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Creating a Drum Part

Lesson 11/87 | Study Time: 5 Min
Course: Complete Drums
Creating a Drum Part

Creating a Drum Part

The following groove features a notated bass guitar part and a simple rock beat. The drum pattern uses an alternating kick and snare on the quarter notes and a simple eighth note hi-hat pattern.

Music derives its interest from the application of tension and release.

Tension is created rhythmically through the use of offbeats. Using more offbeats creates greater rhythmic tension and greater forward motion.

The beat used in example 950 is rhythmically resolved as the rhythmic emphasis (created by the kick and snare rhythm) is on all the onbeats (beats 1,2,3,4).

The amount of forward motion used in a groove depends upon the music and the music style (e.g., Fusion grooves generally contain more forward motion than Rock grooves), the other musicians involved, and the personal choice of the drummer.

This example contains greater forward motion through the use of kick on beats "3+" and "4+" (both bars) and the open hi-hats on the same beats of bar 2.

Different parts of the drumkit (voices, sound sources) can have a greater or lesser effect on the degree of forward motion, e.g., shifting a snare accent to an offbeat has a more powerful impact than accenting an offbeat hi-hat.

The following example contains an accented offbeat snare hit in bar 2. Listen to the effect it has on the overall "feel" of the music.

Adding ghost notes is an excellent way to subtly create more forward motion without cluttering the music.
All unaccented snare hits are ghosted in the following example.

Another concept to be aware of when creating a groove is that of unison and counterpoint. Using the interaction of bass guitar and drums, unison is where the rhythm of the bass guitar is repeated in the drum pattern. The previous 4 examples all contained a bass drum rhythm which was in unison with the bass guitar.
The following example introduces counterpoint in the bass drum line on beats "1+", "2e", "4e" and "4a" in the second bar.

This example features a syncopated hi-hat pattern. The bass drum plays a unison line with the bass guitar. The combination of these elements gives the groove a "funky feel".

Linear patterns tend to be very syncopated and hence contain a greater degree of forward motion.

Musicality is a combination of technical execution, stylistic accuracy, musical appropriateness and rhythmic and sound source choices. Some of the greatest ever drum grooves only sound great because of when and where they were played. They "lifted" the music to another level. This should be the goal of all drummers.

A few things to keep in mind:

- Often less is more.
- All music styles contain unique rhythmic nuances (feel) and place differing degrees of importance on different sound sources. The only way to play any style convincingly is to listen to as much material as possible as often as possible.

Craig Lauritsen

Craig Lauritsen

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Class Sessions

1- INTRODUCTION 2- The Sixteenth Note 3- The Eighth Note 4- Paradiddle Permutations 5- Triplets 6- The Quarter Note 7- Rudiments 8- How to Practice 9- Advanced Independence - Concept 1 10- Solo 33 11- GLOSSARY OF MUSICAL TERMS 12- Method of Practice 13- Adapting Time Signatures 14- Eighth Note Triplets 15- Solo 30 16- Solo 17 17- Solo 34 18- Sight Reading Exercise 7 19- Explanation of Notation 20- Counting 21- Sight Reading Exercise 3 22- Solo 31 23- Solo 22 24- Thirty Second Notes 25- Solo 18 26- The Drum Fill 27- Open Hi-hat Exercises 28- Sixteenth Note Hi-hat Patterns 29- Sight Reading Exercise 4 30- Equipment 31- Solo 35 32- The Paradiddle 33- Solo 23 34- Sixty Fourth Notes 35- Solo 19 36- Solo 36 37- Solo 1 38- Holding the Drum Sticks 39- Ghost Notes 40- Solo 32 41- Solo 6 42- Solo 29 43- Solo 2 44- Rolls 45- Solo 36 46- Shuffle Rhythm 47- Triplet Accent Studies 48- 3 Steps to Stick Control 49- Solo 20 50- Solo 7 51- Solo 3 52- Fill-ins Featuring Bass Drum 53- Note Values 54- Stickings Around the Kit 55- Solo 21 56- Open and Closed Hi-hats 57- Solo 24 58- Solo 8 59- Paradiddle Partials 60- Syncopation 61- Swing Rhythm 62- Joining Stickings Together 63- Understanding Note Values 64- The Tie 65- The Flam 66- <span class="symbolA">%</span> Time 67- Advanced Syncopation 68- Repetition Counting 69- Solo 25 70- The Metronome 71- Sticking Interpretation 72- Solo 9 73- Solo 26 74- Solo 4 75- Triplet Sticking Interpretation 76- Linear Patterns 77- Rudiments of music 78- Creating a Drum Part 79- Time Signatures 80- Solo 27 81- Solo 5 82- The Dot 83- Polyrhythms 84- Repeat Signs 85- Solo 28 86- Solo 10 87- Dynamics

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