House of Drumming.com

Manu wrote:

Old Pit Guy wrote:

bstocky wrote: ... It's cool when they do it, really lame when most other people try it.

I'd say it's pretty much first degree wankery in most scenarios. The exceptions would be if it occurs during general wankery, where all wankery is fair game, or it's subtle and artfully done when it's the drummer's time and he or she choose a route of wankery that includes modulating. Otherwise, I'd just as soon watch someone blow cookies using hertas on youporn.

funny

One thing I was wondering, anyone knows the sticking to play every 3 16th notes accents on the hi hat while keeping 16th note triplets underneath? Joel Taylor does it in this Jeff Richman cover of walking on the moon and I love it but I can't figure out the sticking to pull it off.

There are only so many ways to do it. Try all the stickings you can think of. It's really not a sticking, but a musical phrase. Play what you hear, not what you think.

Manu wrote: Here is Vinnie explaining it http://www.vinniecolaiuta.com/articles/smm.aspx

There are audio clips of him playing the examples too. Click on the blue hyperlinks "In this example" and "here is another example".

Clint Hopkins wrote:

Manu wrote:One thing I was wondering, anyone knows the sticking to play every 3 16th notes accents on the hi hat while keeping 16th note triplets underneath? Joel Taylor does it in this Jeff Richman cover of walking on the moon and I love it but I can't figure out the sticking to pull it off.

Manu, can you give a time in the song?

1:21 to 1:25

I am not exactly sure if it is indeed what I said it is, it sounds like that to me but I am not that great with music notation.

Thanks for the interest.

Manu wrote:

Clint Hopkins wrote:

Manu wrote:One thing I was wondering, anyone knows the sticking to play every 3 16th notes accents on the hi hat while keeping 16th note triplets underneath? Joel Taylor does it in this Jeff Richman cover of walking on the moon and I love it but I can't figure out the sticking to pull it off.

Manu, can you give a time in the song?

1:21 to 1:25

I am not exactly sure if it is indeed what I said it is, it sounds like that to me but I am not that great with music notation.

Thanks for the interest.

Manu, Terry Branam might want to take a stab at this but I think this 3:4 is the general idea:

http://www.noteflight.com/scores/view/0 ... 292369a4c9

Clint Hopkins wrote: Manu, Terry Branam might want to take a stab at this but I think this 3:4 is the general idea:

http://www.noteflight.com/scores/view/0 ... 292369a4c9

"Sorry, you don't have permission to read this score."

Is there an access setting somewhere?

It should be set to be read by everyone. Let me know if it doesn't work.

http://www.noteflight.com/scores/view/0 ... 292369a4c9

If not, I'll do my best to explain. Essentially it's something we've heard a million times- grouping triplets into 4s. Joel's idea starts on beat 4 and makes each grouping a 7 stroke roll on the hats with a bass drum on beat 3 of each measure.

Ah right, that. I don't have the Joel Taylor track, but from your example there (I can read it now, thanks!), yeah, that's a pretty typical usage.

Weckl uses the heck out of that particular idea, usually when he's playing an afro-cuban type of thing .. accents on the bell of the cymbal, with the roll doubles split between the snare and the ride body.

Lucas Ives wrote:Ah right, that. I don't have the Joel Taylor track, but from your example there (I can read it now, thanks!), yeah, that's a pretty typical usage.

Weckl uses the heck out of that particular idea, usually when he's playing an afro-cuban type of thing .. accents on the bell of the cymbal, with the roll doubles split between the snare and the ride body.

Joel Taylor does just that, splitting between ride bell, body and hi hat, latter on that same song. I am gonna check out the sticking see if I can get it.

Manu wrote:

Lucas Ives wrote:Ah right, that. I don't have the Joel Taylor track, but from your example there (I can read it now, thanks!), yeah, that's a pretty typical usage.

Weckl uses the heck out of that particular idea, usually when he's playing an afro-cuban type of thing .. accents on the bell of the cymbal, with the roll doubles split between the snare and the ride body.

Joel Taylor does just that, splitting between ride bell, body and hi hat, latter on that same song. I am gonna check out the sticking see if I can get it.

Joel does that between the bell of the ride and hats at different times during the tune but the time in question is all hats, I'm pretty certain. I really like the outro when he uses the china on the accents and the downbeat coincides with beat 2 instead of beat 4.

I just tried to notate that example in Noteflight, but it's pretty limited for writing drum scores in terms of sounds available and dynamic contrast / ghosted notes. But yeah, as Clint said, it's just a seven stroke roll over the triplet reference.

I like using it with half-time grooves, putting the ride bell immediately after the rimshot on 3 and starting the roll there. Keeping the backbeat on 3 requires converting one of the snare-hand doubles to a rimshot every 3rd time through, if that makes sense. Keep the quarters going on the stepped HH so you don't get lost.