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Hello friends, welcome to my youtube channel. 'm Eduardo Boticario
and this time ...
today is a special day,
because today is October 12th, is my birthday
and so, I want to make a gift. Special class
of something that I really like is the linear phrasing.
Well, let's see an example of what I want to show today in this this special
class of birthday.
I'll show you a short song in which
I will apply
all we learn in class today.
I hope you like it and if you find it interesting,
, you continue watching the rest.
Linear phrasing
is a style of play
which are not banging unison notes at once.
That is, we will build grooves or fills
by a succession of notes,
hit by hit, a note after the other
hit by hit, a note after the other
It is used both to build grooves,
and for fills.
The style that is used more linear phrasing:
Funk
but also used a lot in Latin.
How you create a linear phrasing?
The way to create a linear phrasing combining strokes as follows
Stroke by stroke
grouped in groups even or odd
The odd groups ended up with
a kick drum, for example, a group of three would be:
hand,
hand,
hand, kick,
A even group
we finished two strokes of kick
For example a group of 4.
Right, left, kick, kick,
Right,
left, kick, kick,
You can create groups of different numbers of notes.
In odd groups may be 3, 5, 7 ... and pairs
2 4 6
which occur us.
It can be complicated and combine
different groups from each other, ie an odd group with one pair,
two odds with one pair.
For example, 3
5, 4, or 3,3,3,5, or 7,4,3
what will happen.
Another thing to do is to vary the
length of the notes.
If we talk in sixteenths,
1,2,3,4 1,2,3,4 1,2
,3,4,1,2,3,4.
You can play
with other figures. Sixteenths
mix with eighth,
triplets, 32's
The possibilities are many.
Another very important thing in
style,
is the dynamic. The dynamics is important because
without it, the linear phrases will sound like machine guns:
ratatatatatatatatutatatutatata.
That's not what we want because it is not musical, we must always look for
musicality. This is achieved using
the dynamic. Playing with soft notes louder notes.
There is much difference between the accented notes
and unaccented.
When we play a note accented
strike very hard and when the note does not carry accent,
very soft hit. Let there much difference in
dynamics.
When using a linear phrasing as
a rhythm,
do not use pure phrasing linear
but usually
usually include some notes in unison.
So, you play a linear pattern occasionally
there is a kick or hi-hat stroke that
goes together with another note.
Another way to build rhythms,
, linear phrasing is mixed with
other more conventional Groove.
You can play half a bar of linear phrasing and half a bar of conventional rhythm,
or a measure of each, etc.
We leave many
combinations and more wealth.
Well, you see that the linear phrasing can complicate all you want
but it is very fun to play
and has many applications.
After the intro
on linear phrasing, let's get down to business.
What we will learn today is
how to work a linear phrasing, how to learn,
how to develop and change it for enriching as much as
possible
First, create our pattern. How we do our linear phrase?
As explained above is a series of strokes
hand and foot
alternate.
We chose a combination that we like
and then we start. I to class today I chose this:
I chose a very simple pattern,
short, so that everyone can better understand
the explanations that follow.
After choosing our linear phrasing,
we played in the simplest way possible.
playing hands strokes in snare and foot strokes on the
bass drum.
We do this to acquire
muscle memory.
Look at the example.
Next we will
add accents
to make it
more interesting.
In this case I have chosen the following accent. Let's see it.
The next step is the orchestration.
We will choose the elements of our drum set
that we want to hit,
,to give a sense of Groove.
My choice is as follows.
Well, we have our Groove.
cool eh? The next step
will be to learn
a variety tools
that will allow us
to enrich and vary the initial Groove.
The first
tool we have, the first element of variation,
is to play with the accents.
That said,
we see
the following examples in which I vary the accent I had
initially placed.
The second variation, the second tool that I suggest are
openings charles, the hi-hat.
This involves choosing
some of the strokes we take with the hi-hat
into our rhythm,
to create openings.
The following examples explain it better than me.
The third tool we have is
the application of double notes.
What do you mean? We will choose one or more notes of which we stroke
in our linear phrasing,
rather than one stroke
duplicate it,
played two strokes. We played two strokes for every shot we have.
How did you learn this? Viewing the following examples.
The next tool we have is the more dramatic because it is the one that more
will vary sonority of our groove.
It consists in choosing
components to hit different than we had initially chosen.
This gives us a vast field of possibilities and not only notes
we have
to vary
but rather the kind of kit you have.
The more elements you have: more toms, more snares,
cowbell, more cymbals ...
we have more different places to hit and more possibilities
to create
different grooves. As an example I put you a small solo in which I will be adding
variations to the original basic rhythm.
Well guys, that's all for this class:
special birthday.
congratulate myself for my birthday,
I say goodbye and as always I hope you find it useful
and enjoy playing so much linear phrasing like I do. see you