Cool Four/Five Beat - Subscriber Only

First-things-first: grab the transcription here.

Five Beat

This week, I’ve got a brand new lesson on a cool beat that’s halfway between 4 and 5.

I think some people go through phases.

For six months I made oatmeal every night, then I just stopped. (Now I’m wondering why, and starting to crave oatmeal.)

If you’d asked me a year ago what I was practicing, it was transitions between triplets and sixteenths.

For at least the last 3-4 months, it's been the relationship between 4 and 5.

It's hard to say what sparked the interest...

It was only later (in one of my friend Scott Devine's videos) that I discovered the concept of arriving at the Dilla beat by thinking quintuplets.

More likely, I saw lots of my friends starting to unpack the quintuplet, and I got Shiny Object Syndrome.

Well good damn thing.

I'm now convinced that a "sixth sense" for the relationship between subdivisions - Mark sent us to school on 2:3:4 - is one of the keys to hearing modern drum ideas.

Again - that's after you've got playing clean and playing in time under your belt. (I feel like an old man shouting from a porch;) If you try to transition from 4-to-5 with crappy time, noone will even know what you're doing.

Anyway, today's lesson explores one approach to entering that 4:5 dichotomy, by means of a cool, bottom-up beat in "5".

Hope you enjoy!

Here's that transcription again:

Five Beat

$0.00

Brush Lick (Subscriber Only)

First-things-first -

Grab the transcription here: 

Brush Lick for Swing

In music, in sports, and in fighting, there are the "highlight reel" skills:

Slam Dunks and Single Strokes

Quarterback Sacks and Double Pedal

Wins By Knockout and Odd Meter Solos

Berimbolo/Inside Heel Hooks and Blast Beats

Then, there are the "adult" skills.

Those unsexy skills that won't get you girls (or guys)...

...but they still take a lot of work.

For that category, I humbly submit brushes and half-guard.

You already know what brushes are.

Somebody on Instagram told me that was a "narrow analogy" because not every drummer knows what half guard is.

I replied, visualizing perturbed-Jimmy-Stewart at his typewriter, that every drummer worth a damn knows what half guard is;)

Well, I'm going to help you be "worth a damn".

Half guard is like the last resort when you're getting smashed by a grappling opponent, but you still have one leg to work with.

Instead of turning upside-down and ensnaring him acrobatically, you're mostly-squashed, and you're fighting for inches.

Half-guarders aren't dashing leading men. They're slightly-unsavory characters who have "made their bones". They're not Neo; they're Cypher.

The same is true of true brush artists.

When the chips-are-down, you can count on them to do-what-they-do, and what they do is live according to a byzantine internal code that eschews flashiness and embraces the Grind.

But here's the thing about half-guarders and brushians: like Bane, they welcome a bad situation. They live for it.

Paul Schreiner likes to let you think you're passing, snare you like an anaconda, then have his way with you.

Ed Thigpen could play ballads all night. He found a million miles of nuance in a few decibels of volume.

So, my drummers, I ask you: do you want to be transparently-glory-seeking? Then crumble at the first sign of trouble?

Or do you want you want to be the drummer from the Rated R movie?

The guy/girl with a few too many tattoos in the wrong places?

A few phone numbers you should probably delete.

If it's the latter, join me on this journey to the dark side.

Remember to grab your transcription below:

Brush Lick for Swing

Spanky Beat (Subscriber Only)

I found this week's beat it on Instagram, where you can Get Humble in a hurry if you play the drums, and Spanky's (@yospank) beat was no exception.

It has so many "hooks" to pull attention, it can be hard to tell where "1" is.

I sure couldn't.

I experimented for the better part of a half hour, before I finally picked up something in the beat that anchored me.

(I probably could have just counted the 16ths...)

To find out what it was, how I reverse-engineered the beat, and what Spanky might have been thinking when he invented it, just check out the lesson.

There's an approach to playing licks that's "additive".

You had a certain "bag of tricks" before, and you're adding a sticking or rhythm you've never played.

Then there's an approach that's all about transformation and enhancement.

Both are necessary, neither is wrong, but the "enhancement" approach is the easiest-to-ignore...

...and also the thing most of the greats have in common.

When you listen to a Spanky beat, it's often a variation-on-a-variation-on-a-variation. Which is probably how he arrived at the beat that's the subject of this week's lesson.

Here's the transcription:

Spanky Transcription

"Old School" Funk Beat (Subscriber Only)

I bought it too.

The siren-song of the hipsters.

"Just play linear. It'll all be easier."

Well, not-so-fast, young'un.

Drummers like Nate Smith, Questo, Kariem Riggins, Harvey Mason, Bernard Purdie, Jeff Porcaro, Anderson Paak, and Corey Fonville want you to know they're judging you hard.

Why?

Turns out, linear is out.

The new hotness is the Old Hotness.

The New Hotness is constant, straight-16th, with one hand. (The whoooole gig;)

Thought you were gonna get out of practicing your drop-catch?

Thought you were gonna escape the Pocket Police?

Nope.

Anderson's bringing it back on Come Down...

...Corey's bringing it back on Forest Green...

...and Nate, Questo, and Kariem are playing like it never went away.

Luckily, it's easier than you thought.

Yours Truly has been Eating His Brussels Sprouts, and I've come back from The Edge with a couple of...shortcuts. (Yes, I said it.)

For starters, you can play almost every constant-16th groove under-the-sun by learning 3 simple idioms you can get under your hands in under-an-hour.

(To perfect them, you've got the rest of your life.)

Ready to see what they are?

Download the transcription here:

Funky Drummer Transcription

Be good, killaz.

N