learn this lick 14

Hey guys, it's a beautiful day for music, it's a wonderful day for sound, before we get into

this

topic today, I want to quickly say hello to all my customers on patreon.com, you can check out the link in the description if you want to be a supporter of the page if you want to get a little bit of some cool behind the scenes stuff and get the PDFs of a lot of the stuff and a lot of the backing tracks and stuff, let's jump into it. So from the beginning I have

this

idea of ​​these big open delicious doubles and I'm going to bounce them.

Let's try them from the beginning. Only the first two count two ready and two ready. Notice that I actually am. Keeping both left hands down to prepare for what's coming next for the left hands, but with my right hands I'm going to bounce them because I have more big notes happening right after this, let's try two more times. Ready and beautiful, what I have here next is what some people I guess would refer to as sticking like an egg beater, but it's a five lip, but it's a nice open and dripping five, this is big and slow and it what did he want.

What you need to do is have a little extra push of energy coming from these eighth notes going to five, so just bump it up a little notch. I'm not pushing too hard on the density of the notes. however, let's practice the five alone at one height and then we will start to extend or add contrast to the height so that everything is one two three four five one yes one two three four five one again one two three four five one one two three four five one right right left left right this time I'm going to keep that right hand at the same height but I'm going to lower my left hand too ready now that I'm touching those two little ones on the left Hands just because they're small doesn't mean they're not important , so I still want to make sure that I'm rotating that wrist.

They have a good articulate but open sound. Two left hands, let's try again. Two ready, set, let's back up now. and take it easy, what happens after that now is I have this himula triplet, so it's a triplet that is extended, it's based on a kind of quarter note, an idea, quarter note triplet, now, although it's based on a quarter note, I'm going to be subdividing things between them, so if this is my tempo, I'm still going to hear this kind of behind the scenes here and that kind of eighth note triplet idea is running in the back of my brain while I'm touching. this particular rhythm, yeah, so what happens on the first two beats of this business is I have this accent coming out of that big open five and then I have this nice little buzz hit pressed here, nice and little, it doesn't have to what to be like that too long, it's not too short, it's right in the middle as far as articulation or length of the actual note that comes out of it, I have 16th notes based on that last quarter note, so other than that I'm just bringing out the last left hand of the sixteenth note that's in the last partial, so now if you're having some problems with that, what I suggest you do is make a backup and just take those sixteenth notes by themselves, so check it out. that's in the right hand, both right hands are the same height and then I have that accent right after.

I'm very specific when I have this kind of movement, this kind of two inverted low notes that become one big note. pretty fast as to how fast the notes happen one after another, I'm very specific about turning my wrist back to make sure I can get that accent that comes right after and this is the hard part for some of us is that I don't want to. adding too much extra or unnecessary tension when I'm playing that type of skill set, so I don't want to start squeezing or trying to hit him or have my whole body tense. when I do that I just want the sound to be louder I don't want to change the characteristic shape of the particular sound, so something to practice, still get a nice strong accent but then move our hands quickly without the tension, something else that could be A little problem for some people is getting that left hand back, and over time when I get that last accent, what I end up doing in situations like that is just practicing playing everything at the same time. same height first let's make it feel good baby and then what I'm going to start doing is push those accents a little bit so they're not big accents yeah they're just like a medicine so strong and then I'll add a little more juice come on to pick that up now and add it to the beginning, so, great, we move on.

I have exactly the same kind of phrase that I played with that egg beater five in the second half of the first measure, but that same kind of idea comes back here, just presented in a slightly denser situation, so I have this triplet in right hand and then I have those two notes here and then I have the third partial of that as a rim shot, so triple, triple on here and then releasing with my left hand, nice and little, let's practice that nice and slow at the beginning, triple, come on, triple, ah, and then we'll get a little bit. faster, two ready and uh, you got it ready, cool, cool, let's back up now and start with that hemiola triplet, so, cool, let's back up now and take it from the top, so cha cha cha cha cha cha pa uh uh mi right hand.

Then it moved from its playing position, so the timbre of the sound or the color of the sound started to change. I'll be sure to pay attention to that next time I'm here, I was having a lot of fun anyway. starting in the left hand with this triplet that's right on the downbeat of one here in the next measure and I'm dropping a stressed note starting on beat two of that particular measure, what I'm listening for here is making sure that the triplets that go into that sixteenth note or double figure is nice and even as far as that rhythmic change and things technically my hands move faster for the sixteenth notes, but the notes are further apart, but if I'm playing this triplet On that matter, my hands really just move and the triplets triple it, uh, even though the sixteenth notes that come after don't have doubles, I'll still feel it in my hands, I'll feel it fast, I'll feel it with more energy mainly because my base.

The movement of my hands is actually moving faster, yeah, so that's definitely something to think about and there's a more dynamic component because I'm putting out more volume in that second beat, let's start like this nice and slow, let's play the two first times, done. Great, let's back up on that now and take it from the hemiola triplet which, oh, let's continue here, so in this last part, everything that's happening is just a repetition of the main motif, the main motif is the idea of ​​having these three notes big too. little note as a rhythmic datum, yes, and that will come back here at the end just to tie the bow of this little kind of

lick

or this little composition, however, you want to see it here, exactly the same as it is. happening coming out of the sixteenth notes and then those three big notes, two little notes shot up and then the last note, bam, in that left hand and you can do whatever you want after that and all that, let's back up now and start right into the roll of triplet. that's in that left hand and let's take that whole measurement, yeah, one, two, think about the guitar, ready, ready, once again and beautiful, let's go back to the beginning one more time, I just want to give one more shout out to my clients .

I really appreciate you guys and all the things you do, uh, if you're not part of the team, come join us and support drumming, specifically rudimental drumming education everywhere and, uh, let's take it from the beginning nice and slow , and then We'll speed it up slowly, just a little bit, done, done, great, once again, it's a beautiful day for music and it's a wonderful day for sound and I'll see you in the next video.