(intense rock music)
- Well played, man, well played.
- (laughing) Thank you.
- It's very good stuff.
- Feeling good? - Feeling good, super good.
- Welcome, everyone to Drumeo Live.
- Hi, Drumeo Land.
- Special guest, Randy Cooke.
Randy, how you doin', man?
- Super good. - Yeah?
- Yeah. - That was awesome.
- I'm in the Land of Caesars.
- The Land of Caesars in Canada.
Well, you are Canadian.
And if you guys don't know who Randy is,
you're an amazing drummer. - Thank you.
- Not only that, you record a lot,
you're on the road all the time touring,
you've played with such bands as Smash Mouth.
In fact, you're on tour with them currently.
The Eurythmics, Ringo Star, you played with Ringo.
- A couple of months, yeah.
- No kidding.
- It was a band put together,
by Dave Stewart from the Eurythmics,
to promote Ringo's solo CD, Liverpool 8.
- No kidding. - So we did all the TV shows
and some crazy shows in Liverpool and London, it was killer.
- No doubt.
That's a huge honor to be able to play with a man like him.
Also Colbie Caillat.
- Colbie Caillat.
- Did I say that right? - Sweet, super sweet.
- So a little bit about yourself.
When did you start drumming?
- I was a late starter actually
and I got my first kit at 15
but I started doing all my rudiment stuff
when I was about 12.
I was in a marching corps.
- So you have quite a bit of experience
but like you said, late bloomer.
Is 15 late?
- You know, now when you go NAMM show
and there's like four-year-olds
like playing gospel chops,
yeah, 15's pretty late.
Like, I missed it a little bit but I'm super happy.
- Well, I'm excited to have you on.
We've been talking about bringing you out for quite a while.
We see each other every year at NAMM
and we always talk about it.
So we actually see each other
at the Yamaha party every time too.
- Yes. - So huge thanks to Yamaha
for also helping get you here (singing)
and beautiful drum kit.
Zildjian with the cymbals.
Regal Tip with your stick, Remo heads.
And the ears, All Clear Audio.
- Yeah, love 'em. - Beautiful.
So today's gonna be a really cool lesson, guys.
This is for beginners or intermediates
and it's about rock drumming.
And you know, it's funny because
with most drummers that I talk to,
whether they wanna admit it or not,
they always wanna be rock drummers at some point,
or the majority I should say.
And in a world where YouTube has millions of lessons
and Drumeo has thousands of lessons,
there's so much to sift through.
So this lesson isn't mainly about
what you need to know to become a rock drummer,
it's more of telling you what not to worry about,
'cause there's a lot of things,
there's a lot of noise out there.
- Don't worry about a lot of stuff.
- Yeah, right? - Like tons of it.
Don't do it.
Like when you have some spare time on Sundays, do it then,
but for the most part, yeah.
There's some stuff that, super basic stuff that,
if you just sort of concentrate on some basics
but do them the right way, then you're gonna be good to go.
So this lesson we're gonna talk about everything
down from the gear that you need.
If you're a beginner drummer,
you don't know what kind of drum set to buy.
You wanna play rock?
Do you get a small kit, do you get a big kit?
Do you get bubinga shells?
We're talking about the tuning,
we're gonna talk about some basic stuff that you can learn.
Grooves and fills to get you going.
And you can download the PDF as well to this lesson.
Now you've made quite the career as a rock drummer.
- I have had a bunch of recording sessions
and tours and stuff like that
and I have absolutely found that on my entire journey,
I've never once on the phone been asked like,
"Hey okay, so you can play rock really good?"
Yeah, "Okay, you can play to a click?"
Yeah, "That's great, how's your soloing?"
Like, I never get that and so I realized that
all the guys spending time working on
that aspect of their drumming,
it's of course not something that you shouldn't do.
It's a great way to round your playing,
and express yourself, and have a vocabulary,
but to be a really good solid rock drummer,
it's not so important.
It's not as important to work on all the chops
and all the crazy stuff that we easily get sucked into
'cause we something that's
technically challenging or difficult
and we all, as drummers, we wanna do it.
"I wanna play that thing that that guy did."
And we get caught up in concentrating on that
and we're here to say, here's some things that,
all you need to do is these things and you'll be great.
You don't have to go that deep, you know?
- It's a stress reliever for drummers
who think there's so much to learn.
So download the PDF and by the end of this lesson,
you should have a good idea of what you need to focus on
to be a solid rock drummer.
That being said, Randy,
I'm gonna let you do your thing, man.
- Okay, well, you mentioned quickly about gear.
Let's start there, really quickly.
What gear do you get?
What shell sizes, what drum sizes do you get?
Do you get birch, maple?
You know, you mentioned bubinga.
What about a tour custom kit versus a super expensive kit?
To be really honest with you,
it's more important the shell sizes
and how you tune that drum
and what kind of hedge you're using
than the actual wood that it's made of.
When you wanna spoil yourself and you're like,
"I want a kit that's gonna sound great in a studio,"
well you, absolutely, you're gonna need
a maple kit or a birch kit.
If you wanna rock out and sound amazing live
and amazing even in the studio, to be honest with you,
you could have a tour custom kit,
you could have a stage custom kit,
you could have those lines that aren't as
crazy special, wood-wise,
but as long as you're getting sizes.
No 20 inch kit drums, minimum 22s, 24s are amazing too.
Right here we have a 22, a 12, a 14 and a 16.
Sometimes I go up one size on every drum
so 24, 13, 16, 18.
That is the most common, you know,
if you don't want two toms down here, no problem.
Still 12, 16, 13, or 18, 22 or 24.
Those are gonna be your go to shell sizes all the time.
You know what I mean? - Yeah.
- For rock you want big sounding drums.
You don't want thin sounding drums,
you don't want high pitched sounding drums.
Speaking of which, how do you tune drums?
Even though this mic is on, I can?
- Sure. - Okay.
So you could hear, (drum music).
You could hear these toms have been tuned
specifically as low as they can go.
Even the snare drum.
You know, this snare drum,
this is a five and a half or six?
I can't tell from sitting here.
It looks like a five and a half to me.
- Yeah, it's a five and a half.
- Even at a five and half,
I've tuned the bottom head really tight
but the top head kind of loose.
So you want low tuned drums
so all the bottom heads,
basically for all my toms,
I tune both heads as low as they'll go
before they start to wrinkle, that's it.
As low as the bottom head'll go, top,
same thing all the toms.
And a couple of gels.
People always go-- - A couple of gels?
- I'll tell you something.
Guys, whether you use a piece of tape
or a cymbal felt or your favorite gel.
Open drums of course sound amazing
in your room and in a club
but the minute you put a microphone on a drum
and a sound guy, poor guy has to mic these things
and turn them up,
the more ring and overtone on drums, the harder it is.
It's just crazy hard to turn the drums up
because they're ringing around so much
and ringing too long, blah, blah, blah.
So I'm not saying have this, (drum music)
but I'm not saying have the floor tom ring into tomorrow.
You want a happy medium
and sometimes I put a little gel or a tape
on the edge of the bottom head.
Remember both heads are resonating.
Put a couple of gels or some tape a little bit.
You don't have to go crazy but you could hear,
They sing and then they stop.
So tuning, tune 'em low,
get the bigger shell sizes,
at least your rock voice is gonna be heard the right way.
- So in terms of kit, wood really doesn't matter--
- Not so much. (stammering)
- I mean look at Led Zeppelin--
- Not so much.
Acrylics look so cool.
I forgot to mention that the heads,
whatever head company you prefer, I love Remo,
make sure you're putting two ply heads on your toms.
They're gonna last longer.
They're gonna be thicker, a little warmer.
Obviously if you start getting into more studio stuff,
you wanna go ambassadors and single ply heads
and not put stuff on your toms etc.
But for rock sound, for solid rock dudes--
- Two ply. - Two ply heads.
Snare drum, the same thing or a single ply
with a reverse dot in the middle.
Anything that's gonna thicken this up and last longer.
I mean, remember, you're a rock guy.
So you're gonna hit really hard
and you don't wanna change the heads
every week or every day and you know,
you want this stuff to last, right?
So that's it.
- What about cymbals?
- Cymbals, interestingly enough,
I know for hardrock and for metal,
all the cymbal companies make thinker cymbals.
I would say go bigger and thinner.
So you might end up even medium thin or thin
but I don't even bother with a crash cymbal under 18 inches.
I don't even bother because in a club, in a big room,
it sounds like a splash cymbal.
It literally does.
When you get two guitars playing
distorted rock through their marshals at 12 out of 10,
a 17 inch, a 16 inch crash,
they just literally sound like splash cymbals out front.
To you, in front of you, they sound big
but they're not, I promise you.
Put a tape recorder out there,
you'll hear what I'm talking about.
I always start with 18 on my left and a 19 and a 20.
They might feel large in front of you and in the mics
but when the saturation happens in a rock band on stage,
you're gonna hear this crash.
When you go to crash ride, you're gonna hear it.
When you hit a shot on the one, you're gonna hear it.
- So for rock drummers, you would suggest 18 and above.
- 18 and above, 18, 19, and 20.
I don't think you ever need to go bigger than 20
but hey! (laughing)
No rules in that regard,
but nothing smaller than an 18.
I wouldn't do it.
- And you prefer the thin over the thick?
- Nothing thicker than medium-thin.
- Got it.
- The minute you get to medium and sort of metal cymbals,
they literally sound like you're hitting rides.
They don't sound that good.
And yes, they'll last you forever
but they'll sound not so good.
Not so bueno.
- Not so bueno. - No.
Okay, so we got gear, we talked about the kit sizes,
talked about the tuning a little bit,
talked about the heads,
talked about the cymbals.
Again, and that's a question we get all the time.
What kind of drum set should I buy?
- Sure. (stammering)
I've, my whole life, loved the Yamaha drums.
All the companies make great drums, I mean.
For the most part, you're gonna be good,
just make sure you get the right sizes,
put the right heads on 'em, tune 'em low,
just a little bit of dampening,
tune the snare down.
Everybody likes their snare crazy tight
because of course your sticks bounce more
and you can play more things
but that's not what rock stuff sounds like.
That's not the snare samples that they're gonna put
over your drum anyways when you record a CD
so you might as well start with a low tune drum,
they might leave it in.
And should we talk about pedals?
- [Host] Please, yeah, what else?
- So, I had a friend the other day call me in a panic
and say, "Dude, I've never seen what you're doing
"with your double pedal before.
"I saw a picture from above.
"Is your second kick drum pedal on the outside
"of your hi-hat pedal?"
Most guys that get a double pedal,
and I think every rock guy should have a double pedal.
Even if you don't use it in songs,
for the ends of rock songs it's that barrage,
it's that explosive thundering thing with double kicks.
But if you don't have two kick drums,
therefore, moving your hi-hats away from your snare,
if you like your snare drum really close to your,
your hi-hat really close to your snare,
put the second pedal to the left of your hi-hat.
The other thing too is that you can play double kick drum
leading with your kick foot.
I actually play double kick drum backwards.
- Leading with your left. - I lead with my left, why?
Because I spend my life playing
hi-hat time with my left foot.
So imagine this, if you're going.
I'm just feeding my right foot in between
what it's already doing.
So it's going from here, (drum music)
to here. (drum music)
Okay, so, there's the thing.
You can have your hi-hats tight to your kit.
Your arms don't have to be crossed out here.
You can have your hi-hats a little in,
your kit a little tighter,
and you can still have, (drum music)
you can have all the double kick you want.
- Love it.
And I love the tape you put on the bottom too.
Those pedals aren't going anywhere.
So we've talked about gears,
talked about tuning, cymbals, pedals, great.
Let's talk about some actual vocabulary now.
- Okay, so now you've got a kit, you've tuned it right,
you got big cymbals, got big drums, you're all ready.
What the heck, where do you start, and what do you do?
Let's star with hands.
Obviously, your hands are the tool.
If you don't sharpen this tool
it's not gonna be able to do,
all the things you hear in your head,
on the drum set, on the instrument.
So it only makes sense to work on your hands
as much if not more sometimes, you know?
A lot of us don't have time to get to
a drum set every day.
Do you get on a drum kit every day?
- I wish, no, I don't.
- And you're surrounded by 22 of them.
- But you could easily take a pair of sticks
for five minutes or 10 minutes and ...
Work on your hands, for sure. - 100%.
- So no excuses for guys who are starting out
or wanna take their rock playing to another level.
You wanna be a solid rock drummer,
make sure your hands are great, what do we do?
There's like 26 essential rudiments.
(laughing) - [Host] 40!
- Are there? - 500!
- When I was like 12, there were only 26.
They added 'em?
I put on the PDF, I put like, you know,
singles, doubles, triples, paradiddles,
a couple of combos of those.
I think, single stroke roll and a five stroke roll, right?
- Yeah. - Okay.
What about radamacues?
What about flishity flushes and blushes and bligedas?
Of course, absolutely, down the road when you're solid
and you've got some of those
other basic ones locked and loaded,
absolutely, add to your repertoire, for sure.
But for now don't bother.
If you're just starting out make sure
you're practicing those simple rudiments.
But here's the kicker, most guys,
when you say to them, "Hey, do you know a paradiddle?"
"I know how to play a paradiddle."
Sure, they do this. (drum music)
So we all know now that we've advanced
to accenting a rudiment, right?
So we get, "Okay, I know I can accent them."
You hear the accent right? - Very little.
- I hear the accent too but here's the deal,
the grace notes in between those accents, awful.
Why? They're too loud.
When you accent a rudiment
this is exactly how I want everybody
to practice a single paradiddle today,
and from this day forward,
don't play it any other way, okay?
So, you already know the sticking.
I'm not teaching you anything you don't know
but make sure that your grace notes
don't come more than two inches off your head.
I would rather hear you miss a grace note
than have one too loud.
I would rather you playing so softly on the snare
that you barely hit it,
you maybe even miss one, than too loud.
And I'll show you what I mean.
Simple single paradiddle.
Actually, while we're at it,
always practice your hands slowly to a metronome.
Because you're doing two things at once.
You're practicing technique, hands, dynamics,
grace notes and accents,
and you're learning to play in time.
Oh my gosh. - Crazy.
- So, can I have a little 150, one, whatever the heck?
- You can have whatever you want, man.
- Oh wait, let's just quickly say,
do you practice to a quarter note?
Let's pretend you're playing really slowly,
as you're gonna hear.
No, don't practice to slow quarter notes either.
I want you to cheat.
I want you to put eighth notes.
Why eighth notes?
Because there's more subdivision.
It helps you put in the notes
in between easier and stay in time.
Down the road you can switch back to quarter notes
but right now always eighth notes.
And everybody can hear this, yeah?
- So I'll give you 75. - 75.
- Basically 150, you add eighth notes.
Hopefully you can hear that.
- So single paradiddle the way I wish you would play them.
You can see how low without the click.
I mean, literally, my sticks are not coming up
on those grace notes more than two inches.
Here's a double paradiddle and triple.
On the PDF you'll see we do two doubles and one single.
Check it out.
Why put your grace notes that quiet?
Because when you play quicker...
You can play that and it's actually acceptable
in whatever setting you're playing.
But if I even raise my stick just a tiny bit higher...
I'm still accenting, they're still grace notes,
but it's just a barrage now, it's too loud.
Really what you wanna hear is just the accents.
I mean, everybody has been taught in their first lesson,
"Here's a paradiddle drum beat."
Just awful, that's not a drum beat.
You couldn't play that anywhere.
But when you play... (drum music)
Not so bad. - No doubt.
- Not so bad.
Double paradiddle is the same thing.
Even that is an acceptable cool little groove
and it's just a double paradiddle.
Faster. (drum music)
And the minute you hear those grace notes that soft,
come on, if I played... (drum music)
It's just terrible. - Yeah.
- And I only lifted my grace note another two inches.
This changes everything, it's a game changer.
You've heard all of our favorite grooves.
Every drummer on the planet wants to
do the Rosanna from Toto.
If you don't play your grace notes, if you don't...
It's gonna sound like-- (drum music)
It's the same thing, right?
Okay so rock guys, accents, dynamics,
make sure that even when you're playing singles.
Because if you can play your hands this way,
when you start playing your fills that way,
even when you're playing. (drum music)
You have some dynamics even on
the simple single stroke roll fills.
- Yeah, yeah. - Okay, so.
- Five stroke roll, you have in there paradiddles,
you have all these rudiments.
Check it out, go through the accents like
you have them notated in there.
It's written pretty easily.
You can figure out where the accents are--
- Absolutely, big letters, big L, little R.
When you think your grace notes are low enough,
they're probably not. - Yes.
- Like I'm talking barely stick coming off the head
and accents. (drum music)
You can make your accents big and loud.
It's easier to play softer on an accent
than it is to play super soft grace notes.
- Makes sense. - Much harder.
And always work on all of that stuff slow to a click.
- Let's get into some beats.
What are the beats?
What are the fills?
What are the vocabulary
we should start with as rock drummers?
- Okay, most basic rock groove on the planet.
Give me the metronome for a second.
- Okay. - Same tempo, beautiful.
Okay, so here we go.
I'm just gonna give you the kick snare pattern.
Everybody knows this, gotta know this.
Right, this is the most basic.
Okay, most basic.
Now, no problem with that,
but what your right hand does is everything
and how you play that right hand is everything.
For rock guys, do you play the top of the hi-hats?
Never, ever. - Okay.
- You play shank of the stick on the edge of the hats.
You want thick, thick! (drum music)
You don't want thin. (drum music)
It's not rock.
Okay, so you can play even eighth notes, you can accent.
You're gonna see, here's some accents.
Make sure they're thick.
Make sure those quarter notes come out.
They don't have to be huge, open, just thicker.
Because when you get faster, (drum music)
you really get the (drum music)
shank of the stick, edge of the hi-hats,
that's gonna be the key.
Simple and straight.
Same thing, you want nice solid hi-hats.
You don't have to kill it.
Your hand's not coming up here.
I mean, it might look good, (laughing)
but you don't need that volume.
And the last thing to this most simple rock beat
that I would love everybody to try is,
when you go to your ride, most guys,
their left foot, their hi-hat foot is dormant.
It either does nothing or just quarter notes.
Quarters are better but I would love
everybody to always play eighth notes
if you're playing a simple,
as soon as your right hand flips to the ride.
So you got... (drum music)
Your right hand's gonna go to for the ride, you want this.
And this is like a shaker, it's like the glue.
So your right hand can do whatever it wants.
When you go for a fill. (drum music)
When I go for that drum fill the eights never stop, ever,
until I go back with my right hand.
Last thing when you go to your,
you'll see on the PDF I've got quarter on bell,
hi-hat foots on eighths.
Don't hit your bell as hard
as you're hitting everything else.
And this is what I wanted to talk about internal volumes.
In other words, loud kick, loud snare,
you got your hi-hat foot going,
you don't need to crack this
like it's a fire alarm, right?
It's very natural because you're hitting
your snare drum really hard
to hit your right hand on the bell really hard.
When I ask guys to play their bell softer,
this is what happens, they're playing loud.
When I tell 'em to play softer and they go...
And all of a sudden everything gets quieter.
What's wrong with that picture?
Loud kick, loud snare. (drum music)
And this hand, soft.
Because when you get faster and you're playing fast grooves,
you don't want that clang so loud,
you don't need it so loud. (drum music)
Okay so, that's the other thing.
Make sure you can play that right hand a little softer
while kicking the drum hard and hitting the snare hard.
- Bass drum, snare, most important part, loudest part.
- Loud, and loud and even.
Make sure you can play.
And you know it's funny, it's hard to do at first.
It's actually hard to kick your foot hard
and hit softly with your hand. - No doubt.
- I've watched guys for five minutes. (laughing)
- [Host] It's like independence but dynamic independence
with your own self. - It is, it is, it is.
- And you guys, on the PDF, you'll notice
that the main groove is simple, you might know it.
But can you play with A, B, C, D, and E as variations?
We have 'em all notated, you kind of talked about them.
hi-hats going when you're on the ride symbol,
heavy on the accents, quarter note accents,
sloshy quarter notes. - Yeah.
And what about if you're playing a ballad,
a slow rock song, same drum beat.
Imagine you're playing 16th notes on your hi-hat foot,
it's like a shaker so check it out.
So it gives this nice thing that,
I would keep your hi-hats going through a fill.
It's like this little guy (laughing)
right beside you keeping you in time.
I find it's a great thing, it helps you stay in time.
Of course, practice all these things to a click, slowly
and cheat, use eighth notes on your click
so your click is doing this (drum music)
and you're playing.
'Cause if it's just quarters, you'll be crying a little bit.
You'll just be flamming.
- So this is a great groove.
Gets you through a lot straight ahead
rock situations, scenarios, and everything,
especially if you get those hi-hat variations.
But you played the song in the very beginning,
it was almost like a triplet kind of a rock shuffle.
- I did?
- That's something that we're gonna run into
a lot of rock drummers.
- Absolutely, the rock shuffle!
And again, the simplest kick and snare patterns,
it's all about what your right hand is gonna do
on the hi-hat, on the ride,
what your left foot's gonna do
while you're doing all that stuff.
And the super simple version everybody knows is,
you get this.
Again, shank of the stick.
And you know, you could accent.
And right there I went through
three of the bars on that PDF,
three of the different foot patterns.
As soon as you need to run through
those other three or four patterns,
the slushy quarter notes, the accented quarter notes
still playing. (drum music)
And then the ride of course you can play the actual
quarter note here.
And eventually, you work.
When you're super comfortable with just this.
Or all of the kick drums playing.
When you can play that solid to a click and you're in time,
you can work up your tempos, work 'em up slowly,
come back down in tempo.
And now on the PDF you're gonna do
the rock shuffle that adds the grace notes in between.
So slowly, (stammering)
one of the kick patterns was this.
- Number four if you wanna throw that one out.
- Number four was, (drum music)
So now, we're gonna put the grace notes
in between this so no triplet is left unturned.
Now remember, what did we talk about, grace notes.
If your grace notes aren't super quiet off the drum head
this isn't gonna sound much, you know,
it's just gonna sound crap and poo-poo-caca.
So, and that's a technical term.
So, again, slowly.
Two, three, four.
And you notice I'm playing a triplet
off of the two and four.
You'll get used to it, it feels great.
Play it nice and slow to a metronome.
And practice it just like that at first,
just your kick and just your snare.
Don't do anything with your hi-hat or your foot.
When you're comfortable, put your
quarter note hi-hat foots in.
When you've got that and you can recite your grocery list
while you're playing that 'cause you're confident,
then you're gonna put in quarter bells.
And what did we talk about?
Not super loud bells.
Play nice and loud on your big kicks and snares,
make sure your right hand, it's hard,
it's not easy at first but you'll get it
and it'll sound amazing.
- Love it man.
So again, for guys watching, following along,
the PDF has a bunch of different
variations of the rock shuffle.
You kind of did a couple examples in there.
The very last one is the end goal, you say, number four.
And then there's even hi-hat or ride variations
like A, B, and C that you can try
using the actual shuffle pattern,
quarter notes, bell, also the open hi-hat.
There's a lot of stuff in there.
We're gonna keep moving though because
we've got more stuff to talk about.
Make sure you do that on your own before you get to fills
but let's talk about fills quickly.
- Fills, absolutely.
Okay, so the most common rock, pop rock, pop drum fill
on the planet is the Pat Boone, Debby Boone.
It's been hammered in
a million times by a million guys,
and I just wanna make sure that
I take it to one little level above,
adding a little bit of grace notes to it
and down the track, a little bit of rough
and I'll show you the fill at the beginning.
As it is in its most basic form.
You can even do it with one hand.
Right, no problem.
You can do it with two hands. (drum music)
Again, everybody knows it,
but when you're playing. (drum music)
And you go to play the fill,
if you just play like that, it's gonna sound like this.
That's acceptable, but it doesn't
give life to that drum fill,
and even just adding the 16th note grace note
through that fill, remember,
you can play that fill as if you're just playing
right-left, right-left, right-left.
Just single-stroke roll.
So the single stroke roll is, (drum music)
I'm still playing single.
Three, four, five, two.
And all of a sudden you have this cool
16th note grid going through that fill, so you speed it up.
Underneath it, you feel that.
You get that.
Of course, you never play a grace note that loud.
That's why if you play your grace notes super quiet,
the fill's gonna sound great.
And it goes from one, two.
You can add roughs.
Notice how I added the rough just before the main rough
and before the next right.
Sounds a little mechanical slowly,
but when you get it faster--
Either one works, just the 16th note one.
It takes a simple fill like that
and actually lifts it right off the kit.
- Lovely. - It sounds super nice,
and looks really good.
- You're not overdoing it, you're not overcomplicating it,
but you're making it sound really good.
And that's obviously your dynamics,
your timing is a big one,
but then just having a little rough.
- Adding the rough and adding the 16th notes,
remember, if you have a simple file like.
So you take that phrase.
If you went--
Added, that's just all single strokes.
It's all right-left, right-left.
You can have this.
And all of a sudden, it flows better.
You're just filling in all the gaps.
- Let's talk about the next fill in there,
fill number two.
- Yeah. - Let's do that one.
Because you add some flam To this.
So first off you get a basic fill like this.
Explain this one?
- Do you have rhe - It's right there.
- Oh my gosh.
Oh, I love this one.
This is cool, this is like
hand-foot combinations, and there are many of them
but this is a really simple one.
It's a 16th and a 1 between
both your hands, snare drum and floor tom,
and filling in the holes with your kick drum.
So, one-E and ah two-E and ah.
It's such a solid fill at any tempo.
You can start a song like that, one, two.
Of course, we only chose a two-beat fill.
You can do the whole bar, have fun with it.
The next one, we take the same phrase
and just flam your hands.
Now here's the fun thing, we wrote it.
Did we write it with snare flam,
then tom flam and then tom flame, right?
- Yeah, snare, tom, tom.
- We word it like this.
One-E and ah two-E and ah.
You can flam on one tom, you can flam on two toms.
Check it out.
You can go.
Or what if you break up your flams between drums?
There's no rules.
Or all snares.
It's a really cool, solid fill.
It's gonna work great all the time.
Practice it slow to a metronome, always.
Always practice to a click, always.
- Dude, your energy is off the chart.
(laughing) I love it!
I love it, it's infectious.
- And I don't drink coffee.
- Yeah, you've never even tasted it.
- Never tasted the stuff.
- Uh, let's do number three.
Let's get the last fill done.
These are great, you're doing a great job with these.
- Oh, this is such a good one!
This is such a good one.
Again, these fills, remember,
once you get one version of them down,
even starting a fill not on the beat
will create a brand-new fill for you,
so make sure you experiment with that.
Okay, this one
starts with the real element
of the new fill that we wanna talk about,
and it ends with just,
which is great.
But the core of the fill is,
it's the quad right?
That's what you can practice,
if you want to practice this fill
and get used to the phrase, the figure,
you can just practice that to a metronome
really slow, give me 150 again.
- Alright, there we go. - Nice, I love it.
I need it. (metronome clicking)
So, here we go.
So now here's the fill.
I'll just slow it down, though.
So the fill is, one-E and ah two-E and ah.
And notice, attention to detail.
That little grace note at the
last four 16 notes on the snare.
That's gonna make that figure smooth.
Instead of (drum hits),
the minute you take that out,
you leave space for, "Oh crap, I've sped up.
"I've slowed down."
If you're playing 16ths,
you can't go wrong.
It's always gonna feel great.
Think about, once you feel good
about starting that fill on beat three,
like this, faster.
Imagine starting that fill on two and.
It's the simplest thing, but all of a sudden
it creates a different voicing, it creates
a different excitement, a different energy.
- Love it.
- Super simple. - Super simple,
and then the next one you just always add a drag to
but you get the idea. - Yeah.
Whenever you play something that's
gonna start with your right,
it kinda sounds cool if you go--
And you know, it's nice.
Getting those little drags in there.
- Jam 'em in.
And I think the cool thing about this is, yeah,
learn those fills, great fills.
But I think the takeaway is
just how simple you keep it
but you're focusing on the power behind it,
the dynamic level, making it sit well.
- And again, you don't need a huge arsenal of fills.
- And I wanna say, the way we talk about
grace notes and rudiments and stuff,
and how people go "Oh yeah, I accent,"
when they really don't accent enough.
That last fill that we did.
Can I just say, there's no dynamics in that figure.
In other words, don't dare play
the toms softer than the snare or the kick.
That's another thing, guys go "Oh, I got it."
Doesn't sound that good.
It's gotta be all loud or all medium,
so you can go.
As long as, whatever volume you're playing it at,
when you play that fill, it's all the same.
- Very cool. - Yeah.
- So maybe, to wrap this up, 'cause you've
given us a couple cool grooves to learn.
Straight ahead, triplet rock.
Those two can get you through a lot of scenarios.
Talked about what gear to get,
or maybe what gear to avoid, more so.
Talked about practicing with the metronome,
dynamics, rudiments, all that kinda stuff.
How do you put it all together, how do you practice it?
- Okay, so everybody, everybody's got something.
They got a job, they have a relationship,
they have a life, they have hobbies.
I love, you know, first-person shooter games.
I understand that everyone in this day and age
has limited time, sometimes, to practice.
Nobody's got four hours, six hours, eight hours a day.
It's even hard to get two hours, three hours.
If you even had one hour a day to practice,
I would absolutely split the hour up in half,
30 minutes hands, 30 minutes kit,
and as tiny as that sounds, "Oh my gosh,
"I'll never get better with 30 minutes of hands."
Absolutely you will, but here's the key.
If you don't actually spend 30 solid uninterrupted
minutes of hands and the same for kit,
you're right, you'll spin your wheels.
You'll do your hour a day for two years
and you'll wonder why you're not seeing any improvement.
It's because this is what you're doing.
Randy Cooke said watch your double paradiddles
and your accents and you're playing to a click
and you're worried about your dynamics
and there you go.
That I've watched, I've watched guys do that
because what's happening is that
the minute you get frustrated, the minute
you don't get something really fast,
you play something that you know that you're good at
'cause your brain goes come on, show 'em that you...
You're a good drummer, you play in a band.
(laughing) Of course you can do this.
You've gotta fight through that, you really gotta
push through that and ignore it.
If you can't get anything, if you're working on
that thing where I talked about eighth note hi-hats
while you're playing.
Not feeling right.
By the way, when you play those eighth note hi-hats,
make sure your heel is up.
You'll never, your foot will break.
Make sure your eighths are like this.
Not like this.
You can't get the same tightness with your hi-hats.
It's your choice, skater's choice,
how you play your kick drum.
Heel up on your hi-hat.
If you're playing and you're practicing
and you don't get it, all you have to do,
I promise, is slow down.
In all the years that I've taught,
every time I slow somebody down
to a tempo that just seems ridiculously slow,
they get it within 10 seconds.
And the minute that they get it,
then we slowly speed it up and within five minutes,
they're now at the tempo that they were
trying to attempt the first time.
And this is what wastes time.
Get 30 minutes of hands, even on the rudiments
that we list on the PDF.
Just count 'em out and divide it up into 30 minutes
whether it's six times five,
five minutes, singles, paradiddle, double paradiddle,
triple paradiddle, combo, combo.
That's gonna be your 30.
Eventually throw in another five minutes
for your five stroke roll,
and another five minutes for your singles,
as much as you can but make sure it's uninterrupted.
No cell, no TV, no washroom, no drink.
It's gotta be you and the drums.
- Makes sense, or you and the practice pad.
- You and the practice pad, amazing.
And by the way, practice pads,
whether you practice on a very reflective surface
or a bouncy surface or a rubber practice pad,
of course those are always amazing
for developing your hands because they bounce like drums,
but don't be afraid to do that
pillow or towel on a table
and take away some of the bounce.
That also helps for hand control and wrist control
because if you can play something even on your thigh,
it's gonna sound just as even on your drum.
It'll be even easier 'cause of the bounce.
You still need to practice on a reflective surface
because bounce is hard,
but anyways, just letting you know.
- It's great, great tips.
This is a loaded lesson, man.
This is great, this is a lesson
that I'm gonna be sending a lot of beginners to,
who are just, like I said, looking at
the essentials, what to start out with, what to practice,
'cause it's very easy to get overwhelmed
out there, very easy to,
"Oh, should I learn all 40 rudiments,
"should I do this, should I do that?"
- Don't do it.
- Ask yourself what it is that you
really want out of the drums.
Now, rather than get to a bunch of
questions from the community, I'm gonna
ask you a couple questions that I'm sure we're gonna get,
especially on YouTube comments,
and then we'll get you to play us out.
Is that cool? - Sure.
- I love it.
So first off, here's one.
You talked about your gear a lot.
I'm sure you're gonna get people out there saying,
"I have a 20-inch bass drum and I play in a rock band.
"What's wrong with that?"
Can you talk about that a bit?
- Yeah absolutely.
I have some across some 20-inch bass drums
I've met in my travels that sound like cannons,
but generally they don't.
It's just, it is what it is,
it's the nature of the beast.
For some reason, if you happen to have
like a crazy deep 20-inch, maybe an 18 by 20
or some crazy, you know, you tied two 20s
together with gaffer tape,
I'm sure you can get 'em sounding like Bonham.
Again, with a microphone and other things that are added,
all things are possible, but at the most basic,
basic core of just kicking a drum,
and it's instantly gonna sound like a cannon,
20s just aren't gonna cut it.
They're thinner, they're tighter,
they're crazy punchy, it's amazing.
But they don't have the cojones that 22s and 24s do.
- Cool, here's another question
you probably are gonna get, and I've already
seen a couple people talking about it,
is there's all different styles of rock.
Why did you choose these two beats
and these kind of fills for your
everything you need to know kinda lesson?
- I chose them because, if I have done
100 rock and pop rock tracks and songs live,
50 of them are that first drum beat.
Honest to god.
Whether the verse is a little more sparse,
where it's like (drum beats),
when we get to the chorus, I promise ya.
You get to the chorus and the producer said, I want--
It works, it just works musically,
and that's the reason it's used so frequently.
That's why you need to play it confidently,
make sure that your right hand,
you can be dynamic with your right hand,
and deliver that solid kick and snare pattern
in time with a metronome, and that's an amazing start.
If you've got that, you might not
be able to play anything else,
if someone walked into a club
and only heard you playing a solid
groove like that, the way with confidence
and commanding that groove,
they might not even know you couldn't do a shuffle
or you couldn't do Rosanna by Toto.
You're still gonna impress.
Last question, I'll finish off with.
This is one you kind of touched a little bit of,
when you said about the other rudiments out there
and all these other cool little things you can learn,
you said absolutely, in due time.
- So when is a good time for a drummer
to be like, alright, let's expand a little bit on that?
Do you have anything to add to that?
- I do, absolutely.
When you feel like you're, A, you have more time
to devote to working on your hands,
'cause remember, if you just start
on the stuff that we talked about in the PDF,
and you get a half an hour a day,
you're looking at a month.
You're gonna need, if you're playing your dynamics correctly
it's gonna take that long before you start
to actually feel like, wait, I get this now.
This is seeping into me as a drummer, I got this down.
You're gonna feel, and it's gonna sound great.
You're gonna know when to step it up and add
a new rudiment, add, you know, different variations
and experiment, and of course that's gonna--
We talk about vocabulary and all the things.
Now you're not just gonna be a beginner rock drummer
anymore, you're gonna take it to the next level
and you're gonna be a rock drummer
that's got a little bit of panache,
a little bit of something-something.
- I love it. - And that's what you want.
You want to work towards that, but how long?
You know, I'm gonna say, and depending on
if you can give yourself a solid half-hour
to an hour a day, even of hands, even that's a lot.
People go "I can do that," it's tough.
It's tough to commit that much time
to one thing in a room uninterrupted,
but if you can do it, literally within weeks
if you start slow, on a metronome,
and you work on your dynamics slow,
you'll get it quicker than you can imagine.
I've watched it, within a month.
You'll be able to step up, add some more rudiments,
and you absolutely down the road, should know them all.
You should be playing all of this stuff
to challenge yourself, to broaden your musical horizon
but to be a good rough drummer, you're good to go.
- I love it, man.
Great, great, great stuff here.
And again, I think it's a hard thing for teachers to do
is to tell a student not to practice something
that you know it's not a bad thing to practice
but you know it's about where they are in time.
- I understand and I can't tell you how many times
I've seen kids walk in with five books under their arm.
They're working on five-way independence.
Listen, I'm gonna say again,
you absolutely should eventually experiment and learn
genres that you may not even play, jazz and latin
and reggae and funk and rock,
but really, if you concentrate, if you're like
"I wanna be a great rock drummer,"
then do that in proportion.
Make Sunday your latin jazz funk rock day.
Make the rest of your week making sure your hands are great,
making sure you can play in time, making sure
you're solid to the click.
That's gonna get you faster farther as a rock drummer.
- Very cool. - Yeah.
- Well, this is just the tip of the iceberg, so they say.
We are gonna be filming more with Randy.
It's gonna be a course inside of Drumeo Edge
and it's gonna be essential fills and beats
that all rock drummers need to know,
and I hope you guys enjoy that but for those watching free
on YouTube and watching this right now live on Facebook
or wherever you're at, hi and hope you enjoyed it.
Randy, thank you so much.
- Thanks, buddy. - Yeah, bud.
- Okay, so again, follow Randy.
I haven't said this, actually.
Follow Randy on social media.
Everything's @RandyCooke, Instagram, Facebook, Twitter,
you name it, add him as a friend.
And if you guys are watching this in Facebook
or YouTube or wherever like that,
come and join us at drumeo.com,
we do this stuff all the time, we have a great community.
And now you're gonna play us out, correct?
- I'll play you out. - You're gonna play us out.
- Are you gonna sit here and look at the hi-hats?
- No, man.
I'm going in there and watching it.
- But before we do, you want to set the song up?
Who's the artist?
- Yeah, the first song and this song
is a band called All Good Things, out of Los Angeles,
and man, we've done at least three CDs now.
Most of the stuff has ended up in television
and in major motion picture,
little bits and blobs here and there.
It's also on iTunes and Spotify.
It's a band that we haven't taken on the road yet.
- Just recording. - But just recording.
We're starting to get this crazy following
just from the music, people are hearing it
and really digging it, but it's really fun, you'll hear.
And by the way, this last song I'm about to play,
Canadian hero made good Phil X on guitar.
He's actually singing and playing guitar on this track.
We have guest people come in and play
on our stuff from time to time.
- That's very cool.
- Yeah, it's so fun.
- So the band's All Good Things,
and this song is called I Have the Power,
the first song you played was with that triplet feel.
This song's some straight ahead feel.
Hey, thanks so much. - Thanks, buddy.
- Thanks, see you guys all later.
(intense rock music)