Bass Drum play the 1st and 2nd sixteenth Note – 5064 – E
Until now we have worked with 1 stroke, now we will work with 2 strokes in the BassDrum. We continue with the same structure. Your right hand plays Cáscara in Wood Block, your other hand plays quarter notes in snare, your right foot plays the Clave with the F
Bass Drum play the 2nd and 3rd sixteenth Note – 5065 – E
Until now we have worked with 1 stroke, now we will work with 2 strokes in the BassDrum. We continue with the same structure. Your right hand plays Cáscara in Wood Block, your other hand plays quarter notes in snare, your right foot plays the Clave with the F
Bass Drum play: 1st, 2nd and 3rd sixteenth Note – 5066 – E
In the previous exercises we have worked with 1 and 2 strokes, now we will use 3 strokes in the BassDrum. We continue with the same structure. Your right hand plays Cáscara in Wood Block, your other hand plays quarter notes in snare, your right foot plays the
Bass Drum play: 2nd, 3rd and 4th sixteenth Note – 5067 – E
In the previous exercises we have worked with 1 and 2 strokes, now we will use 3 strokes in the BassDrum. We continue with the same structure. Your right hand plays Cáscara in Wood Block, your other hand plays quarter notes in snare, your right foot plays the
Bass Drum plays: 1st, 2nd, 3rd and 4th Sixteens – 5068 – E
In the previous exercises we have worked with 1 and 2 strokes, now we will use 3 strokes in the BassDrum. We continue with the same structure. Your right hand plays Cáscara in Wood Block, your other hand plays quarter notes in snare, your right foot plays the
Bass Drum plays: 2nd, 3rd, 4th and 5th Sixteens – 5069 – E
In the previous exercises we have worked with 1 and 2 strokes, now we will use 3 strokes in the BassDrum. We continue with the same structure. Your right hand plays Cáscara in Wood Block, your other hand plays quarter notes in snare, your right foot plays the
Rumba Forever – 1405 – E
I feel it’s important to be able to utilise all you have studied in a practical manner. I always say that the hours of study and practice should be like communicating vessels, there has to be a really good relationship between the one and the other. Here
Mozambique – 1323 – E
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. Just as in the c
Reggae – 1324 – E
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. Reggae is the ro
Azul Song – 1401 – E
I feel it’s important to be able to utilise all you have studied in a practical manner. I always say that the hours of study and practice should be like communicating vessels, there has to be a really good relationship between the one and the other. Here
