Brasilianische Drum-Styles: Samba und mehr · drumdesync
Die Grooves der brasilianischen Drum-Styles, mit echter Notation. Beginne mit Samba, Schicht für Schicht. Kostenlos zum Üben.
The first style in the series: the foot becomes a surdo, the rim a tamborim and the hand a shaker. Layer by layer up to the full groove.
- The surdo in your foot The kick becomes a surdo: one firm hit on every beat. The heartbeat of samba.
- The surdo pickup Before every beat, the foot sneaks a pickup on the "a". That is how samba walks.
- The full samba feet The pedal hi-hat joins on the "&"s: both feet in conversation, the whole samba floor.
- The shaker hand The hand becomes a ganza: steady sixteenths on the hi-hat, even like a shaker.
- Accent on the beat Same shaker, but the > is in charge: strong on the beat, light everywhere else.
- The swing on the 'a' The accent moves to the "a" and the samba really starts to sway.
- The rim marks the two Stick laid across the rim: a dry tick on 2 and 4, answering the surdo.
- Telecoteco The tamborim figure on the rim: nine hits that define Rio samba.
- Telecoteco with the feet The tamborim phrase over the full feet. Real independence.
- Running snare The snare takes the shaker role: running sixteenths accented on the beat.
- The samba snare groove The hidden telecoteco: the notes run, the accents draw the phrase.
- The down side The telecoteco flipped: the same phrase starting from the other bar.
- Ride the samba Right hand moves to the ride, the rim marks 2 and 4, the feet never stop.
- The full samba groove Graduation: running ride, telecoteco on the rim and the full samba feet.
- The cross-side samba The same groove, flipped: the rim phrase starts on the 1, the other side of the clave.
- Samba on the bell The ride bell (◆) marks the beats with a ping that cuts through. Samba school shine.
- The ride that swings The ride is never flat: accent the "a" and it sings with the surdo pickup.
The backbeat that moves the world: steady kick, snare and hi-hat, then the kick learns to walk, the hi-hat breathes and finally the legendary grooves. From simple to monstrous.
- The backbeat Kick on 1 and 3, snare on 2 and 4, hi-hat in eighths. The most played groove in the world.
- The engine Kick on all four beats: the engine that drives the rock forward without stopping.
- The dry rock Hi-hat in quarters, only on the beat. More space, the bare bones of the groove.
- Kick on the '&' of 3 An extra kick on the "&" of 3, pushing into beat 4. The most classic rock syncopation.
- The double kick The kick doubles right at the top: 1 and the "a" of 1, tied together. Extra weight on the entry.
- The driving train Steady eighth-note kick under the backbeat. The full-steam train of hard rock and punk.
- Open at the end Hi-hat closed the whole bar, opening only on the "&" of 4. The breath before it loops.
- Open and shut Two opens per bar, on the "&" of 2 and 4. The groove that breathes, Sweet Child style.
- Sixteenths on the hats Sixteenths on the hi-hat: twice the notes. Denser, the heavy slower rock.
- Groove on the ride The hand keeps time on the ride instead of the hi-hat: a more open sound for the chorus. Same backbeat.
- Fill at the end Three beats of groove and, on 4, the hand fills across the toms: high, mid, low.
- The big hit Crash opening beat 1, groove, and a tom fill that resolves at the end.
- The heavy half-time The backbeat drops to beat 3 and everything gets heavy. The monstrous "When the Levee Breaks" feel.
- The syncopated kick The kick dances between the backbeats, with the hi-hat opening. Seventies hard rock.
- The locomotive Eighth-note kick engine, crash and open hi-hats: hard rock at full steam.
- The dense groove Sixteenths on the hi-hat accented on the beat, a syncopated kick underneath. Elaborate rock.
The swing feel: the ride sings the spang-a-lang, the foot closes the hi-hat on 2 and 4 and the hands converse. The pulse here is ternary, the drums breathe with the soloist.
- The ride pulse The "ding" on every beat on the ride and the pedal hi-hat closing on 2 and 4. The clock of jazz.
- The spang-a-lang The classic ride figure: ding, ding-da, ding, ding-da. The heart of jazz drumming.
- The feathering The bass drum comes in very lightly on all four beats: felt more than heard. The cushion of swing.
- Comping on 4 The left hand throws the first jab: the snare answers on beat 4, a comment to the ride.
- Comping on the '&' of 2 The snare lands off the beat, on the "&" of 2, which the swing lags into the triplet. Jazz starts talking.
- Both hands talk Two snare comments per bar, on the "&" of 2 and on 4. The left hand gets its own voice.
- The kick answers The kick leaves the feathering and throws a syncopated hit on the "&" of 2, talking to the snare.
- The jazz dialogue Snare and kick take turns at different spots: one asks, the other answers, over the ride.
- The little fill Three beats of swing and, on 4, a little triplet fill across snare and toms that resolves on the ride.
- Four-limb swing Ride, pedal hi-hat, feathering and comping from both: all four limbs in the swing game.
- Up-tempo The spang-a-lang at a fast tempo: the swing tightens and the ride has to float light.
- Dense comping Snare and kick full, chattering in almost every gap of the ride. The jazz that bubbles.
- The chatter The snare draws a syncopated phrase over the ride, like a second triplet melody.
- Mature swing Everything mature: floating ride, snare and kick comping in conversation and the little fill resolving.