Learn This Lick 1

well, hello guys, it's a beautiful day for music, it's a wonderful day for sound, come and

learn

this

lick

with me. I start with the triplet here on beat one that has a flam on the downbeat and I and sort of three right hands. beats leading up to the beat: it sounds like

this

on the downbeat of beat two on the left and I have a real buzz that won't last as long because it moves quite quickly again once again, yeah, now look at the beginning of the In this I have a note of very small grace and that will add a little bit of flavor right off the bat with that little bit of spice to thicken that first note, that buzz will be on the downbeat. but then I have go right after that and it's going to be right left right so two and A three two and A three two and A three ready and two and A three ready and two three ready and three the challenge here is to make sure that you're not applying too much pressure to your fulcrum on the downbeat of two so that you can let go and have a nice open and relaxed note on the UH of beat 2 2 and a 3 moving to 3 2 and that normal note there needs to be gentle and relaxed two and three two and A three so you have a beautiful three notice that I'm deliberately omitting the accent is on the downbeat of three right now just to make sure, but I have rhythm, do integrity and then I'm going to start slowly adding some of those accents after putting together the next beat, so starting from b2 to beat three, I only have three E and four, but excuse me as I go to the downbeat until the next accent. which once again I'm going to omit so I have two and A three and the four there two and A three and the four again two and A three and the four two and A three and a four - one two three and four - and 13040 See you at the end of our season in the uniform, I'm really looking for consistency here when I do that, this is that the da-da-da-da-da is on the Dada right between our right hand and With my left hand, what I should to start doing systematically here is to feel a little more comfortable, since I'm going to add a kind of half accent and a gajic accent, a little push or push slowly and slowly, and slowly I saw eventually I'll be able to play those accents nice and complete, but I still have a relaxed hand.

Let's try it a little nicer and more relaxed, especially in the and of, a little bit more, taking it from the top now to be amazing, amazing. it's not a rimshot so moving on to the next beat in particular here I have a five count on so yeah I set DITA to cut the DDD the only thing that's maybe a little confusing probably for some people is that it's not sort of a downbeat - downbeat occurs on two beats, so it's just a lit 8th note five instead of a 16th note five

lick

ing right inside that particular construction.

I have a kind of paradiddle touch but it is evenly distributed over five notes, yes, one, two, three, four, five. one right left right right left right I have an accent on the first beat of the five on and on the last partial of the five with a two three four five one one two three four five one one two three four five one one one two three four five one again one two three four five one right left right right left right right left right right left right and notice that last note is down oh right left right right left right all right look that's right oh the data but the data yeah dah dah dah dah dah mmm I thought the data was beautiful, yeah, now what happens on the third note of that real five loop?

I have a kind of flame touch right on the diddle of the paradiddle, so on the third note it goes to the fourth note. That's a flam, I bet that flam that I got in yeah, I got that Plymouth at home, yeah, flam, that I got in the dr. Clem I got on that, the flame I got on that slam home, that's a flame, I got home, that's a flame, I got home, dr. Fleming, come on dr. Fleming I got home right after that call. I also have a buzz in my right hand and that will move a little faster.

Two more, yes, very good, even five. Let's stop there, starting from the beginning. One. You are ready and search on Google. What happens in this particular next beat here? Since I'm also in pain, so I've got two 16th note triplets like a hundred and twenty-four notes right and then I've got eight note triplets so they're right in the DA, ready and set. DA ready and look at the citta ready and look at the tip down nice and even look at this data ready and look at this ah yes yes I understand the DA yes yes look at this tada Oh tada a pizza ba ba yes it's an I I'm going to add that last complete, but I'm really trying to make sure I maintain my beauty.

Now what happens after that? Since I have a normal eighth note, right, tada, look at both, ah, right, what I really want to make sure of here. What I'm doing is there's something that activates in our brain and then it's like a huge red flag every time I have a kind of density of notes that ends up spreading out into a more extended or less dense version of the notes, whatever that may be. The rhythm turns out to be that there will always be a red flag for me because I know that it will be my tendency to want to rush that first note after the space, so that's what's happening here at the end of that eighth note, look at it, the tip right in that left hand wait oh but it's about my arm look at that weight look at that weight on the table wait oh God wait uh look at this table wait um look at the thigh um I'm going to thigh wait the arm but it has weight now too with that so that people sometimes wait for that particular note because they know it's a trend and they'll end up doing this kind of playing it a little timid or sometimes ghosting the note and not getting a note.

Fully speaking, in this particular case I want the note to be small, but I don't want to end up barely scratching the top of the head, especially on a marching drum, but we want a certain amount of speed. To make the real bottom snares come to life, I want to be very specific: I'm not doing too much, but I'm also not doing enough to capture the full sound of the drum, so I want to be very aware of that, especially when playing a real instrument, the next count here is a triplet, so it's just a count that comes after the 8th note.

I'll start on the eighth note, so I have one and one and the triple is to add. That now, starting right at the awesome, after that the rhythms become even more spread out than before in the 8th note, so once again I have to think, what did I just play something that requires a bit of energy? of commitment of my actual footholds to get those two notes out for the doodles and then I immediately have an unaccented release and two quarter notes after that, the first one is a shot that's going to happen in the right hand, so I have a shot and then one more in the left hand, that's a nice huge morning, so let's start again in the wounded tent and take it all the way to the end, let's really wait on that first eighth note, the upbeat and then push that triplet , roll nice and soft now, trying. play it too big in terms of dynamic context and then, given the hot sauce on those last two quarter notes, but making sure that the hot sauce doesn't speed up the actual rhythm, let's go back and play the whole thing a few times. and we will be done, I hope it was fun for you.

I'll see you in the next video.