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(funky music)

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- Hello everybody, my
name is Aaron Walker-Loud

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with Big World Breaks,

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and I'm here on behalf of
the Creative Advantage,

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working on elements of percussion, rhythm,

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cultural innovation, improvisation,

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and studying different techniques.

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Ultimately, there are a lot of things

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about feel that we're gonna get into.

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When I say "feel," some people
say "groove" or "the pocket"

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or "style", but when I talk
about feel, to let you know,

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usually we're looking at
two different major feels,

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and then a variety in between.

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So, we have straight and we have swing.

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So, I'm going to use some
rudiments with the desk

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to help us get warmed up,

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and then we're going to
start talking more about that

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for the rest of this video.

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So, rudiments,

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that's a fancy way of
talking about a pattern.

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A pattern of certain rhythms

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to connect our brain to our hands, right?

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If you're playing drum set,
you'll also be using your feet.

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The idea is if a singer
and a trombone player,

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if they have to use scales and arpeggios

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to train how to improve
their muscle memory

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and their knowledge and their dexterity,

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we as percussionists may
not have as many notes,

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but we have infinite rhythms
we can be working on.

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I'm gonna show you a few and you can find

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hundreds or thousands or more online

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and you can make up your own
rudiment patterns, I'm sure.

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So, starting with singles
versus doubles, we have a low,

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medium, and a high sound
on most any surface

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of a drum or a table.

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So, using your fist to
get the lowest sound,

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using your slap for the medium sound,

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using your knock to get
the highest pitch, right?

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So, starting with singles versus doubles,

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I'm gonna go between all
three pitches, here we go.

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Play along with me please.

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One, two, three, four, one and
two and three and four and,

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one, two, three, four, one and two and.

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Let's switch to slap.

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One, two, three, four, one
and two and three and four and

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one, two, three, four, one and
two and three and four and.

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Nice. Let's increase the speed.

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What's the word for speed? Tempo.

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Here we go, same thing,
singles versus doubles.

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One, two, ready, and.

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One, two, three, four, one and
two and three and four and,

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one, two.

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(palm slapping)

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Let's switch to the knock.

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(palms slapping)

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(knuckles knocking)

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Okay, now let's look at triplets.

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We're gonna do doubles and
triplets so we can kind of

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keep reviewing and moving
forward at the same time.

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So, that's two at a time
and then three at a time.

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With me, one, two ready and.

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One, two, one and a two and a

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one and two and three and a four and a

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one and two and

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three and a four and a double
double triple it triple it.

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(palm slapping)

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Triple it triple it, double, double,

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triple it triple it.

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Okay, now, paradiddles,

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that is another term for

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the next rudiment I want to show you,

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which is essentially two
singles and then a double,

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and then we switch to our other lead.

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Trying to get balance of left and right.

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Most people are not ambidextrous.

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The paradiddle helps us to get

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more balanced between
our right and our left.

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So, let's try that together.

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I'm gonna say it first,
you say it with me twice,

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and then we're gonna use our hands.

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Right, left, right, right,
left, right, left, left,

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right, left, right, right,
left, right, left, left.

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(palms slapping)

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(fists pounding)

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Now, a term we use, double time,

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that just means twice as
fast as what we did before.

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So, now we're gonna do
paradiddles at single time,

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like we just did, and then double time.

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Here we go, one, two, ready with me.

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(fists pounding)

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Okay, now, if you want
more of a challenge,

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let's try to go single time,
double time, triple time.

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Here we go, I'm going to
do two cycles of that.

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One, two.
(snapping fingers)

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Paradiddle starting at single time.

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(hands slapping)

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Okay, nice, nice.

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If you're finding yourself
a little bit challenged

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or you can't keep up on certain
tempos, please do not worry.

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My goal is to give you
things that work with you,

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and always push with a little challenge.

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You may hear some teachers
talk about growth,

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mindset, or perseverance.

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These are terms that really
help us to think about

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that we're human, we have
to embrace our mistakes,

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we have to embrace the
fact that our effort

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and our patience with
ourself on a daily basis

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is how we meet our goals.

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We cannot snap our fingers and be

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as good as we want at anything.

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So be patient with yourself,
laugh at your mistakes,

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take your own pace, take
what I'm giving you,

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slow it down if you need to,

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and also find ways to challenge yourself.

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So, the last thing we're gonna do

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using the table for now is
what I call the echo game,

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where I'm going to play something

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and you try and repeat it back to me.

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I'm gonna be using fist,
slap, knock; low, mid, high.

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I'm gonna be changing tempos,

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I'm gonna be mixing it up a little bit.

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And keep that growth mindset in mind.

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Don't worry about being
perfect, do your best.

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We're gonna trade one measure at a time,

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we'll do a few a row.

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Here we go, starting with me.

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One, two, one, two, ready and.

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(fist pounding)

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(hand slapping)

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One, two, three, four.

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(hands slapping)

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One, two, three, and.

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(hands slapping)

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One, two, three, and.

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(hands slapping)

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One, two, three, four.

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(hands slapping)

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One, two, three, four.

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(hands slapping)

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One, two, three, four.

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(hands slapping)

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One, two, last one.

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(hands slapping)

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(fists pounding)

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One, two, three, and.

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Okay, nice, nice.

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So, now that we've warmed up a little bit,

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I'm gonna move us over to the djembe,

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and we're going to start
looking at a little bit of idea.

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We talked about straight and swing,

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and I'll tell you more over there.

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So, straight and swing,
they're feels in music,

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and there's a lot in between.

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When we're using a hand drum like this,

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congas, djembes, bongos,

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the concept of bass, tone, and slap

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as low, mid, high are universal, right?

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So, bass with the middle of
the drum with your open hand,

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and then using your
palm to lightly ricochet

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and letting your fingers stay loose

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so they can pop on and off, that's tone.

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Bass, tone.

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Slap with your fingertips
towards the edge, high pitch.

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Low, mid, high.

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Just to review.

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Now, moving forward, thinking
about straight and swing.

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Let's play eighth notes straight,

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and then I'll show you how
I start switching to swing,

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and we'll go back and forth.

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Here we go, with me.

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One, two, one, two,
(snapping fingers)

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ready and,

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one and two and three and four and

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one and two and three and four and

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one and two and three and four and

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one and two and three
and four, two more times.

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One and two and three and four and,

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one and two and three and four and,

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one and two and, keep playing with me.

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(djembe slapping)

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Now remember, if you
don't have a hand drum,

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or you don't have a snare drum,

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and all you have is your
own creation at home

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or a table, that's totally fine.

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Keep using that as long as the adults

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in your home are cool with that.

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Now, let's use 16th notes.

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So, playing them straight,

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I'm gonna use slap now, the highest pitch.

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One-y and a two-y and a
three-y and a four-y and a.

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(djembe slapping)

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Now switch to swing.

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(djembe slapping)

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Straight.

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(djembe slapping)

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To swing.

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(djembe slapping)

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Nice. Now, the people who
were creating the swing feel,

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and I'll tell you more
about that in a little bit,

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they might not have
looked at it like this,

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but sometimes for me, I'm a visual learner

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and I think about what's
the math in the count.

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So, I was thinking about how the triplet,

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which we've done before.

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Right, right, right, left, left, left,

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right, right, right, left, left, left.

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Where you could play with
singles, doing triplet.

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One and a two and a
three and a four and a.

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Whichever way you like, the
idea is there's three notes.

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What if we made this one invisible?

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one and a two and a three and a four and a

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one and two and three and four and

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one and a two and a three and a four and a

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one and two and.

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You see what I'm saying?

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So let's try triplets and then

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eliminate the middle
triplet to see what happens.

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(djembe slapping)

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Three and a four and a one
and two and three and four

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and one and a two and a
three and a four and a

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one and two and three and four and.

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Let's try and increase the tempo.

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One, two, ready, and.
(fingers snapping)

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(djembe slapping)

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Okay, now, that's a little bit of a clue

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on how to be thinking about it,

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but it's really more
about the feel over time.

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And there's, like I said,

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an infinite difference
between swing and straight

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and everything in between.

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Now, I'm gonna move back to the table

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and we're gonna start listening

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to a song that I have developed

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that'll help us in getting
more free playing swing.

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All right?

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So, in creating this draft
here with Big World Breaks,

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I was thinking about influences
that impacted me over time.

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Artists like Chuck Brown with Go-go Music,

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Teddy Riley with R&B, New Jack Swing.

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Artists who use their mouth
with beatboxing percussion,

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like Doug E. Fresh and Ready Rock C.

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These are just some of the influences.

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Now, this has a swing feel in it.

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So, right now we're gonna do an echo game

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where you're gonna repeat after me

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anything I try and play to you.

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Just imitate me the best you can.

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Here we go, repeat after me.

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Ready, and.

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(hands slapping)

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One, two, three, four.

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(hands slapping)

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One, two, all right?

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(hands slapping)

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So, if you noticed I did
some swing and some straight.

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So it's nice to think
about what's possible

257
00:11:52,060 --> 00:11:53,480
when you can go in between

258
00:11:53,480 --> 00:11:56,220
and play one thing on
top of the other, right?

259
00:11:56,220 --> 00:11:59,950
So, in me, thinking about swing,

260
00:11:59,950 --> 00:12:02,460
I couldn't have done
any of this, this feel,

261
00:12:02,460 --> 00:12:05,090
without great teachers
and mentors in my life.

262
00:12:05,090 --> 00:12:06,750
So once again, find those people

263
00:12:06,750 --> 00:12:08,820
who can help you achieve your goals.

264
00:12:08,820 --> 00:12:11,410
Mr. Knatt at Washington Middle School

265
00:12:11,410 --> 00:12:13,860
in the central district where I grew up,

266
00:12:13,860 --> 00:12:16,570
Mr. Acox at Garfield High School,

267
00:12:16,570 --> 00:12:19,440
jazz band drumline at both
schools in that neighborhood.

268
00:12:19,440 --> 00:12:23,100
Then with Mr. Brian Kirk,
over at Seattle Central.

269
00:12:23,100 --> 00:12:24,530
These great mentors helped me

270
00:12:24,530 --> 00:12:27,040
cultivate my style and understanding,

271
00:12:27,040 --> 00:12:28,980
and they also taught me about

272
00:12:28,980 --> 00:12:33,660
how the roots of this
music is before jazz.

273
00:12:33,660 --> 00:12:37,440
We're talking about from
Congo Square in New Orleans

274
00:12:37,440 --> 00:12:41,620
where gospel music and blues music,

275
00:12:41,620 --> 00:12:43,310
innovations of Black Americans,

276
00:12:43,310 --> 00:12:47,270
led to the birth of jazz
in a very unique place.

277
00:12:47,270 --> 00:12:50,910
And so in New Orleans, on every Sunday,

278
00:12:50,910 --> 00:12:54,030
for whatever reason, they
decided let's let everybody play.

279
00:12:54,030 --> 00:12:56,820
When there was a lot of
people confined by slavery

280
00:12:56,820 --> 00:12:59,800
and confined by Jim Crow and
all these horrible things,

281
00:12:59,800 --> 00:13:02,650
on Sundays they were
allowed to be in the park

282
00:13:02,650 --> 00:13:05,550
and they were making music
and singing and dancing

283
00:13:05,550 --> 00:13:07,700
and sharing cultural ideas.

284
00:13:07,700 --> 00:13:10,720
So, what I want you to
understand is all this stuff

285
00:13:10,720 --> 00:13:12,490
we're hearing today
that we've talked about,

286
00:13:12,490 --> 00:13:17,440
like hip hop and funk and EDM
and R&B, all these things,

287
00:13:17,440 --> 00:13:20,770
they come from a family tree
that started way, way long ago.

288
00:13:20,770 --> 00:13:23,840
And I encourage you to
look up Congo Square.

289
00:13:23,840 --> 00:13:26,150
And we're gonna use
this song one more time.

290
00:13:26,150 --> 00:13:29,550
And now, instead of
imitating me in an echo game,

291
00:13:29,550 --> 00:13:31,140
what I'm going to ask you to do,

292
00:13:31,140 --> 00:13:33,640
I'm gonna move over to the snare.

293
00:13:33,640 --> 00:13:35,360
You're gonna play your own phrase.

294
00:13:35,360 --> 00:13:37,410
You're gonna make it up however you want.

295
00:13:41,070 --> 00:13:43,345
All right. After me.

296
00:13:43,345 --> 00:13:45,928
(drum beating)

297
00:13:48,130 --> 00:13:49,138
Yep.

298
00:13:49,138 --> 00:13:52,440
(drum beating)

299
00:13:52,440 --> 00:13:54,272
All right, let's do one more.

300
00:13:54,272 --> 00:13:56,855
(drum beating)

301
00:14:04,340 --> 00:14:05,453
Nice.

302
00:14:05,453 --> 00:14:08,036
(drum beating)

303
00:14:14,363 --> 00:14:15,993
Okay, yeah.

304
00:14:15,993 --> 00:14:18,576
(drum beating)

305
00:14:31,410 --> 00:14:34,360
Okay, nice, nice.

306
00:14:34,360 --> 00:14:38,770
Now I'm gonna move over to
the djembe and we're gonna

307
00:14:38,770 --> 00:14:41,820
utilize a different piece of
music that Big World Breaks

308
00:14:41,820 --> 00:14:46,550
worked on that helps us navigate
between straight and swing

309
00:14:46,550 --> 00:14:48,730
and some of the in-betweens, all right?

310
00:14:48,730 --> 00:14:50,210
Follow me over here.

311
00:14:50,210 --> 00:14:52,960
(rhythm playing)

312
00:14:55,480 --> 00:14:58,430
So, when thinking about what
influenced this creation,

313
00:14:58,430 --> 00:15:01,910
working with my peers
and Big World Breaks,

314
00:15:01,910 --> 00:15:04,750
from a wide variety of Pan-African music,

315
00:15:04,750 --> 00:15:08,960
which is a way of talking about
influences from people who

316
00:15:08,960 --> 00:15:10,290
are all around the world,

317
00:15:10,290 --> 00:15:12,910
who originate culturally and ethnically

318
00:15:12,910 --> 00:15:15,010
from African diaspora.

319
00:15:15,010 --> 00:15:18,270
And these styles merging
together from different lands,

320
00:15:18,270 --> 00:15:21,010
from different cultures,
from different nationalities,

321
00:15:21,010 --> 00:15:23,090
but sharing that common bond.

322
00:15:23,090 --> 00:15:26,570
So, artists like Sade, the Roots,

323
00:15:26,570 --> 00:15:29,790
Erykah Badu, Burning Spear,

324
00:15:29,790 --> 00:15:31,630
these are just some examples of artists

325
00:15:31,630 --> 00:15:33,460
that influenced me creating this

326
00:15:33,460 --> 00:15:35,260
with my peers in Big World Breaks.

327
00:15:35,260 --> 00:15:38,090
But once again, there's so
many people to check out,

328
00:15:38,090 --> 00:15:40,400
but check them out too.

329
00:15:40,400 --> 00:15:43,770
Now, we're gonna start with eighth notes,

330
00:15:43,770 --> 00:15:47,150
and then 16th notes going
from straight to swing.

331
00:15:47,150 --> 00:15:49,700
Then we're gonna try and
find that in-between spot.

332
00:15:51,162 --> 00:15:53,995
(djembe slapping)

333
00:16:03,310 --> 00:16:05,360
So that's straight again, and then swing.

334
00:16:07,560 --> 00:16:10,210
Now, I went back and
forth, but in this song

335
00:16:10,210 --> 00:16:13,310
we're trying to find that,
a sweet spot in-between.

336
00:16:13,310 --> 00:16:15,480
So now I'm gonna do straight, then swing,

337
00:16:15,480 --> 00:16:19,093
and then follow right in the
middle somewhere to lock in.

338
00:16:19,093 --> 00:16:21,926
(djembe slapping)

339
00:16:22,760 --> 00:16:24,050
And then in between.

340
00:16:24,050 --> 00:16:26,883
(djembe slapping)

341
00:16:29,290 --> 00:16:30,385
Again, straight.

342
00:16:30,385 --> 00:16:32,350
(djembe slapping)

343
00:16:32,350 --> 00:16:33,334
Swing.

344
00:16:33,334 --> 00:16:36,600
(djembe slapping)

345
00:16:36,600 --> 00:16:37,574
In between.

346
00:16:37,574 --> 00:16:40,680
(djembe slapping)

347
00:16:40,680 --> 00:16:43,240
Let's try 16th notes
which even articulate it

348
00:16:43,240 --> 00:16:44,650
a little bit more.

349
00:16:44,650 --> 00:16:46,870
Once again, sixteenths.

350
00:16:46,870 --> 00:16:48,992
One-y and a two-y and a three-y and a.

351
00:16:48,992 --> 00:16:50,580
(djembe slapping)

352
00:16:50,580 --> 00:16:52,442
Starting with straight.

353
00:16:52,442 --> 00:16:55,275
(djembe slapping)

354
00:16:56,270 --> 00:16:57,310
Swing.

355
00:16:57,310 --> 00:16:58,338
In between.

356
00:16:58,338 --> 00:17:00,590
(djembe slapping)

357
00:17:00,590 --> 00:17:02,310
Keep it going on the in-between.

358
00:17:02,310 --> 00:17:03,561
Back to straight.

359
00:17:03,561 --> 00:17:06,394
(djembe slapping)

360
00:17:07,721 --> 00:17:08,554
To swing.

361
00:17:08,554 --> 00:17:12,140
(djembe slapping)

362
00:17:12,140 --> 00:17:13,873
Now let's stay in-between after this.

363
00:17:13,873 --> 00:17:16,706
(djembe slapping)

364
00:17:21,260 --> 00:17:22,093
Nice.

365
00:17:22,093 --> 00:17:23,430
Now what we're gonna do is we're gonna

366
00:17:23,430 --> 00:17:25,370
let you try to improvise,

367
00:17:25,370 --> 00:17:27,630
to freestyle your own rhythms.

368
00:17:27,630 --> 00:17:29,580
Ideally, you're trying
to pick one or the other,

369
00:17:29,580 --> 00:17:31,170
straight, swing, or in between.

370
00:17:31,170 --> 00:17:32,430
I'll go first, you go after me.

371
00:17:32,430 --> 00:17:33,263
Here we go.

372
00:17:34,490 --> 00:17:37,323
(djembe slapping)

373
00:17:39,230 --> 00:17:40,266
Nice.

374
00:17:40,266 --> 00:17:43,099
(djembe slapping)

375
00:17:49,700 --> 00:17:51,043
All right.

376
00:17:51,043 --> 00:17:54,363
(djembe slapping)

377
00:17:54,363 --> 00:17:56,643
And you can play in-between, right?

378
00:17:56,643 --> 00:17:59,476
(djembe slapping)

379
00:18:05,350 --> 00:18:07,070
Okay, nice, nice.

380
00:18:07,070 --> 00:18:09,510
Thank you for participating in that.

381
00:18:09,510 --> 00:18:12,640
And I just wanted to review
for us some of the essentials

382
00:18:12,640 --> 00:18:14,410
that we've talked about today.

383
00:18:14,410 --> 00:18:17,770
So, we did some rudiments
up front, the patterns.

384
00:18:17,770 --> 00:18:22,260
We did singles, doubles,
triplets, paradiddles, right?

385
00:18:22,260 --> 00:18:25,890
We talked about the importance
of feel and things in between

386
00:18:25,890 --> 00:18:28,240
the two major feels of straight and swing.

387
00:18:28,240 --> 00:18:32,130
We talked about finding your
own teachers and mentors

388
00:18:32,130 --> 00:18:36,180
and thinking about
artists that you may like

389
00:18:36,180 --> 00:18:39,650
or teachers that you come across
or people you find online.

390
00:18:39,650 --> 00:18:42,120
For me, the main drummer
that has influenced me,

391
00:18:42,120 --> 00:18:44,330
separate from my teachers, is Elvin Jones.

392
00:18:44,330 --> 00:18:46,640
So, I definitely encourage
you to check him out too,

393
00:18:46,640 --> 00:18:48,010
but find your own.

394
00:18:48,010 --> 00:18:52,240
We also talked about being
able to think about how to

395
00:18:52,240 --> 00:18:53,760
eliminate the middle triplet.

396
00:18:53,760 --> 00:18:58,450
One and a two and a
one and two and, right?

397
00:18:58,450 --> 00:19:00,940
So that's a little bit of a
specific mathematical way to

398
00:19:00,940 --> 00:19:02,740
think about the swing feel.

399
00:19:02,740 --> 00:19:06,200
And I'd encourage you
also to keep looking up

400
00:19:06,200 --> 00:19:08,260
some of these styles of music that have

401
00:19:08,260 --> 00:19:10,760
influenced everything that
brings this feel about.

402
00:19:10,760 --> 00:19:13,020
So blues and gospel music,

403
00:19:13,020 --> 00:19:15,820
and then how that gave birth
to jazz, and everything that

404
00:19:15,820 --> 00:19:18,700
came after that to the modern day.

405
00:19:18,700 --> 00:19:21,420
And it's really important to keep in mind,

406
00:19:21,420 --> 00:19:24,940
as Mr. Knatt always said,
there's no shortcut in music.

407
00:19:24,940 --> 00:19:26,800
So you can't wake up one day and say,

408
00:19:26,800 --> 00:19:29,350
I want to be good at this
exactly how I want to be.

409
00:19:29,350 --> 00:19:31,960
You have to spend an hour
at a time, a day at a time,

410
00:19:31,960 --> 00:19:33,440
be honest with yourself,

411
00:19:33,440 --> 00:19:35,200
and think about what your weaknesses are,

412
00:19:35,200 --> 00:19:38,310
what your strengths are and
keep navigating through it.

413
00:19:38,310 --> 00:19:40,580
And no matter what
equipment you have at home

414
00:19:40,580 --> 00:19:42,840
or what you do have at
home or what you don't,

415
00:19:42,840 --> 00:19:44,810
or when you can practice
or when you can't,

416
00:19:44,810 --> 00:19:46,120
or if you do like your teacher

417
00:19:46,120 --> 00:19:47,270
or you don't like your teacher,

418
00:19:47,270 --> 00:19:48,610
the thing is you're going to be

419
00:19:48,610 --> 00:19:49,900
your own best teacher in your life

420
00:19:49,900 --> 00:19:53,160
so figure out what you need
to do to do what you love

421
00:19:53,160 --> 00:19:56,090
and hold yourself accountable
to get better at it every day,

422
00:19:56,090 --> 00:19:57,660
and I guarantee you you're going to find

423
00:19:57,660 --> 00:19:59,330
more happiness than most people.

424
00:19:59,330 --> 00:20:00,630
So, thank you again.

425
00:20:00,630 --> 00:20:03,390
This is Aaron Walker-Loud
with Big World Breaks,

426
00:20:03,390 --> 00:20:05,680
and this has been brought to
you by the Creative Advantage.

427
00:20:05,680 --> 00:20:07,273
Have a great day.

428
00:20:07,273 --> 00:20:10,023
(rhythmic music)

429
00:20:18,251 --> 00:20:20,751
(funky music)