three one three one two three four
17. Drum Beat 4 with 4 Fills: In music, a group of counts or a group of beads, it's called a measure. In this exercise, we're gonna play three measures of a b, followed by one measure of a film. Music won't always happen like this with a fill every four measures. But sometimes going from the end of the field back to the b is the hardest part. And that's where a lot of drummers will lose the steady B. So it's worth practicing just that part a few times by itself. And do 3132301230123. And we will notice that after I played the fill and went back to the beat, I substituted the first hi-hat hit for a crash symbol. This is a very common thing. And if you feel comfortable playing the hi-hat, try to switch it to the crash Sibyl and see if you can add that in. 1212312313134313131412313131, not leave without a very good 131301. Ready and a growing yet 123413131, end at the end of 43131314.
18. Helpful Reminders: What are you playing? A, B, a fill or rudiment, start slow and as it becomes comfortable, play it faster. At a certain point, you're going to notice that you lose control of it or maybe you're sticks start to wobble. And that means that you're approaching that speed or you're at that speed, that's just a little bit too fast. I recommend slowing it down slightly from there, practicing there sometimes just for a few minutes, sometimes for days or weeks until it becomes comfortable. And then you can speed that up and you'll find a new faster speed that is now not comfortable and requires some work. Doing this over time will take anything you want to play and allow you to break it down. So it's an understandable slow speed and then take it up to whatever speed it originally was played at or even faster. As you start something new, you may be very good at other things in life and compare it to that. But try to just let yourself be bad for a little bit. It's okay. We all have to start somewhere when we start new things. As you keep going, you're gonna make mistakes and that's okay. Mistakes or just a part of learning. Do your best to laugh at those mistakes and then keep trying. So make them, notice them and do your best to fix them. You'll hear me say this over and over again in lesson videos. But slow practice makes fast progress. As we go slow, it's easier to understand a sticking or rhythm or really anything in music if it's not zipping bias, Think about it like trying to get in a car. If you get in a car and it's going 60 miles an hour, you're going to have a tough time. But if it's going really slow or stopped, it's going to be much easier using the extra time at slower speeds to really think about what's going on can help cement that in our mind and body much quicker and help us progress faster. Stay consistent, try to pick up the sticks every day. I know that can see like a chore, but even five minutes can help keep the ideas that we're going over fresh in your mind and hands consistently coming back to drumming both mentally and physically, will help retain the ideas, movements needed for drumming. Counting when you play is a very important tool, as I previously said, it could be tough at first, but the more you do it, the easier it gets. It's one of the most helpful tools that we have in music. The easiest way to feel a steady B is to make it come from inside your body. So counting is really the best way that we can feel a steady be it music. There was another saying that if you can say it, you can play. Meaning that if you could sing a melody, meaning that if you can say a rhythm steadily, then it's going to be much easier to play because you already have an idea of what it should sound like in your mouth. And it's just a matter of translating that idea from your mind to whichever limb you want to play that idea. You can come to a metronome to practice or you could also count along to a song. Most songs count to four, but not all songs. So you may have to listen to where the pattern and the music begins and try to count a steady beat from that point. With this course, you should have all the tools you have to get started on drumming and build a solid foundation for years to come. The technique and vocabulary that we discussed in this video are things that you'll use for years to come as a project for this course, I've included some play along tracks with the bass, guitar and keyboard. One set of tracks have drums, the others don't try playing along with a set with drums first. And then if you feel good about it, take them out and see if you can lock in with the base in the keyboard yourself. Many times what the bass guitar plays is going to be the same rhythm at the bass drum place. Many of the ideas in this course you can practice for weeks or months, so stay consistent. And if something's easy, try to speed it up a little bit for more drone vocabulary that including beats, fills, and rudiments. Check out my beginning drum lesson part two video. I hope this video helped you let me know if any questions and take care.
19. Practice Tools - Drum Rudiments Singles, Doubles, Paradiddles, and Inversions of Paradiddles at 65: So I've got my metronome set to 65, and we'll play each sticking pattern for a council for. So try to play along with me. We'll do all six sticking patterns. Notice if any of these things are more difficult than the other is in practice them by themselves, then try to put them back to the whole exercise. 12, ready go. And 341 and and, and fold. And, and, and, and, and, and, and both 121 and and, and, and, and, and, and then in men. And then n to n one and n, n, n to n through n, n one, n 2312341. And then, and then in the frame one to n 1231, you and I both 234140 command one through n, n one n 271 and n, n 1231 in n and n one, n, three and so on. And, and, and, and, and, and, and then what? N and n one, n 23412341344. And and, and, and, and, and, and and and n to n, one and n, and n and, and, and, and as that becomes comfortable, try to add your feet in. If we play, sticking number one, with our feet playing along with the metronome, it would sound like this. One to 31 and, and, and, and, and, and, and, and, and, and, and, and, and so, and, and again, try that with every sticking. This will start to build up your coordination between your hands and feet. First, things needed to know how to play together before they play separate. So making sure everything can play at the exact same time is very important if playing the sticking patterns with your hands while keeping the beat with your feet at a speed of 65 beats per minute is easy. Try to speed it up, go anywhere from two to ten beats per minute faster. I recommend only going up to ten beats per minute at a time faster. This way you get comfortable playing at a wide variety of speeds. And as with all the playing you do as you're doing this, there's a lot to think about, but still think about balancing that stick.
20. Practice Tools - Dividing A Steady Beat: Using the steady beat divisions sheet that comes with this course, play along with me. And we'll do each one of those divisions four times before moving to the next 12. Ready? Go. 1234123123412341234123141312341 or 1234123412341, D and E and D E, F or E and F 132341 to the n, three feet and four feet and no one.
21. Practice Tools - Slow to Fast Beat 1 with Fill 1: Now we're gonna take the beats, we learned it, put them through the wringer. We're going to start them slow, but then we're going to speed them up ten beats per minute at time. We'll see where a comfort lies. Try your best and then go to say which speed you can no longer play, and then try practicing at the speed below that. In this exercise, we're gonna play three measures of a b, followed by one measure of fulfil. Music won't always happen like this with a fill every four measures. But to make the most efficient use of our practice time, I've structured it like this, right? Yes. Right. Okay. Yes. Okay. Right.
22. Practice Tools Slow to Fast - Beat 2 with Fill 2: Now we're gonna take the beats, we learned it, put them through the wringer. We're going to start them slow, but then we're going to speed them up ten beats per minute at time. We'll see where a comfort lies. Try your best and then notice at which speed you can no longer play and then try practicing at the speed below that. In this exercise, we're gonna play three measures of a b, followed by one measure of fulfil. Music won't always happen like this with a fill every four measures. But to make the most efficient use of our practice time, I've structured it like this. Yeah. Okay. Okay. Okay. Ben. Okay. So
23. Practice Tools - Slow to Fast Beat 3 with Fill 3: Now we're gonna take the beats, we learned it, put them through the wringer. We're going to start them slow, but then we're going to speed them up ten beats per minute at a time. And we'll see where a comfort lies. Try your best and then go to say at which speed you can no longer play and then try practicing at the speed below that. In this exercise, we're gonna play three measures of a b, followed by one measure of fulfil. Music won't always happen like this with a fill every four measures. But to make the most efficient use of our practice time, I've structured it like this. Okay? Okay. Ok. Right. Seriously? Right. Yeah.
24. Practice Tools - Slow to Fast Beat 4 with Fill 4: Now we're gonna take the beats, we learned it, put them through the wringer. We're going to start them slow, but then we're going to speed them up ten beats permitted at time. We'll see where a comfort lies. Try your best and then o to say which speed you can no longer play, and then try practicing at the speed below that. In this exercise, we're gonna play three measures of a b, followed by one measure of a film. Music won't always happen like this with a fill every four measures. But to make the most efficient use of our practice time, I've structured it like this. Mm-hm. Okay. Yeah. This provision.
25. Play Along - Beat 1A 75 BPM: Yes. Okay. Two. Okay.
26. Play Along - Beat 1A 75 BPM no drums: And then four. And you do it. And
27. Play Along - Beat 1A 105 BPM: Okay. Thank you. Okay. Right.
28. Play Along - Beat 1A 105 BPM no drums: Four, right? Yeah. Okay.
29. Play Along - Beat 1B 135 BPM: You will be able to encounter people, people, people taking people into, into, into, into retail. And 50 people or people, or people who make 50505050 different appropriately to repeat, repeat, repeat, repeat, repeat until loop. If you feel completely differently to effect the infected people became infected with him, go deeply into converted into being faithful. And 5200 people between people, people, people who were taking people into people who should be 5050 completely open to the Fukushima ATP, ATP for people to do. We'll be taking a look at the issue and taking people, incenting people, people built the company can go back into open, open, open, conflicting interpretation. Or people who are getting completed. In 1883. Countries open, proven to be PPP. Ppp. It's going to be different for making ATP to compete effectively or ineffectively control can be taken to improve the 50 people. Or people who are taking a technological improvement. People, including people. They did not need to be thinking and compute the infinity, infinity, infinity appropriately to protect them from 80 people into two groups.
30. Play Along - Beat 1B 135 BPM no drums: They became much easier for people who are brucei, brucei, brucei, brucei, brucei, brucei, brucei, brucei, brucei, brucei, brucei, brucei, brucei, brucei, brucei, brucei, brucei, brucei. Therapies that will be easier to issue a vehicle for basically being JBIG from Berkeley admissions inconsistencies between cultures, database and abilities Zuckerburg, inflation will be taken to obesity between saving for a group who agrees on glucose or maybe they're going to be facing the baby decomposition decomp2 thinking things through PPPs may interfere between increasing who's, who's looking for information with a family therapy. Brucei, brucei, brucei, brucei, brucei, brucei, PPPs, HEPA filters, intuition, EKV, EKV, EKV, EKV, EKV, EKV, EKV, EKV D3, precursor for political groupings, OTP baby vehicles of brokers who are people who are super ego be beneficial, for example, Google database OPV babies in recent decades, the admissions implementation through frequency within the basin, for example, Google inflation will be taken through the three papers API from Google. Virgin Group is a danger that issue with nuclear hopefully will be facing the baby decomposition and thinking, thinking, thinking these people to a control group is in equilibrium position. The family filter presumably is EKV, EKV, EKV, EKV deviation control group. It may be confusion in the field from infinity to infinity over infinity over infinity, infinity, infinity infinity because infinity infinity, infinity, infinity, infinity, infinity over infinity infinity, infinity infinity, infinity, infinity, infinity, infinity to infinity indicate V2. V3 is equal to infinity. We think the brief intuition, we think inflation will continue enthalpy from 505050, essentially a precursor APP social innovators increasing, increasing vehicle group-based integrate new buildings. Issue for example, because they basically BJP thinking, thinking these things, anything special case McCarthy's database important Zupan who people are basically BJP field within a group brucei, brucei, brucei, brucei, brucei, brucei, brucei, brucei, brucei, brucei, brucei, brucei, brucei, brucei, brucei Fe304 PPPs, Ethiopia country who is important. And if the people before seeing the same thing for the creation of these include VPPP, can't even do that completely. Therapy be confusion. Within confusion, people come into conflict with T4.
31. Play Along - Beat 1B 165 BPM: We think that institution, PPP people, people, people, people, people to open the convergent growth interpretation to people, people, people, people become infected treatment technique and protecting people, taking people to people prototyping on paper folding, thinking people, people, including people to behave differently than people who do, we could, we could do to only focus on Google. Heaven forbid, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken from voting. People should be getting people, people, people become important in technical conflicting people, people including people who are thinking, people. Including people thinking company taking completely, completely ATP from glucose into the computer and open to, we haven't covered different people taking people taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken people for their people. Taking, taking people talking to people, making improvement. In keeping, treating people differently. If we continue to focus on Google, but we probably could be PPP completely taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken, taken taken paper from particular people taking converted over to the people who become infected, infecting two competing for open and important papers over paper prototyping. Paper prototyping to open a couple different ways, including people.
32. Play Along - Beat 1B 165 BPM no drums : They are busy. People are going to be working paper Super Bowl people, even thinking through the details of glucose into Google Earth, evo-devo, BJP, the Zookeeper people basically behaving badly broken. Confucianism, Confucianism consultants and vis-a-vis the Zookeeper, April 18th, we'll be taking photos would be resulting from Google. Google, Google databases became confused. People immediately decomposition decomp2 patience with people who think that there are people who are using Ubuntu, PPP briefing, paper BGP. But we think that the VPPP computers repeat, repeat, repeat, repeat, repeat, repeat, repeat, repeat, repeat, repeat, repeat, repeat, repeat, repeat thinkers. And the people, people basically from David vacancy papers include buh buh buh buh buh buh. These are the superficial people who basically behaving differently thinking, thinking, thinking DCTCP paper, deviation papers are going to be able to effect will be different individuals who've taken from the people who do they think they can do is you can frequently be IC VBE deconditioning can take me to essentially people who think that the people who, who, who, who, who, who can improve grouping, grouping Foucault grouping Zookeeper, EKV, EKV, EKV, EKV, EKV, EKV, EKV, EKV, EKV, EKV, EKV, EKV, EKV, EKV, EKV, EKV, EKV, EKV, EKV. People pursue people able to complete the baby diapers and glucose and ATP, evo-devo the Zookeeper, Zookeeper, paper-based ABC, ABC, ABC, ABC, ABC, ABC frequency filter feeders and drinkers. It will be taken to be taking photos in a Google, Google, Google, Google filmmakers became people behaving as removing the decomposition consulting companies, usually the people who think that the people who are using Ubuntu, PPP briefing Foucault group in Copenhagen, PPP, PPP beat my duty to consult with, we think the BP for thinking, thinking, thinking, thinking equals, equals is completely consumed completely so that people able to complete the ability thinkers of groupers include people because you'll be able to measure to ensure the Babybot, Babybot, Babybot, Babybot uses anti-TB thinking consistency, FIFO configuration, data driven pages will be taking photos will decrease over Ubuntu burgers OBJ behavior. Yeah.
33. Play Along - Beat 1C 195 BPM: Okay. Okay. But the bad news. Okay. Okay.
34. Play Along - Beat 1C 195 BPM no drums: Sure. And is, is is, is, is makes sense. And this is our approach to deal with this. And she said, no. Okay.
35. Play Along - Beat 1C 225 BPM: Okay? The entropy of the gas at the same time. Okay? Okay.
36. Play Along - Beat 1C 225 BPM no drums: 88. Thank you. So it's just this is not the same thing as appropriate. Okay. That follicle in English, in that regard.
37. Play Along - Beat 2A 85 BPM: Okay. Okay. Yeah. Okay. Okay. So okay.
38. Play Along - Beat 2A 85 BPM no drums: Okay. Okay.
39. Play Along - Beat 2A 115 BPM: So Mm-hm. But okay.
40. Play Along - Beat 2A 115 BPM no drums: Right.
41. Play Along - Beat 2B 145 BPM: Okay. So so okay.
42. Play Along - Beat 2B 145 BPM no drums: Okay. Yeah.
43. Play Along - Beat 2B 175 BPM : Good. So so we could do okay.
44. Play Along - Beat 2B 175 BPM no drums: Okay. Okay. Okay.
45. Play Along - Beat 2C 205 BPM: We made it. And for me, my name is optimized. Maybe. Maybe not. All right. If all of us.
46. Play Along - Beat 2C 205 BPM no drums: And the option of shortest paths are optional. Children will pop up top. Now we can compete. And the Confucian tradition. The cheapest option.
47. Play Along - Beat 2C 235 BPM: Could it be fine? Okay. What is the NPV? No.
48. Play Along - Beat 2C 235 BPM no drums: Sure. Option. Option. Question. Optional.
49. Play Along - Beat 3A 95 BPM: Okay. 32. Okay. Of course.
50. Play Along - Beat 3A 95 BPM no drums: Ct. For five people. Five. Hello.
51. Play Along - Beat 3A 125 BPM: Why? So folks? Of course, some of this. Okay.
52. Play Along - Beat 3A 125 BPM no drums: Right. Thank you. Okay.
53. Play Along - Beat 3B 155 BPM: So for this particular system, in this case, OK. Okay.
54. Play Along - Beat 3B 155 BPM no drums: The focus here. All right, the way through the filter. The filter with a calculator, 4444 by four array. And then finally, infinitely close to a straight line.
55. Play Along - Beat 3B 185 BPM: For my purposes and for those of us in this problem, in a control system for two hours.
56. Play Along - Beat 3B 185 BPM no drums: And for all. In fact, people who belong to the ethanol from before working for the company for lifo or FIFO or lifo or FIFO. Ok. The people may feel that within my fellow method is filled with grief, economic theory and methodology for open-ended followed. By the way. If you can make the thing. With my fellow political thinker.
57. Play Along - Beat 3C 215 BPM: Okay. Okay. What is this?
58. Play Along - Beat 3C 215 BPM no drums: The quality and quantity utility that either directly to the technical data. Ok, perfect.
59. Play Along - Beat 3C 245 BPM: So not quite. Now, this is a difficult, difficult. The third is equal to 50.
60. Play Along - Beat 3C 245 BPM no drums: In the end. Okay. Okay.
61. Play Along - Beat 4A 85 BPM: Okay. Why is that? The other type? Okay. And we can go for a phone call? Right? Okay.
62. Play Along - Beat 4A 85 BPM no drums: Okay. Church? Yeah. Yes. Teachers. When the player and the data type.
63. Play Along - Beat 4A 115 BPM: Why? Right. So that is also a muscle attachment. Points. Sorry about that. The first question and the first place.
64. Play Along - Beat 4A 115 BPM no drums: Sure, sure. Therefore, a is equal to 0. Sure, sure. In 1948, all over 4.0000030
65. Play Along - Beat 4B 145 BPM: Okay. This is these cities. Okay. Let's see. Okay.
66. Play Along - Beat 4B 145 BPM no drums: And okay. Okay. Okay.
67. Play Along - Beat 4B 175 BPM: So in this situation, you can see that. Okay? And you can see that. Okay.
68. Play Along - Beat 4B 175 BPM no drums: Okay. Okay. Okay. Yeah. Right.
69. Play Along - Beat 4C 205 BPM: Okay. Yeah. Yeah. Right. Okay. Oh, okay.
70. Play Along - Beat 4C 205 BPM no drums: Okay. Okay. Okay. So so
71. Play Along - Beat 4C 235 BPM: Okay. Right. Okay. Right. The other one. Okay.
72. Play Along - Beat 4C 235 BPM no drums: Okay. Okay. Okay. And it has to yield. Yeah. Okay.
Ben Schlatter, Rhythm Is Everywhere
