In this chant the pedaled hi hat lands on every other beat. The hats land on beats 2 and 4 in measure 1. In measure 2 they land on beats 1, 3 and 5. There are also landmarks in certain places. In the first measure, the first open hat lands with the snare. In the second measure the open hat lands with the kick drum. That’s one way to understand this demonstration. It’s best to play this chant very slowly as usual to notice every nuance. This chant is also great for developing left hand ghost note technique and control.
This chant is inspired by the music and rhythms of James Brown, Sly Stone, and a little bit of T Rex’s “Bang A Gong”. With the hats on every beat, you can clearly see the simplicity of the phrasing between the kick and snare. The separation of the two is something to take note of. The chant is essentially one phrase with an added eighth note kick at the end leading back to the top. Midway through the lesson I show you how I keep my place creating accents in certain places.
This is the triple version of Duple Chant in 3 #1. This chant has a swing triplet feel. Written in two measures, it’s a simple yet serious pocket. Driven by the hats on every beat, the real meat of this chant is in the repeating snare and kick drum over and over. I highly recommend grooving on this chant up to 20 minutes with a metronome set at 110 bpm. This is one of the most basic approaches to developing a relaxed pocket in the unusual feel of a triple 3.
This chant revisits the previous Rock Chant in 3 with more detail. The hats are on all three beats. The bass drum pattern repeats the dotted eighth note tied to the sixteenth figure and adds a pickup sixteenth note at the very end of the chant in measure 4 which lands on the “a” of 3. The snare holds a constant stroke on the “and” of beat 2. This is one of my fundamental warm up chants as well.