In this lesson you will be expanding on our 16th Note Blast Beats With Double 33332 Right Hand lesson by taking that same idea and delaying the rhythm of the right hand by an eighth note. This is the exact same idea we looked at in our 16th Note Blast Beats With Delayed 333322 Right Hand lesson. I strongly advise looking over both lessons linked above before starting this construction idea as it is just a combination of the two ideas you will be looking at on this page.

So to construct this rhythm you will take that double 333322 idea but basically move the last '2' to the start, giving you a '233332' rhythm. The notation for this rhythm is shown below, using 16th notes and rests on the right and the standard notation on the left:

The right hand for these grooves

In the list of parts below, this right hand rhythm has been added to the three basic blast beats covered in this section. Start off by playing the parts slowly to make sure the right hand is falling correctly then work on building up the tempo. I have shown the right hand in various voices, ride bells, chinas and splashes are particularly affective for this idea as they create a sharper sound that allows the right hand rhythm to be heard. Remember that if you are struggling to get your feet up to tempo, double kick is an option.

Don't let the fact that this lesson is relatively short fool you into thinking the idea is easy, the two different rhythms used make it quite hard to keep track of where you are and can take a lot of practice. You will know when you have these ideas perfected when you can flick between listening to the rhythm of the right hand and of the kick/snare at will.


Constant 16th Note Blast Beat

The constant sixteenth note blast beat with syncopated right hand


Reverse Sub-Divided 8th Blast Beat

The reverse subdivided eighth note blast beat with syncopated right hand


Sub-Divided 8th Blast Beat

The subdivided eighth note blast beat with syncopated right hand


TASK

  1. Learn the examples above to a tempo of at least 200bpm.
  2. Experiment with the orchestration of the grooves.
  3. Apply the grooves to songs and phrases as either a fill or groove.

Lessons

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