Fix Your Funk Drumming, With This "Trick" From Jeff Porcaro and Bernard Purdie
Вставка
- Опубліковано 21 тра 2024
- Download your free transcription - bit.ly/ghost-notes
Chapters
0:00 - intro
2:00 - why ghost notes
3:40 - the first thing to practice for ghost notes
6:32 - how to practice the rimshots
7:51 - adding the hats
8:50 - David Garibaldi
10:22 - permutations
11:35 - inventing a funky pattern using permutations
Clyde is the original ghost note king
Thank you so much for your incredible content. So many UA-cam drummers just post shorts showing how good they are and tell their audience to "get good."
You provide an actual structure and steps one can take to achieve the desired sound and learn the desired techniques.
I really appreciate your humble approach to the instrument and pedagogy. No doubt you are encouraging fellow drummers to work to improve rather than discouraging them with unrealistic braggart showmanship.
Anything by Mike Clark but especially “Actual Proof” is a master class in ghost notes, syncopation and dynamics.
I feel like the meaning of "Ghost note" has changed over the years. I was trained that a ghost note should be more felt than heard.
Today's ghost notes would be considered just soft notes, or P (piano), about the same volume as the HH, and heard even with the band playing.
I also remember one of my teachers playing them closer to the rim to make them sound softer and thinner.
Music is always evolving.
Thanks for the overview Nate. Porcaro is my favorite. The feel he had is readily identifiable yet difficult to replicate. Garibaldi's influence is underrated/underappreciated, I agree!
Great job man. Using this video today. That’s how u get the gig. U nailed it. Thank u.
13:03 or you lose it... it depends on the gig! here are some anecdotes and a slight opinion; my excuses for the rant beforehand:
I play more in rock/pop environments and they strongly dislike anything outside the backbeat because it "makes the band to get lost" and they take it as mistakes instead of "groove and funkiness".
I have kinda fought with bandleaders and sound guys live and in studio because I "play the snare (and the bass drum) too busy" and I have lost some gigs because of that (I believe that's the reason they don't called me again).
Now, some of the gigs I've got were I had the opportunity to play with bigger cats I made it because those exact reasons, because in their words my language sounds more "groovy, funky, mature" than the other drummers they've auditioned before, but then as the time passed by I fell short because they expected that same "maturity" with my repertoire and reading abilities and I have to say it I'm not a jazz nor funk musician! I play friggn' heavy metal and vallenato (as someone raised in La Guajira, Colombia) but usually in those environments they don't like my style of playing.
One "issue" is that at college, in music school, I had to play everything funk! from Rick Latham to David Garibaldi note by note, from the last page to "page one" (see what I did here hehehe) and that sht is friggn' engrained in my "muscle memory" and I can't just unlearn it! the moment I start thinking about "not playing syncopated, grace and ghost notes" I get tense and my playing get sterile with no dynamics or whatsoever and it just sounds worse than an amateur.
The situation came to a point that I'm currently "unlearning" those vices by teaching myself to play 100% lefty (but in my righty set up) I mean, leading everything with my left side, open handed, kicks with the slave pedal and basically cancelling any ghosting and gracing my other side wants to perform. Syncopation has been harder to cancel but still harder to perform as a lefty since I'm 700% righty and it takes a little bit more of mental processing to indicate my left side to go out of its way without breaking the "simultaneity of the limbs" with my feet more than anything.
I don't know if this lefty experiment will lead me to somewhere out in space but I hope it will open me opportunities to play in places where I need to perform more normal and straight up stuff. Sure it will change my current style of playing, for better or for worse.
congrats on 100k man!
Awesome Lesson Prudie Favorite Thanks Nate
Though I did play them, I became aware of what they were from the Rod Morgenstein instructional video "Putting It All Together".
More amazing techniques, great stuff Nate
3:18 Jeff played also a ghost after the backbeat - which makes it even harder cause of the huge difference in dynamics
I’m 98% sure he didn’t. Check the live clip at the opening to this video and tell me if I’m wrong. I reviewed all this stuff carefully before shooting to make sure I would’ve be caught out on a technicality
@@8020drummer ah... missing a "sometimes".
I'd say 99% of the time he didn't but in some live occasions he spiced it up.
If I remember correctly, there are even 1-2 occasions where he played it on his instructional video by hal leonard.
It's always hard to differentiate because of the room and gated reverb. (A sound to die for :D)
It's just a veeery minute thing - and I totally love your videos! :)
Hope I got my message accross - not a native speaker here :D
@@audhen1 I think the focus here is the topic of ghost notes and it's use in groove and music, not playing the rosanna shuffle precisely.
if folks wanted to learn that they'd watch Pocaro's video.
@@8020drummerI'm in the camp of Jeff actually playing spacious grooves, as opposed to what many trying to emulate this kind of thing do. I think you're on the right track Nate! ❤
@@AaronLevyDrumsThere are "isolated" drum tracks of "Rosanna", right here on UA-cam, where you can more clearly get an even better idea of what Jeff played. The lesson he taught, much later on, falls into the category of a lot of similar lessons. Exaggerate the concept, to get the point across in a short amount of time. So many players showing us a triplet exercise, which was NOT what Jeff, Bernard, or any of those greats were really about. Nate is showing what counts more. The feel, and grooviness, that comes from letting those grace notes in. 😊
I must be a weirdo for thinking James Gadson was one of the top OG’s of ghost note seasoning and spices. Like at least state law to give an honorable mention. 😹😅
I listened to them since 90s
We love you Clyde
THANK YOU DRILL SERGEANT! MAY I HAVE SOME MORE ! 🥁💪😎
Gracias
Nice music!
2:41 ig even the third partial of the triplets on the hats are also ghosts just from a different corner of the kit
ooooh YEAH
Bonham is king. He can do it all with groove. Maybe not as technically sound as others, but is there a Zep tune that doesn’t have the perfect groove?
🎉🎉🎉
Thanks for all of your videos. Really nice job and great selection of these important players. However, it appears that you omitted the very important middle ghosted snare note (the "trip") immediately after each backbeat on the "Rosanna" groove.
you're the second person who's said that, and I'm not sure that's true. Listen to the live clip at the beginning of my video, or find the complete song from the montreux jazz festival. I feel like I did my homework (?) pretty well to not miss a detail like that. And also it might be something from the studio recording that he didn't always do...
@@8020drummer Nate, if you look at the clip of Jeff explaining this from the old VHS video, he mentions ghosting the middle note after the backbeat. I'm 99% sure he specifically states ghosting the middle note of the third triplet. He counted it as what I would call a quick four, but obviously in halftime, so the backbeat to him was on three... But I also agree it's probably something he didn't do all the time
@@BrianH020 ok fair play. I’ll check it out.
@@BrianH020 Huge difference between what Jeff played on the original album version of Rosanna, and what he used as the example on that instructional vid. His feel on the record is far more spacious and groovy, and less of a triplet exercise. The grace note after the backbeat ISN'T the big part of what's going on, but IS a big part of what many get wrong trying to get this kind of thing to feel good.
@@8020drummer I think the studio recording is different. I've heard a number of variants from Jeff with his iconic groove.
MEET YOU ALL THE WAY
Can’t not have it in your head after that
Garibaldi gets TONS of credit. He has won the Modern Drummer Best Funk Drummer category a record 9 times which is almost double anyone else. The solo at the end of this video is EPIC ua-cam.com/video/Wh9BlY4ofzw/v-deo.htmlsi=gWH7xVJTThrBRB6p
Real men play all of the triplets including the one before the back beat ;)
Love you anyway
💪🙏⚖️⚙️
Two things - Has the term "event horizon" ever been used before in relation to a drum technique? 😂 Second, Jeff himself said it's the "Bo Diddley" beat on the bass drum in Roseanna, not a clave, per se. Even though they're essentially the same thing... 🤘😗
they are ;) I remember doing a workshop with Garibaldi, Michael Spiro, and Jesus Diaz in college, and Spiro explained clave by referring to bo diddley. Later on I asked Stanton Moore why new orleans music sounded like it was in clave, and he said it wasn't an accident. So I agree that it's no a coincidence that blues and jazz and anything that came from the delta region was incepted with afro-caribbean rhythms.
@@8020drummer Name dropper 😂
@@BrianH020 did I mention I know Stanton Moore? 🤣🤣
Ghost notes are rebounds that happen naturally.
Strongly disagree. If you want to link a clip of you playing and prove me wrong…
They’re barely ever natural, if you let your ghost notes only be natural rebounds it wouldn’t sound great
Some ghost notes can be subconscious, but that isn't the same as being a "rebound". That suggests those of us playing ghost notes with intent, just like any other note, are somehow mistaken. That is contrary to my experience too Nate. ✌️