Playalongs

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Drumming In The Footsteps of Giants.

PREMIUM PLAYALONGS

Drummer: Gene Pello

Drummer: Peter Criss

Drummer: Jabo Starks

Drummer: Andy Hurley

Drummer: Mike Cosgrove

PLAYALONGS

TitleOriginal DrummerPlayChartdifficulty_hfilterplayalong_style_hfilter

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This solo was filmed at “Drumtrainer” in Berlin, Germany. I just improvised a short solo. I tried to pursue and elaborate on a few spontaneous ideas and composed a solo that has a definable structure.

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This lesson will help you develop catching basic quarter note figures with your bass drum as well as some simple set-ups to help you and the band play the figure. Lesson one’s download has the “Jazz Ensemble Practice Sheet,” which can be used while practicing lessons 1-6.

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This demonstration provides an example of the actual practice as covered in the BODY and Groove Sections of this program. Remember to rest in Savasana (rest posture) for a few minutes afterwards if this is the end of your practice. ……………………………….Standing Sequence Demonstrations 3:6 Breathing

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Chart #4 is entitled “Word” and is a funk chart composed and arranged by Jeff Jarvis. This was filmed with the McAuliffe Middle Schools jazz ensemble. Listen to how Chad plays to lift the band and make them feel comfortable. Chart #4 is available as a download below. Full-length transcriptions of the beginner, intermediate and advanced playing examples are available in the next lesson.

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Chad demonstrates how he would play and set up the band from a beginner’s perspective. Remember to always play what is musically appropriate for the song and the style. Sometimes the easiest set-ups can be the most appropriate and make the band swing even harder. A full-length transcription is available to download below.

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In this final lesson, we play our linear hand patterns against our hi-hat as a time-keeper.

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Here are more examples involving hand and foot unisons in 4/4 using quarter notes.

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Chad demonstrates how he would play and set up the band from a Mid-level perspective. Remember to always play what is musically appropriate for the song and the style. Sometimes the easiest or most typical set-ups can be the most appropriate and make the band swing even harder. A full-length transcription is available to download below.

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In this final lesson, we play our linear hand patterns against our hi-hat as a time-keeper.

advanced

Here are more examples involving hand and foot unisons in 4/4 using quarter notes.

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Chad demonstrates how he would play and set up the band from an advanced perspective. Remember to always play what is musically appropriate for the song and the style. Sometimes the easiest or most typical set-ups can be the most appropriate and make the band swing even harder. Check out the full-length transcription to see exsactly what Chad is doing.

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Chart #5 is another Tom Kubis arrangement entitled “Time Returning.” This is a funky samba that can be interpreted in a few ways. Check out how Chad interprets this chart. You can download chart #5 below. Full-length transcriptions of Chad playing beginner, intermediate and advanced versions of chart #5 are in the next few lessons.

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Chad demonstrates how he would play and set up the band from a beginner’s perspective. Remember to always play what is musically appropriate for the song and the style. Sometimes the easiest set-ups can be the most appropriate and make the band swing even harder.

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Finally we will play between our hands and feet in a linear or non-unison fashion.

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Chad demonstrates how he would play and set up the band from a Mid-level perspective. Remember to always play what is musically appropriate for the song and the style. Sometimes the easiest or most typical set-ups can be the most appropriate and make the band swing even harder.

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Finally we will play between our hands and feet in a linear or non-unison fashion.

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Chad demonstrates how he would play and set up the band from an advanced perspective. Remember to always play what is musically appropriate for the song and the style. Sometimes the easiest or most typical set-ups can be the most appropriate and make the band swing even harder. Check out the full-length transcription to see exsactly what Chad is doing.

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This lesson will cover our final chart, which is another Tom Kubis arrangement entitled “Let’s Get This Show Started.” You will have access to the chart as a download as well as Play-Along audio. Full-length transcriptions of each version- Beginning, Intermediate and Advanced will be in the next few lessons.

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Chad demonstrates how he would play and set up the band from a beginner’s perspective. Remember to always play what is musically appropriate for the song and the style. Sometimes the easiest set-ups can be the most appropriate and make the band swing even harder. Download the full-length transcription below.

beginner

Chad demonstrates how he would play and set up the band from a mid-level perspective. Remember to always play what is musically appropriate for the song and the style. Sometimes the easiest or most typical set-ups can be the most appropriate and make the band swing even harder.

intermediate

Chad demonstrates how he would play and set up the band from a pro-level. Remember to always play what is musically appropriate for the song and the style. Sometimes the easiest or most typical set-ups can be the most appropriate and make the band swing even harder. Check out the full-length transcription to see exsactly what Chad is doing.

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In this lesson, we will be adding an extra time keeping element, the bass drum.

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In this series of lessons we focus on the way coordination affects our time-keeping.  We will start with the hands working together with quarter notes.

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In this lesson, we will be adding an extra time keeping element, the bass drum.

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In this series of lessons we focus on the way coordination affects our time-keeping.  We will start with the hands working together with quarter notes.

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Now we’re going to expand on lesson one by adding a crash to each kick in order to create a longer articulation for your basic quarter note figures.

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This special series is designed to increase your awareness, breath focus and through targeted mobility training, further assist in increasing your flexibility and range of motions (ROM). These short 15-20 minute classes will focus on only a few areas for 5 minutes each to facilitate the relaxation responses and to activate the stretch reflex in various muscle groups.   This is the perfect adjunct to your already established yoga practice or a stand-alone option for the drummer on the go!

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These are 3 rudiments that would appear to be different but the body motion is similar. There are examples of open and closed ruffs in a variety of stickings. Remember it is easy to tighten up, the key is to stay relaxed (put up the mirror to see if you look stiff compared to Chad).

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These are 3 rudiments that would appear to be different but the body motion is similar. There are examples of open and closed ruffs in a variety of stickings. Remember it is easy to tighten up, the key is to stay relaxed (put up the mirror to see if you look stiff compared to Chad).

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Now we will get our non-dominant foot involved with time keeping.  We will play the full 4 beat pattern as well as just beats 2 and 4.

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Now we will progress from quarter note unisons into 8th notes, but the premise is the same.

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Now we will get our non-dominant foot involved with time keeping.  We will play the full 4 beat pattern as well as just beats 2 and 4.

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Now we will progress from quarter note unisons into 8th notes, but the premise is the same.

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By using the audio track provided you will now be able to practice each quarter note figure discussed in lessons 1 & 2. Check out Chad’s demonstration of each figure and as you progress try to expand your ideas to eventually create you own set-ups.

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This lesson breaks down a few variations that can be used while playing the dotted eighth,three-note patterns around the set. Virgil demonstrates how to integrate them between your Hi-Hat, Snare and Kick.

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Now we will play an eighth note time keeping pattern while playing the bass, and off-hand variations.

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In this lesson, we will play both quarter notes and eighth notes against our full eighth note pattern keeping time.

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Now we will play an eighth note time keeping pattern while playing the bass, and off-hand variations.

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In this lesson, we will play both quarter notes and eighth notes against our full eighth note pattern keeping time.

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This lesson demonstrates how to to set up quarter note figures using eighth note fills.

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Now we switch to our non-dominant foot with the hi-hat.

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Now let’s put everything together as we move through all the patterns we have covered and make various combinations

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Now we will examine some of these patterns in 4/4 while keeping time with our feet.

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Now we will play linear patterns with our hands while keeping time using both feet.

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Now we will mix up our time keeping pattern by using both quarter and eighth notes.

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We will now change our time-keeping pattern to incorporate both quarter and eighth notes.  Move through these exercises slowly at first to get a feel for the coordination.

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We will now change our time-keeping pattern to incorporate both quarter and eighth notes.  Move through these exercises slowly at first to get a feel for the coordination.

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In this lesson Chad introduces upbeat figures and how to apply the same principles we used in the previous lessons to set up each band hit.

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Now we will extended our phrase from a 2/4 bar to a 4/4 bar.

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In this lesson we will work on mixed stickings in a linear fashion as opposed to unison.

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Now we will extended our phrase from a 2/4 bar to a 4/4 bar.

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In this lesson we will work on mixed stickings in a linear fashion as opposed to unison.

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Now we will expand on lesson five by introducing 8th note set ups for each upbeat figure. Remember to use the audio track as a reference.

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We will follow the same process we did with hand unisons using the feet now.

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No we will again use our non-dominant foot in tandem with our time-keeping hand.

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No we will again use our non-dominant foot in tandem with our time-keeping hand.

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Now that we’ve covered basic quarter notes and 8th notes for both up and downbeat figures, we can move on to playing these ideas in our first drum chart example. Drum chart number one is titled “Green Blues.” Remember to count and keep your place while playing along. Chart #1 and full-length transcriptions of the beginner and advanced playing examples are available in the download below.

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Following the four basic elements, Chad now discusses 7 basic strokes as they were explained to him by Murray. They are:

1. Single strokes
2. Double strokes
3. Flams
4. Wrist strokes
5. Rebounds
6. Upstrokes
7. Down strokes

In future lessons you will apply these strokes to play the rudiments. This lesson is a review of the first five strokes, then focuses on the up stroke and the down stroke.

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Following the four basic elements, Chad now discusses 7 basic strokes as they were explained to him by Murray. They are: 1. Single strokes 2. Double strokes 3. Flams 4. Wrist strokes 5. Rebounds 6. Upstrokes 7. Down strokes In future lessons you will apply these strokes to play the rudiments. This lesson is a review of the first five strokes, then focuses on the up stroke and the down stroke.

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Now we will add in the use of 8th notes to accompany the quarter note time-keeping.

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The following lessons on “Continuity” is Murray’s system of how one rudiment leads into another. His order of the rudiments will show you how to follow your basic body motions.

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The following lessons on “Continuity” is Murray’s system of how one rudiment leads into another. His order of the rudiments will show you how to follow your basic body motions.

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The following lessons on “Continuity” is Murray’s system of how one rudiment leads into another. His order of the rudiments will show you how to follow your basic body motions.

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The 7 stroke roll is thought of as four/eight time signature and is played with rebounds as learned in previous lessons. The 5 stroke roll is a 3/8 over 2/4 rhythm. You not only learn how to play, you also learn a lot about rhythm.

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The 7 stroke roll is thought of as four/eight time signature and is played with rebounds as learned in previous lessons. The 5 stroke roll is a 3/8 over 2/4 rhythm. You not only learn how to play, you also learn a lot about rhythm.

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The 7 stroke roll is thought of as four/eight time signature and is played with rebounds as learned in previous lessons. The 5 stroke roll is a 3/8 over 2/4 rhythm. You not only learn how to play, you also learn a lot about rhythm.

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This lesson demonstrates how Chad approaches playing chart #1 “Green Blues.” Two examples will be demonstrated. One with Chad playing a more basic approach, and another example of Chad playing more advanced ideas. There is a full-length transcription of both examples available for you to download.

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Now we will change our hand’s time keeping pattern from straight eighth notes to a quarter note and two eighth notes.

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Now we will change our hand’s time keeping pattern from straight eighth notes to a quarter note and two eighth notes.

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Now we switch feet to the hi-hat.

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This lesson will go over Chart #2, “Emma Chizet.” Listen as Chad breaks down the chart into sections and goes through the road map. Chart #2 and full-length transcriptions of the beginner and advanced playing examples are available in the next lesson.

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Now we will use the feet with non-unison or linear patterns.

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This lesson demonstrates how Chad approaches playing chart #2 “Emma Chizet.” Two examples will be demonstrated. One with Chad playing a more basic approach, and another example of Chad playing more advanced ideas. There is a full-length transcription of both examples available for you to download.

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Chart #3 is entitled “Another Train,” Which is a medium-fast jazz arrangement. Listen to how Chad breaks down each section and approaches each figure. Chart #3 and full-length transcriptions of the beginner and advanced playing examples are available in the next lesson.

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We now will incorporate both parts of our body into these unison exercises: hands and feet in unison.

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This lesson demonstrates how Chad approaches playing chart #3 “Another Train.” Two examples will be demonstrated. One with Chad playing a more basic approach, and another example of Chad playing more advanced ideas. There is a full-length transcription of both examples available for you to download.

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In this lesson we will play linear patterns with our hands while using our bass drum as a time-keeper.

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In this lesson we will play linear patterns with our hands while using our bass drum as a time-keeper.

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A guided run through of both the Sun Salutations – 3x Salutation A and 3x Salutation B.

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A guided run through of both the Sun Salutations – 3x Salutation A and 3x Salutation B.

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Joe demonstrates a wrist exercise that prepares you for later motions and gets your hands working in contrary motion.  Practice this slowly to master control, not to build speed yet.

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Another important element that can be applied to add more variation is dynamics. Virgil demonstrates a variety of ways to add dynamics to the dotted eighth-note phrases to add more depth and rhythmic diversity.

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Scott introduces sound as another element to expand your creativity. He will teach you how you can alter the sound of your drums, using percussion, rags and different techniques.

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As in the previous lesson, Scott shows you how to apply the same concept to the paradiddle sticking. He shows you ways to further expand the sound of the paradiddle to create ideas and cool sounds.

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John discusses Alan Dawson’s 8 triplet ways of playing through Ted Reed’s ‘Syncopation’ book.

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This lesson will focus on the alternate motion for double strokes.  This is key to developing the mechanics necessary for the long roll and all of the roll rudiments as well.

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The body is the ultimate classroom – We’ll be talking – necks, shoulders, the back, hips, knees, ankles and wrists – how to practice safely!

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I am demonstrating the mechanics of Ankle Strokes. You must consider seat height, type of throne and distance from the drum set to play this technique properly. I am breaking down the exact motions and mechanics.

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By keeping track of the time of the day that you’re starting your daily practice routine, you can analyze your practice habits and increase productivity.

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This lesson will help you get started by building a strong foundation with your Hand Technique. It’s important to understand the basic motions of holding a stick and utilizing the bounce of a stick before moving on.

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Exercises to help you play accurate subdivisions in all note rates.

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Practice pad exercises, hand technique history, grips, warmup exercises, power building exercises and endurance exercises on the kit.
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This was the first single from the 2013 release “Broken Pieces” by StOrk. It’s heavy yet melodic and fairly approachable. The drum patterns are very distinct, composed and organized. There is little room for improvisation here and the feel is heavy with a good portion of syncopated double-kick work. Enjoy!

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The “Bat” song breakdown.

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The next few lessons are bonus content, only available for purchasing this course in the Drum Channel pro shop. Chad walks you through an introduction of Modular Drumming, a method used to expand vocabulary by using simple rhythmic phrases and ideas in as many ways as possible.

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Ralph will once again demonstrate the bounce stroke and how the motion and the tone differs from when you are not playing bounce strokes

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This lesson defines the fundamental stroke motions that we will be using for everything we play.  The bounce stroke, full stroke and tap stroke.  Pay attention to the differences of motion for each one.

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If you have played in a cover band you have played this song and now you know how to kick it off with this classic one bar fill.

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If you have played in a cover band you have played this song and now you know how to kick it off with this classic one bar fill.

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Ed shows how to improvise using the brushes by sharing a non-repetitive brush pattern as well as introducing different sounds to add more dimension to your brushwork.

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Ed discusses how he approached building his brush technique and shares his concept of the “lateral rebound motion,” which allowed him to control his articulation and play more legato.

The band will now introduce a ballad. Pay attention to the legato sound, strokes, as well as consistent time-feel that Ed plays in this example.

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This song from the stOrk album “broken Pieces” is quite complex and challenging to play. There are syncopated double-kick papers and fast 5-stroke rolls on the kick drums, several unison sections and different odd time signatures. Check out the Breakdown-video for all the details and explanations.

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The “Chainsaw Serenade” song breakdown

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This lesson covers the fundamentals of how you will be expected to approach chart reading. John covers section figures and ensemble figures and how you can differentiate your playing to be indicative of each one.

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These exercises will help you develop a useful vocabulary of linear patterns to use in fills and grooves. Make sure to play through all the different variations and permutations and make sure to learn to shift the position of each pattern in relation to the quarter-note pulse. Also practice all the “left-hand lead” variations. I recommend practicing these along to a click track first and then also along to your favorite music. Make sure that the left foot is ALWAYS keeping time while you’re playing these.
Dave Watson from Scotland -a fellow student and subscriber here at the TLDU- has transcribed these exercises for all of us to enjoy. Thank you Dave!

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This classic beat comes from one of the classiest drummers, David Garibaldi. An innovator of linear funk and one of the funkiest drummers of all time. Gregg also shares a great story about David.

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Gregg Bissonette’s Drum School is about adding to your drumming vocabulary and this series of classic drum beats and fills is a must. The idea is not only to learn Gregg’s interpretation of these classics, but for you to put your “spin” on them so your vocabulary becomes part of your style.

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When you master these you will be playing like a pro. One of the most musicial drummers of all time, Steve Gadd is a library of great beats and fills. These are a must for your drumming vocabulary. Start slow many are advanced.

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When you master these you will be playing like a pro. One of the most musicial drummers of all time, Steve Gadd is a library of great beats and fills. These are a must for your drumming vocabulary. Start slow many are advanced.

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This is a song from the self-titled 2015 album “SPARK 7” by SPARK 7. This is a progressive Fusion/Rock/metal crossover project with Japanese guitarist Isao Fujita, Kiyomi Otaka (keys) and Philip Bynoe (bass). This song has a fast Rock/Fusion feel. The A section has a strict and very specific pattern that has more of a Rock/metal vibe but the B section has a very loose Fusion-feel. There are some fun unison parts to catch and a tricky double-kick halftime section to master! The Play-Along tracks are available here for you.

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This video is extremely important if you are interested in playing dynamic foot patterns. I am demonstrating how to combine different techniques in order to get a different sound and volume out of each stroke.

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Write down comments (both positive and negative) about your daily practice session at the bottom of your daily practice log. This helps you analyze your practice habits, improve efficiency, and streamline your practice routine.

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In this lesson, Ed covers how to musically comp behind a rhythm section. Whether it’s between you and a soloist or the whole band.

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Ed begins with your basic ride cymbal technique in order to develop a clean a consistent sound. He also demonstrates how to achieve a good skip beat and how to play a non-repetitive ride pattern without sacrificing the time or feel.

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Congratulations on making it this far! You have completed the course! But now, most importantly, you must apply it into your practice routine to get the most out of this course. Remember all the principles Scott talked about to expand your creativity on the kit, and watch as he puts each building block together to create a solo.

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Virgil demonstrates how you can apply ghost notes between each space to create a better feel and dynamic contrast between each limb.

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Another song by the band “Spark 7”. I always enjoy playing this one live because it has this interesting combination of Fusion, Funk and Metal. The drum parts are clean and organized and there are some 16th-note triplet unison parts as well as some good-old 16th note stomping on the kick drums. Have fun with it!

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Part 1 of a deep dive into postures that speak specifically to how the drummer uses her or his
body – those that strengthen lengthen and re-calibrate the body after time at the kit!
Part 2 & 3 of the deep dive into postures that speak specifically to how the drummer uses her
or his body – those that strengthen lengthen and re-calibrate the body after time at the kit!

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A complete practice in themselves and often considered a daily minimum, Sun Salutations create heat in the body and flex and extend all the major joints and muscles in the body

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In order to know “where to go” in your practicing, you need to define your goal first. Knowing what the end result should be will keep you on track and help you filter out things that are not priorities for you.

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The ultimate definition of time from two of the most respected timekeepers in music. JR Robinson hosts a conversation with Luis Conte and Abe Laboriel, Sr.

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This is a rebroadcast of a live lesson given on April 16, 2015. We will examine how you can play a Bossa Nova and a Samba using brushes.

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In this lesson, Virgil introduces you to dotted 8th notes and how that can be felt in both 3/4 and 4/4 time. Once you’re comfortable with the basic foundation, start applying combinations with your hands and feet.

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We will now apply the dotted 8th note to the left foot hi-hat and create variations based on this ostinato.

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Like the single drag, Chad shows how Murray taught him the double drag in various time signatures. He also discusses his practice and warm-up routine.

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Like the single drag, Chad shows how Murray taught him the double drag in various time signatures. He also discusses his practice and warm-up routine.

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These lessons let you apply the system using a series of rudiments. Remember it is not the sticking that is important, it is the way you use your body to produce the right and left hand strokes. Always think musically, listen to Chad closely.

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These lessons let you apply the system using a series of rudiments. Remember it is not the sticking that is important, it is the way you use your body to produce the right and left hand strokes. Always think musically, listen to Chad closely.

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These lessons let you apply the system using a series of rudiments. Remember it is not the sticking that is important, it is the way you use your body to produce the right and left hand strokes. Always think musically, listen to Chad closely.

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These lessons let you apply the system using a series of rudiments. Remember it is not the sticking that is important, it is the way you use your body to produce the right and left hand strokes. Always think musically, listen to Chad closely.

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Using the stroke motions from the previous lesson, we will learn our first 2-stroke motion.  The down stroke, tap-up stroke motion also adds dynamics to our sound as well as efficacy.

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Now we will add one more tap stroke to complete our 4-stroke motion.  Staying relaxed and letting the stick bounce is paramount to executing this technique properly all the way through.

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Now that we’ve experimented with the tune Doxy in a jazz setting, the next step is to look at some different styles to apply to soloing. Ed shares how he applies the same concepts to Doxy in a Jazz Samba and a Songo time feel.

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These lessons let you apply the system using a series of rudiments. Remember it is not the sticking that is important, it is the way you use your body to produce the right and left hand strokes. Always think musically, listen to Chad closely.

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The postures in this sequence begin the Drummer for Yoga’s sequences. Building upon the necessary preparation of the previous asanas, these postures go a level deeper to strengthen the muscle of the back, and further lengthen the front of the body to create balance in the muscle of the drummer under the greatest demand – hip flexors, core abdominals and
shoulders.

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The heart of the matter – our hands! When drummer’s hands hurt it’s like saying, “it only hurts when I breathe.” We’ll review multiple exercises to free up the hands before or after playing at the kit.

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The heart of the matter – our hands! When drummer’s hands hurt it’s like saying, “it only hurts when I breathe.” We’ll review multiple exercises to free up the hands before or after playing at the kit.

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It always feels good to play Motown songs, beats and fills. This lesson focuses on the all-time classic 2 beat motown fill used on many songs.

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It always feels good to play Motown songs, beats and fills. This lesson focuses on the all-time classic 2 beat motown fill used on many songs.

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Now we switch to our non-dominant foot with the hi-hat.

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Make sure in these exercises you are lining up your hands to your feet, and not the other way around.

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