Groove & articulation of the 3rd line
With
Mike LovattMike Lovatt works on the groove and articulation of the third line, using the crotchet rest at the end of each bar and an internal metronome to keep it locked in.
What's in the course
27 lessons (0h 54m) · 1 free
Lesson transcript
Music Lesson: Enhancing Groove in Four Four Rock Feel
Now, we've looked at the articulation and the groove in the four four rock feel of the first two lines.
Exploring the Third Line
Let's look at the third line. We want to make that sound really groovy, too.
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Crotchet Rest: You'll notice that there is a crotchet rest at the end of each bar.
- We need to emphasize that, but also be ready to come in bang on the first beat of the next bar.
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Internal Metronome: To keep that feel grooving along, you need to have an internal metronome that helps you feel both the fourth beat and the first beat.
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Playing Short Notes: You may have noticed that on the third beat in each of those bars, I was playing it short, even though it's written as a crotchet.
- In rock and roll music, that's what we do.
- We play a short note, so it's kind of a quaver.
Analyzing the Last Line
Now, let's take a look at the last line. We're kind of coming home; it's like the first phrase that we play, except in the last bar.
- C Placement:
Look at the last bar: there's a bottom C on the third beat.
- We need to make sure that's really placed well to keep that groove going right to the end of the piece.
Final Thoughts
Let's just play that last part.
- You'll notice that I placed that last note, the C, on the third beat with lots of tongue, really emphatically on that third beat.
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Meet your guru
Meet your guru
Mike Lovatt studied at Trinity College of Music, where he was awarded the Jon Kelly Jazz Scholarship. He has performed and recorded across a huge range of styles with artists including Quincy Jones, Robbie Williams, Eric Clapton, the Orchestra of the Royal Opera House Covent Garden, the Royal Philharmonic Orchestra, Michael Buble, Oasis, Michel Legrand, Tony Bennett, Shirley Bassey and Danny Elfman, among many others.
As Principal Trumpet in London's West End, Mike has performed in Jesus Christ Superstar, Evita, The Producers, Billy Elliot, Guys and Dolls, Saturday Night Fever, My Fair Lady and Spamalot, amongst others. He has played on movie soundtracks including the James Bond films, Harry Potter with the London Symphony Orchestra, the award-winning Chicago, Kevin Spacey's Beyond the Sea, Charlie and the Chocolate Factory, Madagascar and The Corpse Bride. He is featured on trumpet and cornet in George Fenton's Mrs Henderson Presents, and on trumpet in Looking for Eric.
Mike is principal trumpet with the Grammy-nominated John Wilson Orchestra and has been featured in their celebrated BBC Promenade concerts and recordings.
Mike is sought after as a teacher and clinician, and is a professor of trumpet at the Royal Academy of Music and the Royal College of Music. In April 2013 he was proud to be awarded the prestigious Derek Watkins' Chair of Trumpet at the Royal Academy of Music, London.
In his MusicGurus courses, Mike shares the secrets behind his versatility, showing you how to nail authentic swing, rock and Latin trumpet styles so you can play any of them with confidence and the right feel.
