GEORGE KOLLIAS INTENSE METAL DRUMMING II Transcriptions by George Kollias Supervision by Spiros Tsoutsis
Notation Key:
CONTAININGS BLAST BEAT BLAST BEAT MOTION BLAST BEAT VARIATIONS SYNCOPATED BLAST BEAT SPACING THE BEAT BLAST BEAT TURN AROUND 3-LEVEL MOTION CHANGE SINGLE AND DOUBLE KICK DISPLACEMENTS LEADING SIDE/ SLAVE SIDE LEADING SIDE/ SLAVE SIDE (on BLAST BEATS) THE COMPLETE DOUBLE BASS DRUMMING VOCABULARY THE RUFF MANIA DOUBLE BASS ENDURANCE GHOST GROOVES WITH DOUBLE BASS PATTERNS SPEED AROUND THE SET ALTERNATE FILL-IN VARIATIONS ALTERNATE RUDIMENTS MIXED GROUPINGS (SINGLES) UNISONS DOUBLE BASS BALANCE COMBOS SYNCOPATED DRUM READING CONCEPTS SPACING THE METER ODD-TIME ILLUSIONS FLYING SINGLES HAND & FOOT QUICK SHOTS RIDING THE PEDAL
(c) + (p) www.GeorgeKollias.com 2012 All Rights Reserved
BLAST BEAT Figure 1: Traditional Blast Beat
Figure 2: Bomb Blast
Exercise 1: Getting into the Blast Beat - Double Time Patterns
Exercise 2: Getting into the Bomb Blast - Double Time Patterns
Figure 3: Foot & Hand relationship
BACKBEAT TRANSLATIONS
Example 1: Backbeat 1
sounds like:
Example 2: Backbeat 2
sounds like:
Example 3: Backbeat 3
sounds like:
Example 4: Backbeat 4
sounds like:
BLAST BEAT MOTION
Example 5: Double Motion (Slow Blast Beat)
Example 6: Triple Motion (Triplet Blast Beat)
Example 7: Quadruple Motion (Fast Blast Beat)
Figure 4: Groups of 2 (Downstroke - Upstroke)
Figure 5: Groups of 3 (Downstroke - Tap - Upstroke)
Figure 6: Groups of 4 (Downstroke - Tap - Tap - Upstroke)
Example 8: Double Motion Blast Beat
Example 9: Double Motion Bomb Blast
Example 10: Triple Motion Blast Beat
Example 11: Triple Motion Bomb Blast
Example 12: Quadruple Motion Blast Beat
Example 13: Quadruple Motion Bomb Blast
* When you practice the groupings slow, make sure you go with the following order: -‐GROUPS OF 2: DOWN – UP -‐GROUPS OF 3: DOWN – TAP -‐ UP -‐GROUPS OF 4: DOWN – TAP-‐ TAP -‐ UP
BLAST BEAT VARIATIONS * The following Blast Beat variations are some simple ideas that I have been using the last couple years. Simple to play and very creative patterns you can use in your music any time.
Figure 7: The Inverted Blast -This is a very power Blast Beat variation that allows you to come up with some crazy patterns. Played as a Reversed Traditional Blast or applying it around the Drum Set, there are multiple ways to create some very unique beats.
Figure 8: The Jungle Blast -Similar to the Back Beat Blast, this time by using a left floor tom. This is a great Blast pattern that can be used in parts you want to “hold the beat” but without losing the intensity of the Blast feel.
Figure 9: The Marching Blast
-The whole idea started from the sound effect 2 snares can create when playing at the same time. Very simple beat with 2 snares and 2 kicks creating a much stronger Blast Beat. Applying ideas around the set can be used here as well.
SYNCOPATED BLAST BEAT Example 14: Melody Line
Example 15: Backbeat example applying the melody on the HiHat
Example 16: Skank Beat example applying the melody on the HiHat
Example 17: Blast Beat example applying the melody on the HiHat
THE ON & OFF THE BEAT EFFECT (by Yannis Stavropoulos)
Figure 10: On the Beat Accents/Off the Beat Accents
Figure 11: On and Off the Beat Accents on 1-3/2-4
Figure 12: On and Off the Beat Accents
EXERCISES: -We apply the On & Off the beat accents on Skank/Blast/Bomb. Right side always “leads” the beat while right hand (or left, for the Bomb examples) applies the melody; make sure the beat is locked.
Exercise 3: Skank Beat A)
B)
C)
Exercise 4: Blast Beat A)
B)
C)
Exercise 5: Bomb Blast A)
B)
C)
ROCKSHOP DRUM FESTIVAL -‐ Karlsruhe, Germany 2010
DRUM READING:
Exercise 6: Skank Beat Reading
Exercise 7: Blast Beat Reading
Exercise 8: Bomb Blast Reading
SPACING THE BEAT -Spacing the Beat is a free form exercise; the idea is to play a simple beat on a very slow tempo and then go 4 times faster. For example, a beat at 50bpm will be multiple by 4 = 200bpm. This is a very effective system to achieve super fast tempos, build stamina and improve your time feel. The courses I’m focusing are: Tempo
x2
x4
A) 55bpm = 110bpm = 220bpm B) 60bpm = 120bpm = 240bpm C) 65bpm = 130bpm = 260bpm D) 70bpm = 140bpm = 280bpm E) 75bpm = 150bpm = 300bpm
* If needed, you can double the slow patterns so your muscles will take more time to rest before you start pushing again - It’s really important to know your limits!
BLAST BEAT TURN AROUND Exercise 9: 1-Bar Turn
Exercise 10: 2-Bar Turn
Exercise 11: 4-Bar Turn
3-LEVEL MOTION CHANGE
* Try to go with these 3 examples to feel the different motion you will be using; remember it’s all Heel-Up!
Figure 13: Motion Level Scale
Tempo: 100bpm
-Rest (0 level) -Separate Motion (level 1) -Synced Motion (level 2) -Flying Motion (level 3)
SINGLE AND DOUBLE KICK DISPLACEMENTS Exercise 12: Single-Kick Displacements
Exercise 13: Double-Kick Displacements
LEADING SIDE / SLAVE SIDE Exercise 14: Leading Side/Slave Side Scale (This is a single bar example, you can also go with 2 or 4 bars per each pattern)
PATTERNS
Exercise 15: Single Bar Pattern
Exercise 16: 2-Bar Pattern
Exercise 17: 4-Bar Pattern
Exercise 18: 8-Bar Pattern
GROOVE VARIATIONS
Exercise 19: Groove Variation 1
Exercise 20: Groove Variation 2
Exercise 21: Groove Variation 3
Exercise 22: Groove Variation 4
Exercise 23: Groove Variation 5
Exercise 24: Groove Variation 6
LEADING SIDE / SLAVE SIDE (on Blast Beats) Exercise 25: Single Bar Pattern
Exercise 26: 2-Bar Pattern
Exercise 27: 4-Bar Pattern
* Try to go with 8-Bars as well but make sure to add a fill-in or some sort of cymbal accents after the 4 th Bar each time to make the circle more understandable and musical.
THE COMPLETE DOUBLE BASS DRUMMING VOCABULARY EXAMPLE OF MIXING A & B SECTIONS
Example 18: A Section
Example 19: B Section
ALL POSSIBLE COMBINATIONS OF A & B
Exercise 28: Combination 1
Exercise 29: Combination 2
Exercise 30: Combination 3
Exercise 31: Combination 4
Exercise 32: Combination 5
Exercise 33: Combination 6
Exercise 34: Combination 7
Exercise 35: Combination 8
Exercise 36: Combination 9
Exercise 37: Combination 10
Exercise 38: Combination 11
Exercise 39: Combination 12
Exercise 40: Combination 13
Exercise 41: Combination 14
PATTERN EXAMPLES (A quick example of what we can use as an A section and B section)
Example 20: Quarter Notes
Example 21: Eighth Notes
Example 22: Eighth Note Triplets
Example 23: 3-Stroke Ruff 1
Example 24: 3-Stroke Ruff 2
Example 25: 16th Notes
Example 26: 4-Stroke Ruff 1
Example 27: 4-Stroke Ruff 2
Example 28: Quintuplets
Example 29: 5-Stroke Ruff 1
Example 30: Sextuplets
Example 31: 32nd Notes
PATTERN COMBINATIONS
Exercise 42: Combination 1
Exercise 43: Combination 2
Exercise 44: Combination 3
Exercise 45: Combination 4
Exercise 46: Combination 5
Exercise 47: Combination 6
Exercise 48: Combination 7
Exercise 49: Combination 8
Exercise 50: Combination 9
Exercise 51: Combination 10
Exercise 52: Combination 11
Exercise 53: Combination 12
Exercise 54: Combination 13
Exercise 55: Combination 14
THE RUFF MANIA 3-STROKE GROUPINGS
Figure 14: 8th Note Triplets
Figure 15: 3-Stroke Ruff 1
Figure 16: 3-Stroke Ruff 2
Figure 17: 3-Stroke Ruff Mirror
4-STROKE GROUPINGS
Figure 18: 16th Notes
Figure 19: 4-Stroke Ruff 1
Figure 20: 4-Stroke Ruff 2
Figure 21: 4-Stroke Ruff Mirror
5-STROKE GROUPINGS
Figure 22: Quintuplets
Figure 23: 5-Stroke Ruff 1
Figure 24: 5-Stroke Ruff 2
Figure 25: 5-Stroke Ruff Mirror
EXERCISES
Exercise 56: Groups of 3
Exercise 57: Groups of 4
Exercise 58: Groups of 5
MODERN MUSIC SCHOOL FESTIVAL -‐ Athens, Greece 2011
DOUBLE BASS ENDURANCE • A daily routine of at least 15min. with multiple ideas on the top such as Groove Patterns, Solo, Snare reading, Extreme Grooves etc. • Do not Stop!!! • When it feels you can’t hold-on more, try to change your position on the pedal and find a more “comfortable” spot to keep going (move forward or backwards on the board till you find the right spot)
GHOST GROOVES WITH DOUBLE BASS PATTERNS Figure 26: Kick Pattern 1 (16th Notes)
Figure 27: Kick Pattern 2 (32nd Notes)
Figure 28: Kick Pattern 3 (5-Stroke Ruff)
Rock Groove 1 Example 32: Variation 1 (16th notes)
Example 33: Variation 2 (32nd notes)
Example 34: Variation 3 (5-stroke ruff)
Rock Groove 2 Example 35: Variation 1 (16th notes)
Example 36: Variation 2 (32nd notes)
Example 37: Variation 3 (5-stroke ruff)
Rock Groove 3 Example 38: Variation 1 (16th notes)
Example 39: Variation 2 (32nd notes)
Example 40: Variation 3 (5-stroke ruff)
Rock Groove 4 Example 41: Variation 1 (16th notes)
Example 42: Variation 2 (32nd notes)
Example 43: Variation 3 (5-stroke ruff)
Doubles (RR LL RR LL) Example 44: Variation 1 (16th notes)
Example 45: Variation 2 (32nd notes)
Example 46: Variation 3 (5-stroke ruff)
Triple Paradiddle (RLRLRLRR LRLLRRLL) Example 47: Variation 1 (16th notes)
Example 48: Variation 2 (32nd notes)
Example 49: Variation 3 (5-stroke ruff)
Single Paradiddle (RLRR LRLL) Example 50: Variation 1 (16th notes)
Example 51: Variation 2 (32nd notes)
Example 52: Variation 3 (5-stroke ruff)
Inverted Paradiddle (RLLR LRRL) Example 53: Variation 1 (16th notes)
Example 54: Variation 2 (32nd notes)
Example 55: Variation 3 (5-stroke ruff)
Reverse Paradiddle (RRLR LLRL) Example 56: Variation 1 (16th notes)
Example 57: Variation 2 (32nd notes)
Example 58: Variation 3 (5-stroke ruff)
Delayed Paradiddle (RLRL LRLR) Example 59: Variation 1 (16th notes)
Example 60: Variation 2 (32nd notes)
Example 61: Variation 3 (5-stroke ruff)
MUSIKMESSE Main Stage-‐ Frankfurt, Germany 2011
MUSIKMESSE Vic Firth booth-‐ Frankfurt, Germany 2011
SPEED AROUND THE SET Exercise 59: Fill-in Variation 1
Exercise 60: Fill-in Variation 2
Exercise 61: Fill-in Variation 3
Exercise 62: Fill-in Variation 4
Exercise 63: Fill-in Variation 5
Exercise 64: Fill-in Variation 6
Exercise 65: Fill-in Variation 7
Exercise 66: Fill-in Variation 8
PERCUSSIVE ARTS SOCIETY FESTIVAL -‐ Patras, Greece 2011
ALTERNATE FILL-IN VARIATIONS Exercise 67: Alternate Fill-in Variation 1
Exercise 68: Alternate Fill-in Variation 2
Exercise 69: Alternate Fill-in Variation 3
Exercise 70: Alternate Fill-in Variation 4
Exercise 71: Alternate Fill-in Variation 5
Exercise 72: Alternate Fill-in Variation 6
Exercise 73: Alternate Fill-in Variation 7
Exercise 74: Alternate Fill-in Variation 8
Exercise 75: Alternate Fill-in Variation 9
Exercise 76: Alternate Fill-in Variation 10
Exercise 77: Alternate Fill-in Variation 11
Exercise 78: Alternate Fill-in Variation 12
Exercise 79: Alternate Fill-in Variation 13
ALTERNATE RUDIMENTS
Exercise 80: Singles (RLRL RLRL)
Exercise 81: Doubles (RRLL RRLL)
Exercise 82: Quads (RRRR LLLL)
Exercise 83: Singles to Doubles (RLRL RRLL)
Exercise 84: Single Paradiddle (RLRR LRLL)
Exercise 85: Inverted Paradiddle (RLLR LRRL)
Exercise 86: Reverse Paradiddle (RRLR LLRL)
Exercise 87: Delayed Paradiddle (RLRL LRLR)
DUTCH DRUM EVENT -‐ Heerenveen, Netherlands 2011
MIXED GROUPINGS (SINGLES) EXAMPLES Example 62: 16ths between Hands and Feet
Example 63: 16ths on Hands/32nds on Feet
Example 64: 32nds on Hands/16ths on Feet
Example 65: 32nds between Hands and Feet
SCALE Example 66: All 4 Groupings in Scale
Exercise 88: Fill Variation 1
Exercise 89: Fill Variation 2
Exercise 90: Fill Variation 3
Exercise 91: Fill Variation 4
UNISONS Exercise 92: Drum Reading 1
Exercise 93: Drum Reading 2
Exercise 94: Drum Reading 3
DOUBLE BASS BALANCE COMBOS Figure 29: Combo 1 Slow
Figure 30: Combo 2 Slow
Figure 31: Combo 3 Slow
Figure 32: Combo 4 Slow
Figure 33: Combo 1 Fast
Figure 34: Combo 2 Fast
Figure 35: Combo 3 Fast
Figure 36: Combo 4 Fast
PHRASING Exercise 95: Phrase 1 Slow
Exercise 96: Phrase 1 Fast
Exercise 97: Phrase 2 Slow
Exercise 98: Phrase 2 Fast
Exercise 99: Phrase 3 Slow
Exercise 100: Phrase 3 Fast
Exercise 101: Phrase 4 Slow
Exercise 102: Phrase 4 Fast
Exercise 103: Phrase 5 Slow
Exercise 104: Phrase 5 Fast
LONDON DRUM SHOW -‐ London, UK 2011
SYNCOPATED DRUM READING CONCEPTS Example 67: Industrial Samba Fill 1
Example 68: Industrial Samba Fill 2
Example 69: Industrial Samba Fill 3
Exercise 105: Drum Reading 1
Example 70: Multi-Pedal 1
Example 71: Multi-Pedal 2
Example 72: Multi-Pedal 3
Exercise 106: Drum Reading 2
Example 73: Marching Blast 1
Example 74: Marching Blast 2
Example 75: Marching Blast 3
Exercise 107: Drum Reading 4
SPACING THE METER • The main idea here is to listen to the melody…Don’t focus on counting an oddtime signature but try to “space” it in your head and play on the melody. Apply any type of grooves and fills; and anywhere in the bar. Go for a single bar fillin, 2 bar fill-in, solo etc. but always keep the melody in your head.
Just Drums München-‐ Munich, Germany 2010
ODD-TIME ILLUSIONS Figure 37: 13/16 Time Signature Counting
Example 76: 13/16 groovein groups of 6
Example 77: 13/16 groovein groups of 4
Example 78: 13/16 groovein groups of 3
Example 79: 13/16 groovein groups of 5
Example 80: 13/16 groovein groups of 7
Exercise 108: 13/16 snare breakdown in groups of 6
Exercise 109: 13/16 toms breakdown in groups of 6
Exercise 110: 13/16 snare breakdown in groups of 4
Exercise 111: 13/16 toms breakdown in groups of 4
Exercise 112: 13/16 snare breakdown in groups of 3
Exercise 113: 13/16 toms breakdown in groups of 3
Exercise 114: 13/16 snare breakdown in groups of 5
Exercise 115: 13/16 toms breakdown in groups of 5
Exercise 116: 13/16 snare breakdown in groups of 7
Exercise 117: 13/16 toms breakdown in groups of 7
International Percussion Festival -‐ Gliwice, Poland 2011
FLYING SINGLES Exercise 118: Single Beat
Exercise 119: Double Beat
Exercise 120: Triple Beat Part 1
Part 2
Exercise 121: Full Bar
Exercise 122: Five Beat Part 1
Part 2
Exercise 123: Six Beat Part 1
Part 2
Exercise 124: Seven Beat Part 1
Part 2
Exercise 125: Double Bar Part 1
Part 2
HAND & FOOT QUICK SHOTS Exercise 126: Snare Shot 1
Exercise 127: Snare Shot 2
Exercise 128: Snare Shot 3
Exercise 129: Snare Shot 4
Exercise 130: Double Bass Shot 1
Exercise 131: Double Bass Shot 2
Exercise 132: Double Bass Shot 3
Australia’s Ultimate Drummers Weekend-‐ Melbourne, Australia 2011
RIDING THE PEDAL Exercise 133: Riding the Pedal (Single Foot Speed)
GEORGE PLAYS / ENDORSES
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