Hello everyone. Welcome to this live video with Liberty Park Music. Today we're going to look at how you can do what I was doing there which
is fleshing out your shuffle groove using ghost notes
so there's a few ways you can do this
a lot of stuff I was doing there was was combining all the things
we're going to talk about today into one sort of pattern or one sort of exercise
but the first thing that let's look at it's just like what I'm talking about
when I say a shuffle groove so a shuffle groove is effectively where you've got
eighth notes in your hi-hat but you're going to swing those eighth notes so
sort of dividing each beat by two and having one and two and three and four and
you're gonna divide each beat into three
and miss the middle note so if we have like a basic Rock groove for example on
the hi-hats with the bass and the snare if we play a groove which isn't the
shuffle groove just a basic rock groove it will sound like this
but then if we start to swing it to make make into a shuffle groove it will sound
like this
so that's what I'm talking about when I'm talking about a shuffle groove so
the first thing that I want to talk about and when we're talking about
accents and ghost notes is the hi-hat so I personally when I'm playing a shuffle
groove really liked to articulate the hi-hat with accents on every downbeat
and then ghost notes on the upbeats so the first note of each beat accents and
the third note of each beat ghost notes and I'm also while doing that I can hit
the on the beat with the accents with the edge of the stick on the side of the
cymbals not sure if you can see that so I'll show you on the crash cymbal
instead sort of like that and on the ghost notes I'm going to use the tip of
the stick on top of the cymbal like that okay so instead of having just this flat feel
you're gonna have this feel
it's got a really solid feel to it so that's one thing you can do is to really
think about accenting your hi-hat in a in a very particular way to create
emphasis to your shuffle groove and you can do what I'd recommend doing is is
trying this idea while varying the bass drum because inevitably you'll find it
difficult to do a ghost note in your hi-hat while doing a bass drum so don't
just practice this groove with just the bass on one and three try varying the
bass drum across the bar like so
yeah so try it try varying the base
the difficulty will be to play as I say the bass drum with your ghost notes and also try this, sort of different tempo
you can go from quite a steady slow plodding tempo like I was playing there or you can go much faster
Hung-chang Wei saying I'm never gonna be able to coordinate my hands and foot like that
so that's a good point whenever you're trying this groove you
need to try a really slow tempo otherwise you won't be able to coordinate it
try a really slow tempo and then gradually work your way up and
trying to imagine it try and learn these grooves the same way that you would have
learned basic rock and pop cruise without swing you know go through all
the bass drum permutations across the bar and then once you can do that try
swinging it I wouldn't recommend trying these grooves
until you've gone through all those basic bass and snare permutations when
playing an eighth note rock or pop groove so that's one thing we can do is
articulate the hi-hat in a particular way the good one as I said is varying the
bass drum that so the way it can flesh out your groove the main thing that won't
stop us today is adding ghost notes in the snare drum to help really flesh out
your shuffle groove so like I said before we were doing we were playing the
first dividing each beat into three and
playing the first and the third note of each beat now that middle note that
we're missing out we can fill in with the snare drum, okay
so if we stretch that back and go back to just the hands what was
right right both, right right, right both, right
would now become
right left right, both left right
right left right, both left right
so we still have the snare on beat two and to start us now on beat four
we still have this
in the hi-hat but in those gaps so the middle triplet of each beat we're
putting a ghost note in the snare drum
try and avoid this
It just sounds really flat, there's no momentum there, there's no groove there
so really make sure that the middle triplet the snare that's in between your high
hats is really soft
and in the snare that's with the high hats is really
accented like so
and when we combine the idea of using the high hat articulates
and the high hat with ghost notes and accents with that snare drum idea
it can sound great
And also vary the base drum like I was doing there
that's one idea for you filling in that middle triplet with snare drum
snare drum ghost notes
the other thing is to try when you're doing accents in this
groove try using rim shots on your snare drum
so a rim shot is where you're hitting the rim of the snare the hoop of the
snare and the head the snare drum head at the same time so I'm sort of this
yeah hitting the hoop and the head at the same time that's a rim shot and it
makes your accents feel stronger and more powerful
I will demonstrate that slowly for you
as opposed to this without rim shots
still sounds good you've still got a strong accent there
but the rim shot I think helps to articulate it in a stronger more dynamic
way but it's also a variation in tone you're getting a different tone from the
drum okay so that's the next thing I'd recommend
so these are ideas to use when
you're playing just a standard regular time shuffle grooves and with the snare
on 2 & 4 vary your base run
another way you can
add ghost notes to flesh out your shuffle grooves
it's been playing at unison shuffle so at unison shuffle is what I call a
groove where your hands are playing the same pattern as each other
so they're both doing this
they're both doing that rhythm like so
okay, but the emphasis here needs to be on really strong accents on the back beat so 2 & 4
your bass is gonna play 1 & 3
so the end product should be this
okay but to get to that stage you'd have to just learn the coordination so both
hands at the same time base on one like so
and really focus on again the hi-hat is gonna do
and the snare is going to have
it's all about the contrast between your ghost notes and your
accents your ghost notes need to just be a whisper and your accents need to be a
roar really powerful really powerful sound like so
I have got a comment from Hung-chang Wei, what kind of music do you usually use this for
so these generally triplets
and this is not exclusively but generally they weren't really well in
blues music or jazz music swing music
so anything like that you can check out
grooves similar to this one if you type into use YouTube the Purdy shuffle the
grooves that I'm playing now are all inspired by Bernard Purdie who was a
very famous drummer played a lot of blues records and this is the purdy shuffle
and there's other examples you can hear of this is a actually lesson going on
Liberty Park soon
where I show you how to play A Fool in the Rain by Led Zeppelin
in which John Bonham plays a groove which is very similar
to the first groove that I did
so yeah that's another idea so you've got the
the idea of articulating the hi-hat accents and ghost notes you've got the
snare drum in the middle triplet playing ghost notes you've got rim shots on the
snare drum for the accents and you've got that unison shuffle where your hands
are in the you know in unison with each other but you're really articulating
ghost notes off the beat sorry accents on beat two and four and ghost
notes everywhere else
the next the next type of groove I want to look at is
similar to the first groove that we did so that shuffle where you're adding the
snare in the middle triplet but gonna make it into a halftime groove so what
that means is the snare drum is no longer they're going to play on beat two
and beat four
it's going to play just on beat three so it's going to feel as
though our musics slowed down by half the speed you know it's half the speed
that it was before but it's not it's just that we're placing the snare drum
in a different place
so if we apply this to like a straight Rock groove instead
and to mix that with shuffle groove we'd have
now can you the same thing with this groove that we did with the previous
groove in that we can fill that middle triplet of each beat with a snare drum
so that instead of having
and fill that middle triplet beat in so it goes well with a snare drum
so our hands would go something like this
right left right, right left right, BOTH left right, right left right
another thing I like to do is to
in the first beat instead of playing right left right
we're going to play right left both
okay so, right left both, right left right, both left right, right left right
like so
and then we can take this halftime groove and start varying the bass drum with it as well like so
and then at half the tempo
and then again you can play this on the right, you can play this on the crash cymbal
when you're doing so I suggest maybe trying to keep your your left foot
ticking over so maybe on every beat or on two and four try use the bell of the
ride cymbal so having just
so yeah those are those are the things I suggest doing to flesh out your your
shuffle group try thinking about accents thinking about ghost notes try thinking
about taking that that that grid that you're creating with the shuffle groove
I'm filling that middle triplet of each beat with ghost notes in the snare drum it
can really give some real momentum to your grooves before we go
Liberty Park Music have kindly offered a discount coupons anyone who has watched this
video which is which I believe gets you 30% off subscription to Liberty Park
Music so if you want to note that down please do so
just got a question
question here from Angelo Kelvakis is there a way to incorporate the hi-hat
when playing on right just yeah of course there is yeah so if you're
playing this this this pad on the right cymbal instead
you could either keep the hi-hat going on every beat
you could keep it going on the middle triplet
and get your don't just add ghost notes with your snare or
your base or your right cymbal where your right hand try and add ghost notes with you
know with or embellish your shuffle groove with your left foot as well you
know that's a really good good thing you can do is a great question Angelo
so thanks for watching everyone remember again if you want that discount
coupon then there it is and I'll see you very soon, take care
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