Attitude (Analyse)
Pat Levett analysiert das Schlagzeugstück 'Attitude' aus Grade 4, eine Hardrock-Nummer aus den späten 80ern - mit Akzenten, Stockkontrolle und Downstrokes für die einleitende Standtom-Passage.
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29 Lektionen (2h 24m) · 1 gratis
01. Ready or Not – Fugees
2:34

02. Sweet Home Alabama – Lynard Skynard
2:10

03. Let’s Dance – David Bowie
1:58

04. Respect – Aretha Franklin
2:14

05. In My Place – Coldplay
2:21

06. Scary – Stormzy
1:54

07. Cold Pants
2:00

08. Attitude
1:59

09. The Nod
2:00

10. Hammerblow
Gratis-Lektion2:04

11. Jahmake Ska
1:58

12. Crop Duster
1:57

01. Let’s Dance – David Bowie (Analyse)
8:26

02. In My Place – Coldplay (Analyse)
10:16

03. Scary – Stormzy (Analyse)
10:27

04. Respect – Aretha Franklin (Analyse)
9:50

05. Ready or Not – Fugees (Analyse)
7:51

06. Sweet Home Alabama – Lynard Skynard (Analyse)
8:33

07. Noisy Neighbour (Analyse)
17:14

08. Cold Pants (Analyse)
4:24

09. Attitude (Analyse)
Du bist hier6:22

10. The Nod (Analyse)
4:18

11. Hammerblow (Analyse)
11:04

12. Jahmake Ska (Analyse)
4:00
Transkript der Lektion
Attitude: Music Lesson Overview
This song is based on late 80s hard rock from America, featuring influences from bands like Guns N' Roses.
Section 1: Foundation
- We start with lots of floor tom and distorted guitars playing together.
- Focus on accents; more stick control is required.
- Even if you practice on a pad, aim to get the accents up while keeping everything else low.
Down Strokes
- This technique involves playing down without allowing the stick to come back up.
- Work on quiet single strokes with random accents from both your left and right hand.
- This practice will significantly help with mastering the first section.
Section 2: Groove Development
- In this section, we introduce 16th semiquavers on the hi-hat, paired with a bass drum and snare drum dialogue underneath.
- Incorporate open hi-hats into your groove.
Section C: Enhanced Dynamics
- Transition to the bell and focus on a groove centered on the beat:
- Count: 1, 2, and 3, and 1, 2, and 3.
- Ensure you're pushing into beats one and three.
Dynamics
- Coming out of Section C, there will be a dramatic shift in dynamics:
- Drop from F to P in the space of one quaver.
- Make this transition as dynamic as possible; dynamics are crucial in drumming.
"Dynamics will, especially on drums, are your best friend. The more you play at one volume, the audience can become a little disengaged. You need to keep them switched on, and dynamics is a perfect way of doing that."
Section: Phrasing with Hits
- Practice phrasing with the hits: bosh, bosh, bosh.
- If you have two crash cymbals, one on each side, consider placing one on the side where you'll primarily be playing the ride.
Drum Solo Section
- The drum solo should be straightforward.
- Aim for strong hits; clarity and strength are key.
- Avoid complicated patterns that might detract from the song's overall strength.
Starting Point for Solos
- Think of it as having very strong fillings; don't overcomplicate things.
- If you're inclined, feel free to explore more complex ideas with your teacher.
Conclusion: Returning to the Beginning
- After the solo, return to section A to finish the song.
- Allow room for development; it's an opportunity to have fun and incorporate parts of the drum solo.
- End with a strong, confident finish: bosh, bosh, bosh.
Final Thoughts
This performance can vary every time you play it. Your interpretation should focus on phrasing with the music.
- Exploring Section C:
- Notice the heavier beat between beats one and three.
- You might consider skipping out those quavers to play crotchets instead, "bing, bing", for a different feel.
Unique Playing Style
There's never one definitive way to play. Develop your own ideas while keeping these pointers in mind:
- Focus on dynamics.
- Ensure strong endings, especially after sections and fills.
Good luck!
29 Lektionen
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