This time we are looking at how we could interpret a “standard” rhythm as a 6-stroke roll to create interesting fill patterns that have a really cool flow to them.  I hope you have worked through part 1 of this series as I will be referencing one of the exercises to start with.  If not, go check it out here first: http://www.istanbulmehmet.com/6-stroke-roll-part-1/ We are going to be taking the idea from example three where we looked at the link between swung 16th notes and the 6-stroke roll pattern.  The four examples in exercise 1 below, take this concept a step further and allow us to have four possible outcomes of RLL and RRL based off a simple rhythm that keeps the accents in the same place as said rhythm. 1A) The first example is comparing two 8th notes to the 6-stroke roll “fragments” and we end up with RLLRLL where the right hand is accented.   1B) The second fragment is the “e” and “a”, so the two upbeats.  This is the opposite of 1A so we have RRLRRL where the left hand is accented. 1C) Now, we have the first combination pattern.  This is “1” and “a”. This ends up giving us the normal 6-stroke roll pattern of RLLRRL where the first and last notes are accented. 1D) Finally we have the opposite of 1C, the “e” and “and”.  This gives us the inverted 6-stroke roll of RRLRLL where the accents are in the middle of the phrase. 2-5) I have written out four combination exercises for you.  The first bar is simple the accent pattern that we are going to play.  Start off by playing the first bar along with a metronome and try and internalise the rhythm.  Make sure you remember that the 16th notes are swung when playing them.  Once you are feeling happy, move onto the second bar and play the accents through the 6-stroke roll fragments.  Exercises 3 and 5 are some of my personal favourites, but take this idea and make some patterns of your own and have some fun with them. Once you have the above phrases, start moving the accents around the kit.  A great starting point is right hand to floor tom and left hand to rack tom.  This linear motion also really helps to cement the two dynamic levels as you can really focus on keeping all the snare notes nice and quiet.   https://youtu.be/Z1N7V1Mm0S8   I hope you enjoyed this lesson and I will see you next time.  

In this lesson we will look at displacing “the one” when coming out of a fill and the effect that can have on the feel of a section. 1) In the first exercise we have a very simple groove and a simple one beat fill on beat four of the first bar.  The fill is just RLRK round the kit.  The crash is on the one of the second bar and is our basic idea that we will move around.  This crash should be played with the right hand. 2) In the second exercise, we have added a crash to the end of the first bar.  This should be played with the left hand so that the sticking for beat four is RLRL. 3) In the third exercise we are actually going to get to the point, pushing the one.  The first bar is exactly the same as in the previous exercise where we have the simple fill with a crash in the left hand on the last 16th note of the bar.  This time however, we have changed the second bar and “pushed back” the the one to the “and” of one.  This second crash can just be played with the right hand.  As the crashes are accenting the rhythm but completely avoiding the “one” we get a really cool feel.  Have a go with longer fills, just remember to make sure you play a crash on the last 16th of the first bar and come back in on the “and of one” of the second bar. 4) In the final exercise we have taken the idea from the past example and just moved the crash along another 8th note to beat two of the second bar.  This is a very different feel.  I prefer example 3 but the extra space of this example can be very effective in the right context.    https://youtu.be/C7TEwLCH4Zc

In the second instalment of the 6-stroke roll I just want to go over the two main feels.  There is the more traditional variation and the more contemporary version.  Another way of thinking about it is, the straight and the triplet based version.  This is also a great way of warming up your hands with accents, singles and doubles and also changing subdivisions over a left foot pulse. 1) In example one we are playing the 6-stroke roll in a more “traditional“ straight feel with 16th and 32nd notes.  The sticking is the same regardless of the feel but in this example, the notes are not all evenly spaced. We are effectively diddling the un-accented notes of continual 16ths. 2) In example two, we are playing the more modern, triplet based 6-stroke roll.  This is the version many of you will encounter first and is also my favourite way to utilise the 6-stroke roll.  As we are playing sold 16th note triplets, the notes are evenly spaced and this results in a much smoother feel. 3) In the final exercise we are simply alternating between the two previous examples.  Really watch your subdivisions and dynamics here and focus on getting a nice consistent sound and feel. https://youtu.be/nEbUFdvLWuM In the next 6-stroke roll lesson we will dive in to some more usable applications and some basic fill ideas using this rudiment.

Welcome to the second instalment of “Thrown For A Loop”.  In this lesson we will be looking at a couple of DJ Shadow breaks.  In my opinion, one of the best non-drumming drummers if that makes sense.  He has also been a the front of sample based music with his 1996 album, “Endtroducing…..” famously being made up almost entirely of samples. The first one we are going to look at is “Highnoon” from Preemptive Strike.  This groove comes in at 0:46 on the attached video.  It has elements of an Amen groove with the displaced snare and 16th note bass drum pattern (see previous loop lesson for more information on the iconic “Amen Break”).  There are a lot of cool variations. This song actually also features a drum sample from a Jimi Hendrix song, “Flashing”, at the start of the song. https://youtu.be/-flSzjEzP64?t=46    The second DJ Shadow song we are going to look at is also from Preemptive strike, “Organ Donor (extended overhaul).  This is the opening four bars.  Once again, the variations are what really make this beat cool and organic.  https://www.youtube.com/watch?v=cAjZ0XqZ1aQ I also thought you might find it interesting to know that the drums are from “Someone” by The New Breed feat. Tim and Bill.  You can clearly hear them at the start of the song https://www.youtube.com/watch?v=jktdGKgxbXE DJ shadow then starts cutting up and rearranging this groove.  It has such a cool drum sound, its not had to see why it was sampled.  Other samples include “Tears” by Giorgio Moroder and “Judy Goes On Holiday” by Supersister and probably a bunch more.