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259. When working on these loops, try to get references from records in this style: listen to the drummer but also to the entire group. Do not reduce your vision, music is a whole, and the only way to understand any style is with thorough analysis. This is not
274. Up to this section, we have been working at 4/4. From now on, we shall go on to other measures. There is a method of Bob Moses’s which I have found extremely useful for an understanding of this kind of measures: Bob Moses called it “reference
243. When working on these loops, try to get references from records in this style: listen to the drummer but also to the entire group. Do not reduce your vision, music is a whole, and the only way to understand any style is with thorough analysis. Within any
251. When working on these loops, try to get references from records in this style: listen to the drummer but also to the entire group. Do not reduce your vision, music is a whole, and the only way to understand any style is with thorough analysis. This style
253. When working on these loops, try to get references from records in this style: listen to the drummer but also to the entire group. Do not reduce your vision, music is a whole, and the only way to understand any style is with thorough analysis. Comm
255. When working on these loops, try to get references from records in this style: listen to the drummer but also to the entire group. Do not reduce your vision, music is a whole, and the only way to understand any style is with thorough analysis. Most modern
256. When working on these loops, try to get references from records in this style: listen to the drummer but also to the entire group. Do not reduce your vision, music is a whole, and the only way to understand any style is with thorough analysis. Most modern
257. When working on these loops, try to get references from records in this style: listen to the drummer but also to the entire group. Do not reduce your vision, music is a whole, and the only way to understand any style is with thorough analysis. Most modern
258. When working on these loops, try to get references from records in this style: listen to the drummer but also to the entire group. Do not reduce your vision, music is a whole, and the only way to understand any style is with thorough analysis. Most modern
273. Up to this section, we have been working at 4/4. From now on, we shall go on to other measures. There is a method of Bob Moses’s which I have found extremely useful for an understanding of this kind of measures: Bob Moses called it “reference
215. Up to now, we have worked with two reference points: first, the metronome speed, and second, the figure chosen among the progressions, with all its combinations. In this section, we shall deal with a third reference or calculation point: the so-called dis
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