Transcripts
1. Introduction: Hey, welcome to Drum
field Creativity, Developing Your Own voice. In this course, we're
going to focus in creating phrases by using
three note groupings. These simple groupings
are going to help create different groups
and fields that you can apply to any musical style. We'll start by creating
some coordination exercises that are designed to
push a little bit your technical skills, as well as understanding
the context. Let's start exploring
the possibilities.
2. Independence & Coordination Through Phrasing: All right. Welcome. Welcome
to this first lesson. This is going to be independence and coordination
through phrasing. In this first exercise, we're going to start exploring the phrase that we'll be
using throughout the course. That is right, left kick. Okay? We're going to start with some clapping exercises just so we can get used
to the phrase. And I want you to work
this on a 16th note grid. Going to have a quarterne in our left foot just
so we can keep the time and then we'll clap what would be the
right left in the future, and we will put
the bas room right in the place that the
notation is telling us, following the right left kick. We're going to try
this first exercise at 60 and 80 beats per minute. One, two, and three, and four and good. So that's a great
starting point. Now, I want you to do
essentially the same exercise, but now we're moving
on to the pad, okay? We're going to be applying now the right and
left with the sticks, and I want you to sing out loud the subdivision, the 16th notes. That will give us a
sense of the environment and is the best way
to own the space. So I want you to sing out
loud the subdivision and also be active in your listening
while you are doing this. Okay? Let's try this same exercise at 60 and 80 bits per minute. 12 and three, and four OinT the foreign oil OH to the foreign pin to the for oro. Two, three, Fourn for. 0.2 and for point, two, fee, 4.2 feet forinPFourn pin, two, three pouring, on, pouring, B, D, D pouring, B Alright. So that's a first
great exercise to start learning the environment we're going to be working with. Okay? I want to emphasize a little bit the idea of working outside the drums first when you do these
type of exercises. You definitely need some time to get the coordination running and keeping it quiet because we need to focus
in other stuff first. So now that we've done
that first exercise, we're ready to move into the
set and start to apply this. Let's see how that goes. Welcome to the kid now.
We're going to apply the concepts now on
the snare, okay? So same thing as we
just did on the PAD. Now we're just putting
the hands on the snare. I would like you
to try putting a high had in quarter
notes as well. Same thing, and try to
count out loud the 16th, as we were just
doing in the PAD. That's going to be great
for you to own the space. So let's try this
exercise first at 80 PM, and then we will move
forward into 100. Great. So now we're going
to apply that into the kit. We're going to start
orchestrating the ideas. So as a first idea,
we're going to move the right hand into the floton. Okay? That's going to
be the first idea. Your left will
stay on the snare. Everything stays the same. You're just moving
your right hand into the floton, right? And the second idea is
going to be putting your left hand on the
fractu, the first to. All right. When you do this, your right hand will go
back into the snare. All right. Let's try this
exercise at 6,100 BPM. For this, I'm going to
play 1 bar of groove, and then I'm going
to play the field. All right? Let's go. All right. Good. Now, when
doing those exercises, focus on the coordination, especially the high in quarternats that's going
to be a little bit tough. It's not as easy as it looks. And this is just a first
IV under orchestration. I want you to expand on this. That means that your right hand doesn't necessarily need to
be just on the floor tomb. You can move that also to
actum, the first tomb. Or your left hand. You can move that into
the high had eventually. Or you can keep
both in the snare. So ideally, you will
expand from here. No rules on this, get creative. Let's try a musical track
with this so we can see how this relates in a musical context.
Let's get into that. All right. There you
go. So those were just some examples that I was playing as I was
hearing the music. So the idea is that
you came up with your own unique ideas. All right. Take your time to go through all of the tempos. I just played a very slow
one and a medium up, but check the resources and
go through all of them. Take your time to make sure that the coordination
is happening, especially if you're running
the high hard quarter node, and then you should
be good to move throughout the files
and the music. Alright. That's it
for this lesson. Thank you for joining, and
I'll see you in the next one.
3. Mastering Dynamics: Welcome. Welcome back. This lesson is about
mastering dynamics. The material we'll be
working in this lesson is similar to the one that we were working in the last video, but now we're going to focus in the dynamics we can
apply to the pattern, the right left kick. Alright. So we will start on
the pad as we did before, making sure we can clap these accents that we
can own the space, get the environment, and then
we'll move into the set. As we did, we'll find some orchestration ideas and play with some music as well. So let's get right into it. Here we go. Okay, so
let's get this started. We're going to start with
a clapping exercise, similar to what we did
in the first video, but now we're going to
put those dynamics in. So the first exercise
is going to be clapping the right hand and
keeping the left soft, and then we will reverse that. We'll accend the left and
we'll keep the right soft. I want you to stay
with the left foot as quarter notes and then
putting the bass roun following the left
kick pattern and also trying to sing the
16th note subdivision. We're going to start
at 60 bits per minute, and then we'll push
into 80. Here we go. Two and three and four and the one for 1.2 and three and four and four and four and three 0.2 and 34 window. Only the two and three, and four and they walk y. Alright, here we are. We're back on the set. We're going to be applying
this on the snare, okay? So we will start with
the right hand accent and then we'll move to
the left hand accent. So when doing this, make
sure that the accent is pretty loud compared
to the soft stroke. I want you to keep it pretty close to the surface when
you're playing that, okay? So that you don't
get much volume. And, you know, make it
big the difference. That will give you a little
bit more of a shape and will be more musical
and expressive. So we'll start with
the right hand accent. The light will be soft, and then we'll
reverse that, okay? We'll start in a very
slow tempo so we see a little bit how this works and then we'll
push a little bit. Let's get into it. Make sure to take your
time to really focus on the difference between
the non accent strokes and the actual accent. Okay? Especially for
the soft strokes, those should be really
close to the drum head. Good. Now we're moving on
into the orchestration side, right, as we did before. Now we're applying dynamics and orchestration
at the same time. Let's get into the lesson. Orchestration. So now we're
going to do as we did before, we'll move the right hand to the floor to as a first idea. So that will be the accent, and then we'll keep the
left soft in the snare. All right. And then we'll
reverse that exercise. We'll keep the accent with your left in the ractm and I'll put the right as a very
soft stroke in the snare. Okay? I'll play 1 bar of
groove and then I'll do 1 bar of the fill and we'll
play this first at 60 PM, and then we'll
push it up to 100. Let's go. Great. So that's the first idea
for the orchestration. As we said before, this
is a starting point. I want you to try
to expand this. So we'll play now
with the track, and I will try to put the different
orchestrations together, and I'll try just to
move around the set to see what options we can explore. We'll play this first at ADPM and then we'll push up to 100. Let's get right into that. So this ends up the chapter
of Mastering dynamics. Create your fills, have fun
playing with the tracks. Again, try different tempos
and make it your own. But especially, keep
those accents and the shape because
you want to be as expressive as possible
when playing this. By keeping those accents, you'll make sure that
your expression and your musicality is
going to be at the top. So try the different tempos, the different tracks,
and have fun with those. Now we'll move forward, and I'll see you
in the next video.
4. Building Speed & Control Through Note Doubling: Welcome back. I hope you're
enjoying the course so far. We've been doing a
couple of exercises, and now this starts
to get into shape. This is lesson number four, and we're going to
build speed and control through node
doubling. That's the name. And what we're going
to be doing is some of the 16th notes that
we've been playing are going to be doubled
into the new rate that we're introducing that
is the 32 second notes. Okay? We're going to embellish a little bit some of the
fields and groups. So let's see how this starts. Let's get right into
exercise number one. So in this case,
we're going to do kind of a similar thing to what we did with
mastering dynamics. We're going to use that
right hand accent. But every time we
have a left now, we're going to
double those lefts and make them 32nd notes. We also want to keep
the dynamic shape. Don't forget that. That's very important to keep
the expression. And we got to take
this very slow just so we can build the
speed and the control, okay? We'll start at 70 PM and
then we will move into 100. Let's get into the exercise. All right. So now we're going to reverse that same exercise. In this case, we're going
to get the axon with the left as we did in the
mastering dynamic section, and the right is the
one that's going to be soft and it's going
to be 32nd notes. All right? Again, keep
that close to the head, make sure it's soft and you get a good separation between the soft strokes
and the accents. All right? We're going to
try this again first in 70 PM and then we'll
push up to 100. Let's get into it. All right. Great. Now
that we have worked in those exercises and we started to build the
speed and the control, we're going to move into
the music application. As we talked in
previous lessons, you can always go for the
right hand on the floor tom, get the left into the
actom or first to, and then start
mixing all of that. Okay? So we're going
to do that right now getting into
music environment and see what can I come up with as I'm listening
and playing on the spot. Okay? So let's get into
that two different tempos. Let's start pretty slow and then we'll push
a little bit more. Here we go. Okay, so that concludes
Chapter number four, building speed and control
through node doubling. I hope you got some
challenge with this, especially trying to
get those doubles as clean as possible. That's going to be kind
of the focus on that. So make sure you
take your time to go through the different
speeds and tempos. Remember to check the
resources folder for the tracks and have
fun with them, find different orchestrations, and then we'll move forward. Okay? So looking ahead, we're going to do some left foot workout in the next lesson. So thank you for joining. One more time, and I'll see
you in the next lesson.
5. The Left Foot: Alright, lesson number five, we're going to get into
the left foot, okay? This is going to be challenging and it's going to be exploring something that we don't
usually use as much. So it's going to be
pretty interesting to build some fields and
grooves around this. So that's what this lesson
is going to be about, so let's get right into it. Alright, exercise number one. So listen closely because we have to put some
stuff together. So the first thing we
are going to do is to move the right
hand into the hi hat, and we'll keep the
left in the snare. As we were doing in
the doubling lesson, we're going to double those left strokes and we're
going to do 32nd notes. And finally, once we
have that together, we will replace the serum
for the hi had foot. And that will create the
field we're looking for. Okay? We're going to play
this at 70 bits per minute first and then we'll move into 100. Let's see how this goes. Great. That's it. First step. Now I want to reverse the idea of the doubling
notes, keeping the rest. So now what we're doing we'll keep the same
orchestration, but now we're going to be doubling the right
into 32nd notes. Okay? Same idea. We're going to do this
at 70 bits per minute, and then we'll push
into 100. Here we go. All right. That was
exercise number one. Make sure that when you're
doing this exercise, you're accenting the hand that is not being double, right? It's the same thing that we
did in the past lessons. The idea is just to double and get a soft stroke in the left at the beginning and
get an accent in the right and then reverse
that for the second one. Okay. Keep those accents
and you should be good. Let's move into the next one. Okay, moving on,
we're going to do now an exercise that is essentially the same thing
that we were just doing. But now instead of just
using the left foot, we're going to incorporate
the basrum as well. So we're going to switch one time high foot,
one time basrum. We're going to do this
exercise again at 70 vits per minute and 100. Let's see how this sounds. All right. Yeah, that's the job. So ideally try to keep those doubles as
clean as possible, pretty close to the drum head. Okay? We want to
keep that dynamic soft and keep those
accents pretty sharp. That's going to give you
a lot of expression. Okay. So moving on, we're going to apply this
in a musical context. So we're going to work in 80
beats per minute and 110. Want you to explore different orchestrations
as we did before. First, you can move your
right hand to the floor too, left to the ractum or you can stay in the
high and you can always use either the high had foot or the bass
rum, as we just did. Okay? Let's get right
into the music and don't forget to try all the
different tempos. Let's see how this goes. Okay, so that concludes
lesson number five. I hope you had
some fun exploring these ideas and find your own
ways to orchestrate this. Especially with the left foot, that is something we
definitely need to get more into because it
brings a lot of music. So make sure to try that
and play with the music. We're going to move on now, and we're getting into odd
groupings and into plates. So let's get started with that and I'll see you
in the next video.
6. Quintuplets & Irregular Groupings: This is going to be probably most advanced section
of the course. So make sure to take your time to go over
this material because definitely it's
something that we might need to develop with time, okay? So we're going to be exploring the subdivision
of kin to plates, and we're going to be organizing them in the groups of three, keeping the phrasing that we
did throughout the course. That is the right, left kick. Okay? We're going to start
in the pad in our set where we break the stuff down before we get
into the actual set. So let's get started and
see what this is about. Here we go. Alright.
Welcome back. One last time to the PAD set. As we did in previous lessons, the idea is going
to be to start with some clapping exercises
for the kin toplts. So for this, I want you
to keep a left foot in quarter nodes that are the numbers that we're going
to be counting out loud, one, two, three, and four. And then we'll just
clap the pattern, right left kick in the
subdivision of Kintplts. Is going to be
pretty challenging. So I encourage you to
start pretty slow and then just push a little bit as you feel you're getting through it. Okay? So we'll start
with 60 bits per minute and we'll push up to 80.
Let's see how that goes. One, two, three, four, one, two, three, four, one, two, three, four, one, two, three, four, one, two,
three, four, one. Two, three, two, one, two, three, four, two, two, one, two, three, four. One. Two, three, four, one, two, three, four, one, two, three, four, one, two, three, four, one, two, three, four, two, three, four, one, two, three, four, one, two, three, four,
one, two, three, one, two, three, four, two, three, four,
one, two, three, four, one, two,
three, four, one, two, three, four, one, two, three, four, one. Great. So that was a great starting
point for the kin to plates. It's definitely harder than some of the other stuff
that we've been doing. So please take the time to
work on that and take it slow. Okay. Now that we've done the pad and the clapping,
we're ready to move on. So let's go to the drum set and start applying
this on the kit. Okay, so here we
are one more time applying to the set where
we just did on the pad. So I want you to think of
the high foot and play those quaternuts and you can also sing them just so
you keep the place. Then think of the balance
between your hands, the foot, the basroom,
and your posture. I want you to be as relaxed as possible and keeping
that balance. Okay? We're going to try this at 60 and 80 bits per minute.
Let's see how this goes. Okay, so how did that go? That's challenging, right?
Yes, it is advanced. So it's normal if it takes more time than
the previous exercises, it's definitely
more challenging. Okay. Moving on, we're going
to talk about orchestration. We'll follow the same concepts with it in the whole course. So the first one is
going to be putting the right hand in the floor to, and then the second one
is going to be putting the left hand in the
to, the first to. Okay, we're going to try this
in two different tempos. First one is going to be 62nd one is going to be
100 bits per minute. Let's see how that sounds. So that was challenging, especially the 100, right? Okay, so when you're
working on this, keep your air running
through your body, keep the posture relaxed and try to balance so you
can get that running. Okay? That's going to
be really challenging. Now we're going to move on
and play this with music. So I'm going to play
some ideas and I'm going to incorporate a smaller
phrases of the kin to plates. Sometimes playing
the whole bar of kin to plates might be a
little bit unstable. I just want to
maybe add those in specific parts or in
different amounts. So let's see how this
goes and we'll try this in two different
tempos. Let's go. An Alright, so that's the end of lesson
number six, kin to Plets. I hope you had some fun
playing these exercises. I hope they were challenging for you and you get
something out of them. There's definitely a lot to work on exploring these
odd groupings. Okay, so have fun
playing with the tracks. Try all of the tempos, explore your creativity
with the fields, and thanks for joining. I'll see you in the last video.
7. Conclusion: Okay, so that's the
end of the course. I want to first thank
you for jumping in, for taking the time to
practice these exercises, these ideas and concepts
we went through, and I want to reinforce
the idea of course, practicing, but also staying
musical as much as we can. We need definitely to
develop the coordination, the muscle memory, and all the technical aspects
of the exercises. But we also want to be
aware of the context and be able to hear outside
of what we're playing. So eventually, we want
to get to that point, and that's going
to serve the music and the people
you're playing with. Okay. So thank you once again
for joining the course, and I hope to see
you in the next one.
Gudy Prada, Gudyprada
