One Handed Hi-Hat 16th Notes – Accents Combinations

The hi-hat is the element of the drum set that with subtle variations and embellishments can greatly affect the groove. Drummers like Stewart Copeland, Jeff Porcaro, Dennis Chambers, and Steve Gadd, to name a few, expanded the rhythmic possibilities of the hi-hat playing timeless grooves. With this lesson we explore the one-handed 16th note hi-hat … More One Handed Hi-Hat 16th Notes – Accents Combinations

Exploring Afro-Cuban 6/8 Vocabulary Using Ted Reed’s Syncopation

Some of the main rhythms in West Africa are based on 6/8 feels and the essential concept of clave. The application of Afro-Cuban 6/8 on drumset opened the way for new rhythms and ideas, involving coordination, independence, and polyrhythms. With this article divided into two parts, I introduce a lesson to develop your coordination and … More Exploring Afro-Cuban 6/8 Vocabulary Using Ted Reed’s Syncopation

Groove Displacement – Polyrhythmic Independence 4 over 3

Things are not as harder as we think if faced with the right approach. Polyrhythms can drive you to new rhythmic destinations, increase your knowledge, improve your timing, your independence, and inspire you with new ideas. In this lesson I introduce a series of exercises to “displace” the bass drum-snare pattern, a rhythmic solution played … More Groove Displacement – Polyrhythmic Independence 4 over 3

Afro-Cuban 6/8 Funk Application: Accent Displacement

The applications of the Afro-Cuban 6/8 feel are endless, inspiring to play new grooves. Today I’ll talk about the application of this rhythm in a funk/fusion style: adding the snare drum backbeat, ghost notes, and the dotted eight-note bass drum pattern. The 6/8 cowbell rhythm will be played on the hi-hat, as shown in the … More Afro-Cuban 6/8 Funk Application: Accent Displacement