Thank you Darryn! Your playing is very inspiring. Very clear and efficient lesson in my opinion. I love the sound of your kit especially that floor tom! Note to self … Collapsing Rolls … let’s do some-o-that!
Thank you! One particularly clear example is Gadd’s (all-too-often forgotten) groove on You Make Me Feel Like Dancing, by Leo Sayer. Gadd takes it one (sensitively articulated) step further by not just putting an accent at the start of the roll, but also by decreasing the velocity graduallly THROUGHOUT his collapsing roll : even more challenging than what this video very aptly explains.
I wrote this into a song’s drum break unwittingly as a beginner and IT’S STILL HARD to pull off now. I didn’t know what I was getting myself into at the time 😂
Very cool. That would be a cool way to try and play the beat from Mysterons by Portishead live. I'm definitely going to work on this and see how much dynamic range I can between the accent and the rest of the roll.
👏 Como de costumbre, una tremenda clase MAESTRO🙏. Respecto a aquello del backbeat anticipado, me recordó a uno de mis grooves favoritos: Gregg Bissonnette🙏 en el tema "Friends" del álbum "The Extremist" de Joe Satriani. Gracias MAESTRO Darryn por seguir enseñando cómo tomar un(a) "simple" rudimento o idea y generar variantes que la desarrollen con algo que, para mí, es de suma importancia: el "buen gusto" y el "sabor personal". Saludos desde Chile🇨🇱. ...🙏🎶🥁🙏.
G'day Darryn, Thanks so much for releasing all of your highly informative and useful content. Regarding Collapsing Rolls,these require alot of finesse when one plays a rimshot followed by a ghost note on the same hand. Are you able to comment on ways one can gain this type of control when the tempo gets brisk and whilst attempting to excecute double strokes in 32nd note form? Thanks again mate, Dom.
There are no shortcuts or hacks to getting this to sound good. It just takes some painstaking work and focus. I still think mine sucks a little. You will get it though. Just be patient and diligent.
My friend, this has been doing my head in and I've just realised that the high pitch frequency you're referring to is actually a squeak coming from my drum throne or hihat stand. I can hear it at 2:22. Is that what you're hearing? And thanks for the comment, too.
Your kit sounds really great! Somehow you seem to be able to talk and play without having to switch mikes also, something not even Dave Weckl manages to do (: Does your voice go into the overheads only, or do you have another setup?
I have a lapel microphone attached to my sweater. It records everything so I then have to cut out all the drums in that microphone in the mixing stage so that you only hear the drums through the drum mics.
Beautiful playing, great lesson, great drums sound. Thanks for this. I did pick up (on my iPad speakers, of all things) a super high-pitched artifact when you were speaking (never when playing). It was close to the limit of my hearing but pretty high up there, and I had to pause/play/pause to confirm it was coming from your video. FYI in case there is something sneaking in some high freq into your voice chain that you can pick up on and EQ out. Anyway, I’m subscribed now. Good stuff!
@@theThingsEtc This has been doing my head in and I've just realised that the high pitch artefact you're referring to is actually a squeak coming from my drum throne or hihat stand. I can hear it at 2:22. Is that what you're hearing? And thanks for the sub and the comment, too.
Thanks Darryn. Just checking - the collapsing role still starts with a double stroke? So it's RRLLR, with the accent on the first beat? Is this difficult to achieve if you're accenting with a rim shot?
That's correct. It's actually a double i.e. RRLLRRLL etc with an accent played on the first note. Nailing the rimshot does take a bit of practise. Stick with it and you'll get it.
I don't care how you call this "lick" - it's just aSIXTUPLET (R L L R R L ) or vice versa! Steve Gadd uses this "lick" in various ways: hands on two sounds (HiHat/Snare, or divided between Snare/Bass-Drum)
Beautiful lesson, thanks can't wait to try it out!!
Whoa! I’ve been working on this for the past two or three months now! This video was so informative and helpful.
Thank you Darryn! Your playing is very inspiring. Very clear and efficient lesson in my opinion. I love the sound of your kit especially that floor tom!
Note to self … Collapsing Rolls … let’s do some-o-that!
Damn, that intro was smooth as hell!
Thank you! One particularly clear example is Gadd’s (all-too-often forgotten) groove on You Make Me Feel Like Dancing, by Leo Sayer. Gadd takes it one (sensitively articulated) step further by not just putting an accent at the start of the roll, but also by decreasing the velocity graduallly THROUGHOUT his collapsing roll : even more challenging than what this video very aptly explains.
I wrote this into a song’s drum break unwittingly as a beginner and IT’S STILL HARD to pull off now. I didn’t know what I was getting myself into at the time 😂
beautifully executed Darryn, on ritenours captains journey, there’s some smooth extended collapsing rolls by gadd
Very cool. That would be a cool way to try and play the beat from Mysterons by Portishead live. I'm definitely going to work on this and see how much dynamic range I can between the accent and the rest of the roll.
👏 Como de costumbre, una tremenda clase MAESTRO🙏. Respecto a aquello del backbeat anticipado, me recordó a uno de mis grooves favoritos: Gregg Bissonnette🙏 en el tema "Friends" del álbum "The Extremist" de Joe Satriani. Gracias MAESTRO Darryn por seguir enseñando cómo tomar un(a) "simple" rudimento o idea y generar variantes que la desarrollen con algo que, para mí, es de suma importancia: el "buen gusto" y el "sabor personal". Saludos desde Chile🇨🇱. ...🙏🎶🥁🙏.
Oh. I had a completely different idea of what a collapsing roll was 😬
what is a completely idea?
I had one for breakfast.
Thanks for the helpful video! It was very insightful and I would like to know what drumsticks you use.
Thanks. The sticks I use are Zildjian "Dennis Chambers" model. I like glossy sticks!
Smooth Darryn
Gaddaments has some nice examples.
Best Lessons here on RUclips
great lesson ,very useful drumming ! thanks
super! thank you !!
I’ve always wanted to learn the beat from Water Runs Dry by Boys to Men. It has a such a cool roll pattern. Thanks
Excellent, mate
G'day Darryn,
Thanks so much for releasing all of your highly informative and useful content.
Regarding Collapsing Rolls,these require alot of finesse when one plays a rimshot followed by a ghost note on the same hand.
Are you able to comment on ways one can gain this type of control when the tempo gets brisk and whilst attempting to excecute double strokes in 32nd note form?
Thanks again mate,
Dom.
There are no shortcuts or hacks to getting this to sound good. It just takes some painstaking work and focus. I still think mine sucks a little. You will get it though. Just be patient and diligent.
Thank you
All four 16th's of the collapsing roll are doubles, yeah? The first is accented?
Thats right. RRLLRRLL etc with an accent played on the first note.
Great vid, but there is an annoying high frequency ringing that sounds like its coming from your lav mic
My friend, this has been doing my head in and I've just realised that the high pitch frequency you're referring to is actually a squeak coming from my drum throne or hihat stand. I can hear it at 2:22. Is that what you're hearing? And thanks for the comment, too.
So is it R LL RR ? Like a backwards 5-stroke roll? Hard to tell b/c it’s played kinda fast.
No. It's actually a double i.e. RRLLRRLL etc with an accent played on the first note.
@@darrynfarrugia9904 ok awesome thank you for clarifying!! Appreciate you posting this lesson!!
@@jeffgreen4903 My pleasure and thanks for checking it out.
Peter Blick was your teacher no?
Your kit sounds really great! Somehow you seem to be able to talk and play without having to switch mikes also, something not even Dave Weckl manages to do (: Does your voice go into the overheads only, or do you have another setup?
I have a lapel microphone attached to my sweater. It records everything so I then have to cut out all the drums in that microphone in the mixing stage so that you only hear the drums through the drum mics.
Beautiful playing, great lesson, great drums sound. Thanks for this. I did pick up (on my iPad speakers, of all things) a super high-pitched artifact when you were speaking (never when playing). It was close to the limit of my hearing but pretty high up there, and I had to pause/play/pause to confirm it was coming from your video. FYI in case there is something sneaking in some high freq into your voice chain that you can pick up on and EQ out.
Anyway, I’m subscribed now. Good stuff!
@@darrynfarrugia9904 , interesting. Thanks for the reply, love your channel!
@@theThingsEtc This has been doing my head in and I've just realised that the high pitch artefact you're referring to is actually a squeak coming from my drum throne or hihat stand. I can hear it at 2:22. Is that what you're hearing? And thanks for the sub and the comment, too.
Thanks Darryn. Just checking - the collapsing role still starts with a double stroke? So it's RRLLR, with the accent on the first beat? Is this difficult to achieve if you're accenting with a rim shot?
That's correct. It's actually a double i.e. RRLLRRLL etc with an accent played on the first note. Nailing the rimshot does take a bit of practise. Stick with it and you'll get it.
classic Gadd!
Winter Daz in full effect.
The Keith carlock type beat
Absolutely. I should have mentioned Keith in the video too.
I don't care how you call this "lick" - it's just aSIXTUPLET (R L L R R L ) or vice versa! Steve Gadd uses this "lick" in various ways: hands on two sounds (HiHat/Snare, or divided between Snare/Bass-Drum)
This is definitely NOT a sextuplet. These are 32nd notes played as doubles RRLLRRLL etc. Also, I don't refer to this as a "lick" in this video.
Hey, this is Steve. Can I have my beat back?
*Hey Hey, It's Friday* 😁🎉😎🥁👏
No it's not
50 ways to leave your lover ????
for sure, that‘s one example
"The changing man" from Paul Weller, and Steve White on drum.