Fastest Way To Get Faster – Drum Lesson Series By Jared Falk

Fastest Way To Get Faster: Crazy Crossovers – Drum Lesson

(upbeat percussive music) (drumsticks clacking) (drum solo) – Hey, everyone, it’s Jared here, back with

the fifth lesson in my Fastest Way to Get Faster Series, Now, what would a fastest-way-to-get-faster series be

without some crazy crossovers? That’s what we’re gonna be talking about today. Now, before I get into it, disclaimer:

it’s really easy to injure yourself doing crossovers. I’ve poked myself in the eye; I’ve bashed my hands; I’ve hurt my shoulders,

moving around back and forth. So be very very careful, go really really slow. The first exercise is played as 16th notes.

We’re starting on the floor tom with the right hand, then we go to the snare with the left hand, then we go to the hi-hat

with the right hand, and then the floor tom. That pattern just repeats itself over and over again. The right hand’s basically going

from the floor tom to the hi-hat, and the left hand is going from the snare to the floor tom. I’ll play it nice and slow.

(slow drum solo) Let’s put it to a metronome at slow and fast speeds. (drumsticks and metronome clacking)

(drum solo) (drumsticks and metronome clacking) (uptempo drum solo) The next exercise is also

using a single-stroke roll, but we’re just gonna play 16th-note triplets instead of 16th notes. So nice and slow,

this is how it looks. We start with the floor tom with one stroke on the right hand. Then, from there on out,

we play two on the high tom, two on the floor tom; two on the high tom, two on the floor tom. But you always alternate

your stickings. Then we end with just one single floor tom. So nice and slow. (slow drum solo)

Really practice those movements because when you start playing this at the faster tempos it’s really easy to bash your hand

instead of hitting the drum. So be careful and take it nice and slow. Here it is, both slow and fast speeds.

(drumsticks and metronome clacking) (drum solo) (drumsticks and metronome clacking)

(uptempo drum solo) The third exercise might look a little bit crazy on the sheet music, but don’t worry about it.

I have notated it as 32nd notes. If you’d like to play it as 16th notes, print out the sheet music, draw a line down the middle,

and count it 1-e & ah 2-e & ah 3-e & ah 4-e for the first bar, and then 1-e & ah 2-e and a 3-e & ah

4-e for the second bar. You can play it as a two-bar 16th-note fill or a one-bar 32nd-note fill. The pattern is

actually quite simple. It’s just a 10-note pattern that repeats itself. I wanted to create something where the right hand crossed

over the left and the left hand crossed over the right. It does that within that 10-note grouping. We play this 10-note

grouping three times. 10 times three. I know we don’t like math, but whatever. 10 times three is 30, right?

And then we add an extra two snare strokes at the end before the pattern resets itself. So let me play it for

you just ultra slow, and you can hear how it sounds. (slow drum solo) Now I’ll play it three times for you,

with the two snare hits at the end. (slow drum solo) And that is the entire pattern. Doesn’t sound like much.

Probably doesn’t even look like much when it’s played at that tempo. But now what I’ll do is I’ll play it for you

with the metronome at 60 beats per minute and again at 80 beats per minute. Now, if you can push it

faster, you should try. But, be very very careful; do not injure yourself. Here we go. (drumsticks and

metronome clacking) (uptempo drum solo) (drumsticks and metronome clacking) (uptempo drum solo)

I play these as repeating patterns. If you like, you could just use them as fills. Lemme take the last

one, for example. I’ll play a beat, I’ll play it as one-bar fill, then I’ll go back to the beat. Here we go.

(drumsticks clacking) (drum solo) Really, just practice them and make them your own. You might find a

different orchestration. You might play the hi-hat instead of the snare to make the crossovers more dramatic.

But whatever you do, just make it your own and make it musical as possible. Don’t use this at your next jazz gig or your next hotel gig

where you’re supposed to play very lightly. Use it very very sparingly, and if you do use it in a place you’re

not supposed to, don’t tell anyone that I told you how to do it, OK? (chuckling) So once you can play

them each individually and you’ve practiced them for your practice session for five minutes each you can start playing them

in sequenced altogether. (drumsticks and metronome clacking) (varied-tempo drum solo) And that, my friends,

is the fifth lesson in the Fastest Way to Get Faster Series on crazy crossovers. Now get to your kit, and start practicing.

Go! (upbeat percussive music)

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Crossovers are a great way to build speed and break a sweat! In this fifth lesson in my “Fastest Way To Get Faster” series, we’ll be tackling crossovers using 16th notes, 16th note triplets, and 32nd notes.

Disclaimer: Doing crossovers is a really easy way to injure yourself. I guarantee you’ll bash your hand instead of a drum when first starting out – so, as always, take it SLOOOW.

Play each exercise individually for 5 minutes, then play them in sequence for 15 minutes.