![]() ![]() As a result I would always stumble through. I have used the first five notes for my section, as when I tried to think of it as section 1 but just repeated, it always seemed that the two 16 th notes at the very end were just tagged on. I found that starting the second grouping where I have helps to assert the offbeat push at the end of beat 2. The first grouping is just a paradiddle (RLRR LRLL) with a 16 th note taken off the end. This may at first seem as or more complex than it needs to be, but it worked for me for a number of reasons. The third and final grouping is just four single strokes. The second grouping is again just a paradiddle, but only the first five notes. The first grouping is just a regular paradiddle, with one 16 th note shaved off the end. I could tell right away that the groove sounded like it had some sort of paradiddle in there, and this is the approach I took: Rather than think of the sticking pattern as one long complex section, I split it up into 3 different sections. It seemed like quite a complex groove to approach, but I managed to use knowledge of existing rudiments to my advantage. The sticking pattern throughout is as follows (bold letters indicate the beginning of each beat) The kick and snare pattern is the same throughout and was easy enough to grasp, so a lot of my attention was focussed on locking the hand pattern and keeping that in time with my feet. For the majority of the track, the other notes are all played quieter, ghosted between the cowbell, hi-hats, ride and snare. The bass drum kicks in with 16 th notes and the snare falls on the back beat initially, then on the last 16 th note beat 3. The hands play in a linear fashion throughout the grove, giving it a slightly loose sway. I’ve been rehearsing this track a lot recently after initially being struck by that big drum intro. When we played the track on the night, I felt that I was able to communicate the ideas that I wanted to, the head and grooves I felt were tight and sat well so I was very pleased.ĭennis Chambers, John Scofield – ‘So You Say’ There were so many benefits to learning and rehearsing ‘Night Splash’, and it is only looking back now that I can truly appreciate what we had done. The fact that we had all been rehearsing together for a good while also helped a great deal, as we were all less worried about making mistakes in front of each other and more interested in generating some musical ideas. Occasionally I would end up playing certain safety fills and licks that we all have to get out of trouble, but on other times I felt as close to truly improvising as I ever have done. It was quite interesting, as for me I found that once I thought that I had exhausted my ideas, I would land in the solo section and just have to play whatever came to mind. ![]() I found that after so many cycles, you are constantly thinking ‘I’ve got 12 bars to think what am I going to do next?’. It did help us switch off and try and just improvise. This kind of rehearsing allowed us to get to grips with the way we all improvised and exited solo sections. We would sometimes spend 15-20 minutes, just soloing for four bars each, which was exhausting, but did bring some really creative ideas to the table. We would spend time just running the head section over, and then we would just run the alternating solo sections over. As the rehearsals progressed, we would gradually take the tempo up until we got it at the correct speed and in time. This was a real test for us as a band in rehearsal and we had to start it at a very slow speed. It is a very technical track – odd time signatures, odd rhythms and some of Dennis Chamber’s signature ghost-note-fusion drum grooves.
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