acm pro cor­ner im­plied time & pho­net­ics

Work­ing through a two bar im­plied straight eighth-note groove

Rhythm - - HOW TO -

In my last ar­ti­cle we worked through a four bar im­plied shuf­fle groove along with ar­tic­u­lat­ing the pho­net­ics to help build core time, place­ment and to­geth­er­ness. In this ar­ti­cle we will con­tinue to look at im­plied time grooves – in par­tic­u­lar an im­plied straight eighth-note groove us­ing eighth-note triplets. In Ex­am­ple 1 we fo­cus on the hi-hat line, which is an eighth-note triplet flow: I’ve made the voic­ing clear above the phras­ing 1TL, 2TL, 3TL, 4TL. The pho­net­ics, or sound, of the phras­ing is key to bed­ding in the hi-hat line and re­tain­ing the flu­id­ity, as once we be­gin to add the snare and bass it’s im­per­a­tive we have own­er­ship of the top line phras­ing. Use your voice to say the phras­ing be­fore play­ing – your voice will strengthen the ap­pli­ca­tion and flu­id­ity. In Ex­am­ple 2 the snare is added, so rather than feel­ing the triplet con­tinue to say the phras­ing so you can re­ally fo­cus on own­er­ship. In Ex­am­ple 3 the snare and bass are added, so once both these key el­e­ments are set­tled and due to their place­ment, the im­plied eighth-note phras­ing be­comes clear. De­velop all of these ex­er­cises us­ing a metronome first, but re­mem­ber the metronome is not there to keep us in time; it’s to help us build our time.Once these ex­am­ples are set­tled in, fo­cus on play­ing them with­out the click; use your voice to say ei­ther the top line pho­net­ics (hi-hat) or the quar­ter note flow through­out.

Toby Drum­mond

isanACM DrumTu­tor­who hasper­formed­with­artists suchasTheSea­horses, ShaunRy­der,Rus­sell Wat­son,RayDavies,Celia Im­rie­andClif­fRichard.

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