Hi everyone. Welcome to lesson 6 - Single stroke rolls. In this blog/video lesson I try and give you a quick look at how versatile the single stroke roll can be. In the first part of this video, I show how to take a basic single stroke groove and apply it in many different ways around the kit utilising all of the cymbals and toms. The sticking stays the same (R L R L R L R L) but used on different parts of the kit, the grooves sound very different! I have recorded examples of grooves using 16th note single strokes and triplets. After the groove demonstrations I have a quick look at fills. Experiment with your own but don't forget to count.. If you're playing a groove using 16th notes, your fill should also contain a maximum of 16 notes also. The final section looks at accents and how you can alter the position of your accented notes to create 'normal time', half time and double time feels. I hope you all enjoy looking at single stroke rolls. Next lesson, I will be taking a look at flam rudiments.   See you all soon   Graeme   https://youtu.be/sMc3FV1s2tA

In this instance in the release of Tigran Hamasyan’s CD «   The call within » the piece «  Levitation 21 » caught my attention and gave me the idea to write a new lesson with would be an initiation to accompany with septuplets.  In this song, in this particular piece and as per usual Arthur Hnatek plays in an extraordinary way he is so at ease with this style of music. Generally when you’re playing in 7/8, you would count in following groups of notes: 2+2+3 or 2+3+2 or 3+2+2. As for the septuplets, since you play these faster, you would then have to count differently, in two unequal parts with will create a sway to it will be easy to adapt.Therefore you would count it more this way, at least that’s my suggestion: 4+3 or 3+4.  What changes here is the group of 3 notes, it can be: 2+1 or 1+2. The group of 4 will always be played: 2+2 but think of it as group of 4.  This lesson is divided into two parts. First one is easy because the exercises are played in a simple way, the second one is less so because we add gosh notes. Each part has four rhythmic examples by their application in a four bar phrase with music. https://youtu.be/wnEdt9ozpfk

In this instance in the release of Tigran Hamasyan’s CD «   The call within » the piece «  Levitation 21 » caught my attention and gave me the idea to write a new lesson with would be an initiation to accompany with septuplets.  In this song, in this particular piece and as per usual Arthur Hnatek plays in an extraordinary way he is so at ease with this style of music. Generally when you’re playing in 7/8, you would count in following groups of notes: 2+2+3 or 2+3+2 or 3+2+2. As for the septuplets, since you play these faster, you would then have to count differently, in two unequal parts with will create a sway to it will be easy to adapt.Therefore you would count it more this way, at least that’s my suggestion: 4+3 or 3+4.  What changes here is the group of 3 notes, it can be: 2+1 or 1+2. The group of 4 will always be played: 2+2 but think of it as group of 4.  This lesson is divided into two parts. First one is easy because the exercises are played in a simple way, the second one is less so because we add gosh notes. Each part has four rhythmic examples by their application in a four bar phrase with music. https://youtu.be/2Ra_QtD0OCg

Hello and welcome again in my blog, I’m very proud and glad to be invited by Istanbul Mehmet cymbals to share with you this new  idea. For this new lesson I was inspired by the Koch Curve. Rather than using the rudiments in an original way, by changing the subdivision ( rate)  I bring a new idea and therefore a new melody. By practicing the different stages the way I suggest, you will gradually memorize them and integrate them into your own sound. There are as many possibilities as there are rhythmic variations. My interpretation of Koch Curve: Find below 5 pages of exercises with a video lesson: https://youtu.be/cH7FShOS5Z8