Imitating a double kick pattern between floor toms and bass drums, a real co-ordination challenge.
In this lesson you will be learning a groove through a series of steps that starts with a level 2 co-ordination exercise and builds up to a complex part that simulates a double kick groove. There will be seven modifications made to this exercise, each making the groove more difficult. It is also worth noting that from step 3 onwards, each example creates its own perfectly decent sounding groove. In each step, a link to the original lesson on the concept applied is provided where appropriate, it would be worth sidetracking and working through these lessons if you get stuck or don't understand a particular step.
It is very important that you can play the step you are on comfortably before moving on as any parts you get stuck on are going to appear in all subsequent steps. This is particularly true of the first step as all parts are very demanding on your hand to foot co-ordination. At the end of the pack you will find a list of helpful links, suggestions for other concepts that could be applied and a set of suggested target tempos.
As an additional exercise, when you have learned the steps as shown below try taking the concepts given and applying them in a different way. For example in step 5 you add in accents so try placing these at different points in the bar to create some more interesting sounding variations. Continue through all steps with any changes you make and write down any ideas you particularly like the sound of.
This particular groove is a one bar pattern in 4/4 with a half time feel that simulates a double kick part by combining floor tom and bass drums. If you want to make this sound more like a double kick pattern you can go as far as tuning your floor tom to the same pitch as your bass drum, but I personally prefer the slight difference in tone within that straight sixteenth note base rhythm. The full groove will work in many different genres but those where double kick is commonly used, such as rock and heavy metal, would be more appropriate.
You can download a version of this lesson in PDF format. In this pack you also get a short example piece using the final groove as a basis along with audio files in MP3 format of all drum parts. This also includes a drumless version of the backing track for you to play a long to. On top of all of that all exercises have counting included, an extra modification is made to the groove and all new changes to the groove are highlighted in red. You can purchase this for just $2 by clicking the button below.
NOTE that the file size of this pack is 14MB.
You will start out by playing eighth notes with the right hand on the floor tom which is then Subdivided With Bass Drums on the 'e' and 'a' counts. This is a good challenge for your hand to foot Co-ordination and you should start out playing the part slowly to ensure note placement is accurate then build up speed gradually. The Two Minute Rule practice technique is really useful for this and you can find this linked on the back page.
Within the context of the groove, this part is simulating Straight Sixteenths Over Two Feet the intention of which is to allow double kick style patterns to be used when only a single pedal is available. It also creates an interesting tonal variation if you play a lot of double kick.
The right hand on the 3 count is moved over to the snare to create a Half Time Feel. When playing a constant double kick part the feet continue under all snares however, in this part this isn't possible so the backbeat may be slightly weaker when comparing the two styles of groove.
Over the existing right hand to right foot movement, Add In The Left Hand on the hi hat as quarter notes. This will put the hands in an open position which means the right hand movement from floor tom to snare should be fairly straight forward. Again, start out slowly while you are getting comfortable with note placement and gradually build up tempo.
Double up the hi hats to Eighth Notes, so both hands always play at the same time now. Focus here on making sure both hands hit at exactly the same time.
Accent all numbered count hi hats, which is much easier said than done! You may have learned similar accented hi hat parts previously, but applying it with the left hand can be tricky. The left hand will also be accenting when playing at the same time as a standard right hand stroke. As with other steps, start out at a really low tempo while you get familiar with the movement then gradually build up speed.
Create a '1 +a' Rhythm with the left hand hi hat by adding in an extra stroke on the 'a' count. Don't let this new note affect the accent movement of the left hand or the co-ordination between hands and feet.
Similar to the last step, another sixteenth note hi hat is Added On The 'e' after count 4 to create another common sixteenth grouping on the left hand. Again, don't let this throw off the accent movement or the hand to foot co-ordination.
Move the left hand hi hat on count 3 over to the bell of the ride. Playing this part of the kit with this hand will feel odd but make sure you hit it firmly enough to accent that stroke. This will make the back beat stand out a little more.