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John Wooton: Play Music, Not Rudiments – FULL DRUM LESSON (Drumeo)


(instrumental drum music) (drumming) (clapping)
(laughing) – Well done, John.
– Thank you. – Ladies and gentlemen, Dr.
Throwdown himself on Drumeo. John Wooton, thank you
so much for coming out. – Man, thanks for having
me here, this is great. – Yeah, absolutely. I have been a fan of yours, and I’ve learned all my
rudiments through you and your videos on Vic Firth
and your books and all that so it’s an honor for
me to sit beside you while you teach a lesson here. – Well, it’s an
honor to be here, I’m so impressed with
this place and you guys. – Thank you. – I’m very much
looking forward to it. – Absolutely. And for everyone
watching, welcome, we have a PDF you can download. If you’re watching on Youtube, you can see all the information
in the description there. If you guys don’t know
who John Wooton is, he is, first and foremost,
you’re a musician. – Exactly. – Very good musician at that, and he’s a percussion professor at the University of
Southern Mississippi. You’re a rudiment
master through all your videos on Vic Firth. Also, his books, which
we’ll talk about in a sec. You play a lot of steel pan
and you’re also a vocalist, too, which I didn’t know.
– That’s right. – Which is really cool. You’re also the
author of two books. Drummer’s Rudimental
Reference Book and Dr. Throwdown’s
Rudimental Remedies. Both incredible books. If you guys haven’t seen
them, check them out. We also would like
you to go and find John Wooton online, make sure
you follow him on social, he’s on Facebook, at WootimentalDrumming.com, right? – That’s it. – That’s W-O-O-T-I-M-E-N-T-A-L. – Wootimental. – WootimentalDrumming.com. You can also find
him on Facebook, @WootimentalDrumming, and also at Instagram
@JohnAWooton, so make sure you follow
him and give him a like on there, he’s an
incredible drummer, and definitely
check out his books, and you have some stuff
on your website as well, some instructional
videos and stuff, too. – That’s correct. – Very cool. Huge thanks to the
sponsors for helping make this lesson happen. Pearl, Remo, Sabian, Vic Firth, and also Row-Loff as well. Great helpers for all
this kind of stuff, so thank you so much, and this lesson is very cool, this is called Play
Music, Not Rudiments, and something that’s very much a passion for you. Do you want to explain
what that means? – Well, as we talked about, this could be a
controversial title. Might tick some
people off, you know. – Bring it on, right? – Bring it on,
exactly. (laughing) And as you said,
and as I told you, I’m a musician first. I just happen to know
a few things about the rudiments. And for me, it’s
very, very important that my rudimental drumming is applicable and
practical for other styles, other instruments. Specifically drum set, but
I mean everything I do, I play latin percussion,
so I play congas, timbales, I play a
lot of steel pans, not that I play
rudiments on steel pans, but the dexterity and
technique that we use can be useful for just about
any percussion instrument. So, that’s what’s
most important. We talk about applying
rudiments to the drum set, but it’s more, I think the term applying the technique
to the drum set is more important than
actually applying the rudiment. Sometimes playing
a certain rudiment might be putting a square peg into a round hole. But the technique itself can be extremely useful. – Absolutely. And we’ve been
talking back and forth and going through the content and I’m really excited
about this lesson, these examples that
we’re gonna go through, some musical examples, too, you have some songs and stuff
you’re gonna play around with. It’s gonna be a
really cool lesson, make sure you stick around and we’re also gonna be
filming a exclusive course for Edge members from
John on Drum Corps. And starting out
your first steps to getting into Drum Corps which is something great we
don’t have on Drumeo yet, so I’m really happy
for that, too. So you started this
lesson playing Crazy Army, one of the snare solos that made popular I
guess by Steve Gadd. Explain why you
started with that. – It was written by Ed Limly, it’s what we call an
ancient snare drum solo. You can hear groups
like the Old Gar Drum and Five Corps play it. It’s been played a lot
by different drummers, but Steve Gadd definitely
made it very famous. It’s a rudimental
snare drum solo, and the whole thing about playing music not rudiments, really we could say, play your rudiments musically, or use them to make music and apply them. And within Crazy Army, there’s a
lot of lessons in there on the strokes, and we’re gonna talk
about the real rudiments in a minute. Rudiment, meaning the
most fundamental element of whatever you’re
talking about. And to me, some of these
rudiments are very complex, like we talk about
inverted flam taps, right? – Yeah, heck yeah. – It’s pretty complex. But the strokes we use
to play these rudiments are the real rudiments, and to me there’s only
four of the strokes. So, can we talk about
those real quick? – [Dave] Let’s do it. – You know, you have
rebound strokes so, and each stroke is defined
by what follows them. So, a rebound stroke, say an accent preparing
for another accent. (drumming) Simply that. It’s like in double paradiddles. (drumming) we have a rebound stroke, the first accent’s
a rebound stroke. Then we have control strokes. Control stroke is an accent preparing for a
ghost note, right? My earpiece is
falling out here, so. – [Dave] (giggling)
It’s all good. – So, we want to start
high and end low. And that’s very important. We could talk about a lot
of great drummers who have really great
sounding ghost notes. Can you think of anybody you’ve had recently in here? – I know many
drummers that have had incredible ghost
notes, their dynamics. – I think of a few you’ve
had in here recent– – David Garibaldi’s one of them. Unbelievable with his control. – One of the best. Jason Sutter you
just had in here. – Oh, that’s right. – Amazing, you know. Vinnie Colaiuta. Man, all these guys. And when you think of
the clarity they have between accents and
their ghost notes, it’s because of this stroke.
(drumming) It’s the control stroke, they can stop that
stick on a dime, like an inch above the head, and then they’re ready to go, and it’s not this and
they’re trying to play ghost notes from here. We learn this when we’re
working with our rudiments. – Absolutely. – Which we’re gonna
do in a minute. We have taps, more ghost notes. They’re just soft notes
followed by more soft notes. And then we have the upstroke, which is a tap getting
ready for an accent. (drumming) Okay? Also we know as
the molar stroke. We’re not gonna open that
can of worms right now, but I call it common sense, not. – (laughing) I love it. – Somebody says, is
that the molar stroke? That’s what I call it
the common sense stroke. It’s all about being efficient. It’s efficiency, so if
we remember that word. Efficiency, application, practicality, those
are good things to remember. Okay, so we have those strokes. Now, if we take these and we apply like in Crazy
Army, with the flamacue. We’re gonna talk
about that real quick. It’s the only American
rudiment, by the way. All the other rudiments
have come from, mostly Swiss or European origin. But the flamacue,
and I’m very proud that this is the only
American rudiment, because it’s the only rudiment where the accent’s
not on the downbeat. – Ah. – It’s the funkiest rudiment. – No doubt, yeah, you’re right. – Right?
– Yeah. – So, we get the
funkiest rudiment. – Nice. (giggling) So we have a soft flam
and then an accent. (drumming) Right? So that grace is an upstroke or molar stroke, if we will. And the accent. And by working on
these flamacues, we can apply this to drum set in this next exercise
we’re going to do, but by learning these solos
and learning these rudiments, you’re gonna have just a diverse
range of dynamics, which is what we
need on the drum set, especially if you’re
playing just one drum, you got one pitch. How you gonna make
it sound interesting? With dynamics, and work on extremes
in dynamics. Very soft, very loud.
(drumming) And then different
rhythms as well But, okay so with those rudiments that we have in there, we’re working on these strokes. Flam paradiddles in there. (drumming) Alright, you see the
nice smooth upstroke and if we can get this
and we can get this to flow on the drum set. Yeah, we got something going on. – Cookin’. – Yeah, all these
drummers we talked about, check ’em out, you go. Yeah, how do they do that? That’s how. – It all starts with the
rudiments and the motions. – It all starts right there. – Yeah, and they’re
able to play music because taught the work
and developing that. – Right.
– Very cool. – While you’re practicing, you always want to
keep this in mind is what’s your goal. So when you’re
practicing rudiments, the rudiments is not an end, it’s
a means to an end. It’s tools, they’re
tools you’re gonna use and the technique. Tools you’re gonna use
to make your music. Alright, so let’s go on, we’re gonna talk
about paradiddles. – Sure, yeah. – Paradiddles. – Yeah, we’ll start on
number two, here it is. – Number two, it’s up there. I didn’t write any accents in I just put the rhythm, and I was just thinking, we were talking about
David Garibaldi. This is in his
book, Future Sounds. – Okay. – So I didn’t mean
to steal it, David. – Sorry, David. – But it’s in my book, too. (laughing) – Throwdown. – So, it’s just paradiddles, and we just changed
the sticking, okay. So this is a paradiddle. Right left right right,
left right left left, with an accent on the
first note, right? (drumming) Alright, don’t stop there. Don’t stop right there. Everybody thinks, okay
that’s a paradiddle, what am I gonna do with it? Oh my gosh. Holy cow, we can do all
kinds of things with it. Let’s change the sticking, you say well it’s not
a paradiddle anymore. Well, not really. It’s a morphed
paradiddle, I guess. We could play it on
different surfaces. We can play it, so if you would, you could
practice this sticking just like it is, and then play it on
different surfaces. Let’s do this. We’re gonna play this exercise with an accent on
every downbeat. And just, we’ll
play the bass drum with an accent on
every downbeat as well. And then we’ll put the
right hand on the hi-hat, left hand on the snare drum. – Sounds good to me. This is the four
bar exercise here. – And then here’s one
thing that’s very important with learning your rudiments. The different stickings create different articulations. So listen to how
the articulation changes from measure to measure when you’re playing this. So, you have to choose
which articulation you want to use in
a certain groove, ’cause not every articulation’s gonna fit every groove. Alright, so this is
where the rudiments really are important is learning, articulations
and how to use them. Okay, so if you
look at the rhythm, the rhythm’s the same all
the way across the page. And we’re gonna put, say, imagine those accents
on every downbeat. That’s the same, the
sticking changes. But the rhythm is
exactly the same. These are not gonna
sound the same. At all. Even if I play it on one drum, it’s not gonna sound the same. But I’m gonna play
it on the hi-hat and the snare drum, so let’s just do that, we’ll just play those four bars. One, two, ready, and. (drumming) – Yeah, each part was different. – Each part was different. But those are all paradiddles,
just morphed a little bit. We’re changing
the accent, right? We could play it. Now I have it in my book, Rudimental Remedies, lesson five is all paradiddles, and each lesson in there has
a different style of music, so you can practice your rudiments
with different styles of music from
around the world. I think this lesson five
is all Brazilian music, so Samba. – Okay, yup. – And stuff, so we’re
gonna play a track, and we’re gonna do that. I’m just gonna play
one measure at a time for a while, and then change it up. – Sounds good, we’ll get
the track ready to go and this is a great way
to see how these four different variations
of the paradiddle can meet. – Very simple. And if you add sticks. Everybody have sticks? You can just practice
this on a drum, you could practice it on a pad, you could practice
it on your drum set, play along with us. We’re just gonna play
this track for a while using those four patterns. ‘Kay, here we go. – Here we go. – I think we got it queued up. One, two, ready, and. (drumming) – Nice. – That just happened
to work out great. – I was just gonna
say, did you plan that? That was great. – I did not, actually. – (laughing) Nice. – Wonderful. – Very cool, though. – But you see, that’s
just paradiddles and you can see how the
articulation can change. Now, what I do want to stress, is that you have one of these, one of these bad boys and
you practice these things like by themself on the pad, and you can focus
on the technique, and if I were teaching
a private lesson, and really, it wouldn’t
matter what level the person is playing at, or how long they’ve
been playing, ’cause even older guys
develop bad habits. Even myself, and I have to
go back and work ’em out, so sometimes I was telling you my motto, the Dr. Throwdown motto is, break it down, slow it down, so you can throw it down. – Love that. – So, we can break
down the strokes, talking about the control
strokes and upstrokes and just playing paradiddles, slow. (drumming) Right? On a pad. In the next measure, the third measure, and the fourth measure. Okay, on a pad first,
and then you can add the feet and then
you can add different ostinatos to the feet. And then you could
put them on cymbals, you know, with the rudiments so what I’m trying to get at and hopefully you’re
getting the message is that the rudiments aren’t limiting. What’s limiting is
your imagination, and how to use ’em. The rudiments are a tool. Okay, just like a
hammer or a screwdriver. Now, what kind of house
you build with those tools is up to you. You can build a shack or
you can build a mansion. So, is that a cheesy analogy? – Hey, it’s a great analogy. Cheesy or not, I love it. – Great. Alright. – Alright, man. – Let’s move on. – Yes, let’s move on. – We’ll move on to some rolls, six stroke rolls. We were talking about
different interpretations of rolls, and different
interpretations of the rudiments. ‘Course the six stroke roll, we have it up. If you look at the
first measure there, it’s just a skeleton
of the six stroke roll, and then the six
stroke roll itself, and it’s six notes,
so it’s an accent, two diddles and then an accent, which comes out to six, alright. – Basic math. – Basic math. Alright, so let’s
just play that. Let’s just play the first
measure over and over. You got sticks? Y’all got sticks out there? Got a pad, a snare drum? One, two, first measure, go. (drumming) One very important thing
about that book and what I teach and the rudiments is to be ambidextrous. So, we’re gonna do
every other measure starting on the left hand. – Okay. – Let’s do that, so again, right hand and then we
do it once off the right and then off the left. Two, ready, go. (drumming) Left. Okay, now, you can apply this drum
set in so many ways, I mean once again, it’s only limited
to your imagination. Obviously, we got two toms, we got two accents, right? (drumming) We got two cymbals. Okay, and you can. (drumming) You can use that there. That measure might not be
a great way to use it, but you can come up
with your own stuff. Let’s take the second measure. Oh, I got it right
here so I can just. And it plays the six
stroke roll plus one note. So we play the end of it. (drumming) You do the same thing, now start it off the
right, then the left. One, two, ready, go. (drumming) Trying to improvise
there on the toms for a minute. I accidentally did
something else, but it sounded pretty cool. – Call it jazz. – Call it jazz. – There you go. – Okay, we could put the right
hand on the hi-hat. (drumming) – Very cool. – But put the bass drum
with the right hand. (drumming) Now we got somethin’
that sounds pretty funky. – No doubt. – Like a bowlegged monkey. Alright, so as we go on, this next pattern,
the next measure, just makes it a
little different, so we have them back to back with just an eighth note in between. One, two, ready, and. (drumming) And do that again. (drumming) So we played the first
one off the right, second one off the left, and then off the right. We can do that. (drumming) Or. (drumming) Once again, jazz. We’re improvising on
which drums we play. It’s a nice little
accident there. – Yeah, it sounded great. – And then the next one is just consecutive six stroke rolls. So let’s try that. Let’s play one measure
starting with the right, one measure starting
with the left. One, two, ready, go. (drumming) And the left hand, go. (drumming) Okay, and yes, you can imagine on the cymbals. (drumming) Drums. And so many other ways. Once again, it’s just
limited to your imagination. – Very cool, man. – Six stroke rolls. – Yeah, very useful rudiment. – Exactly. I use it all the time. I mean, actually quite often. – I use it a lot in
the triplet form, like thinking about
it in triplets. – Well, that’s a great
point you just brought up. Because all these rudiments
can be interpreted in different ways. Everybody thinks that’s the wrong way to play it, I get that a lot. That’s the wrong way to play it, this is the right
way to play it. Like, in drum course too. Okay, so and so plays that. There’s no right or wrong
way to play anything, really. That’s a different
interpretation. So if I interpret it
like it’s written, as 32nd notes. (drumming) That’s one interpretation. Let me do this. I’m gonna play
’em over and over, but I’m gonna change the
interpretation as I play ’em. – Awesome, okay, let’s hear it. – I’m gonna morph. – So we can hear
all the varieties. – Into your favorite sextuplets. – Nice. Nice. – So I’ll start
out as 32nd notes and morph into sextuplets. About this tempo,
so you can hear it. Ready and. (drumming) – That was smooth, man. That was smooth. – Smooth as butter. – Smooth as butter. (laughing) – So yeah, all those, and everything in between, that’s just a different
interpretation. – Very cool. – So practice those rudiments, practice different ways to
play ’em, different styles. Can you think of, for example, in what style of music
this would be appropriate? (drumming) – Oh, so many styles. – Yeah. So, as opposed to this. (drumming) – Yeah I know what you mean. – You see? – Yeah, different
feel, different vibe. – Yeah. – Funk, little bit for that. So many different, I guess you can say
different grooves, fills, I guess you can
use up a lot of them with fills.
– Sure, exactly. Yeah, we’re gonna do
some of that in a minute. But that’s just another
concept to keep in mind. I can play this rudiment
or that rudiment, or this pattern. It doesn’t have to be rudiments, just whatever. To fit the style. And the stickings can help, I mean stickings can
definitely help a lot. We’re gonna talk about Swiss
triplets in a minute but while I’m thinking
about it, you mind if I? – Do you what you got to do. – A good friend of mine
down in New Orleans, Johnny V, I don’t
know if he’s watching, Johnny Vidacovich, he showed me this
sticking for a second line and it just fits really well. But it’s not, second line. (drumming) But there’s a sticking
that works a lot better. (drumming) You know, and for that pattern, so things like that. We could think of
many, many examples, that one just came to mind. That’s why we work
on these rudiments to get different articulations, and different sounds. – Awesome. – Okay, yeah. Alright, moving on. – Flams, number three.
– Flams. So, speaking of
different articulations and different sounds, we were talking
about this earlier, flam taps and inverted flam taps. As we look at the page again, as you look at the notes, it’s exactly the same notation
from measure to measure. What’s different is the
sticking underneath. So flam taps, here’s a flam and a tap. (drumming) And this is a bounce rudiment, this is a rebound
stroke that we use. We bounce the stick
to play this rudiment, and it sounds as such. (drumming) It’s very relaxed, very easy
to play if you do it right. Alright, the next measure
is inverted flam taps, and this is a little
more difficult to play, right, but it’s
the same notation. However, it sounds
completely different. So check it out, these are inverted flam taps. Ready and. (drumming) Okay, so real quick, I’m just gonna
play that exercise, and you can hear the difference from measure to measure. Here we go. One, two, ready, go. (drumming) – Yeah, big difference. – Right? So, so what? – Yeah, how do you
apply that musically? – How do you apply
that musically? Well, we apply this, obviously in
rudimental drumming, there’s lots of rudiments
where we’re gonna use this motion (mumbling). So, if we break this down, we’re gonna break it down. We gotta break it down
so we can understand it, and then we gotta slow
it down and practice it so eventually. – You can throw it down. – That’s right. – You got it.
– Got it. Okay, so we’re
gonna break it down. If you’re playing
inverted flam taps and you put say one
stick on your leg. (drumming) That’s the pattern
you’re playing. Playing two ghost notes, and then a quick wip, or a molar stroke, right? – Or a common sense stroke. I love that, I’m gonna
use that from now on. – Common sense, common sense, especially as you get older, you got to cheat a little bit. (drumming) Left hand. Okay. You got to work on that stroke, and you got to get it down. First of all, play it on a pad, and really work on
getting that stroke down and get the clarity of the taps, and the accent, and get as much contrast
between the two as possible. That’s a good word, by the way. Contrast, we want to
get as much contrast between accents and
taps as possible. So, if I were to play flam taps, where would you use that? Say, let’s take this groove. (drumming) That’s the pattern you’re
playing on flam taps, check it out, flam
taps if I leave right hand on the hats and
left hand on the snare. (drumming) Alright, and here’s a Sol-Ca. (drumming) So it’s a great
exercise for a Sol-Ca. – No doubt, yeah. – Which is Sol Calypso. Alright, inverted flam taps. (drumming) Okay, I have so many people
that have a hard time playing ghost notes (drumming) on hi-hat, followed by an accent. This is a great
way to practice it. This is your inverted
flam taps, say. (drumming) Where that comes in very handy. Okay. Once again, you’re not gonna force
inverted flam taps on the drum set, I don’t even know
how that’d sound. (drumming) That sounds okay, I mean. – Didn’t actually
sound too bad, no. I was gonna say
it’s pretty good. – Might have somethin’
there, you know. (laughing) But, everybody says applying
the rudiments to drum set. It’s not always applying
the rudiment itself, it’s a version of the rudiment, or most importantly,
the technique used to learn the rudiments,
applying that to the kit. And any other instrument,
that’s the lesson, that’s the lesson. And you gotta keep that in
mind when you’re practicing your rudiments, that
you’re gonna be using them to make music, to build
your musical arsenal, if you will. – Well, the inverted
flam tap is one of my least favorite rudiments and
what you just showed me there and you showed me this
right before the lesson too, I was blown away with, I use that pattern all the time and I don’t practice
my inverted flam taps but by practicing those,
I would be better at that pattern on the
hi-hats, you know. – Exactly. – Little things like that,
you don’t think about when you’re looking
at rudiments. You’re thinking the technical, or thinking that this
is just something I gotta practice, because
I’m told to practice it. Learn your 40 rudiments, right, but there’s so many reasons
why you should, right? – Yeah. – Very cool. – Exactly. – Let’s move on to number four, Ratamacue’s and paradiddles. – Ratamacue’s and paradiddles. Actually, and look
at these two rhythms. They look completely
different, right? But they’re really
the same thing. I mean, if you
slur the Ratamacue. And once again, if we’re
talking about interpretation, and someone’s gonna
say this is how you. Well, actually, the Ratamacue starts
on the upbeat. A Ratamacue is as it sounds, onomatopoeia, it’s a onomatopoeia word. Ratamacue, Ratamacue. So, you go rata. (drumming) But we’re gonna start with
the accent on the downbeat. – Okay? – Okay, and just for the
sake of this exercise. Just so you know. Things like that, you know. The more you know,
the more you know. Don’t ever stop
yourself from learning, don’t ever say,
ah who needs that. Who needs that. Well, that’s just an excuse to be lazy and not learn something. The more you know, the
more vocabulary you have and the if the more
vocabulary you have, the more you can say. Alright, so check it out. – Words of wisdom. – Dig deep, do some research! Alright, so the Ratamacue
I could play it like this. (drumming) Or I could play it like this. (drumming) And then anything in between. Shall we do the morph again? – Do the morph one more
time, that’s so cool yeah. – We’re gonna go from the
tight, you know. (grunting) Ratamacue, which is
maybe what you need to the super sloppy, funky, sextuplet Ratamacue. Alright, so we’ll
go the morph again. (drumming) – Love that, stretching it out. – Yeah. That one wasn’t
quite as smooth, but. You know, you get the idea. – You get the idea, yeah. – Get the idea. Okay, so I’m gonna play this exercise and a paradiddle-diddle, which is basically what we call slurred, if
you open ’em up Ratamacue and a paradiddle-diddle are
rhythmically the same thing. (drumming) Right?
– Mhm. – But you put ’em on
different surfaces, and they’re not the same
thing anymore, right? (drumming) You put the accents
on the cymbals and move it around a little bit. But that’s another way
of just interpreting the difference stickings. You use the stickings you need. Actually, speaking of Ratamacues
and Steve Gadd earlier, boy he yeah, he used the snot
out of Ratamacues. – He could move those
around the kits so nicely. – That’s another great difference in interpretation, or different
articulations you can get with different stickings. – Yeah, awesome man. Let’s move to number five. – Number five, so now where we goin’ now? – Six, nine, 10 stroke rolls. – Yes. Okay, now this exercise is from my book, the Drummer’s Rudimental Remedies. I’m sorry, not that
one, the other one. – There we go. – ‘Cause that one
has playalong tracks. 951 playalong tracks. – Seriously? – Yeah. Because every
exercise has a track and each one is set into
seven different tempos. – Geez. – From tempo del learno
to ludicrous speed. – Tempo del learno
to ludicrous speed. Man. – Little Space Balls. – I love it. – So, this exercise we’re
just working on our rolls, and really, the clarity of
rolls, I think too often, whether it be a in a drumline, or on a drum set, the one thing people forget
about is the little stuff. And you say, don’t
sweat the little stuff, actually you need to
sweat the little stuff. Because if the little
stuff is clean, then all the accents and
stuff are gonna be there. However, if all the
accents are there, it doesn’t mean the little
stuff’s gonna be there. So, to work on your rolls, you know what we’re gonna do? We’re gonna switch
implements here. So, I’m really gonna
work on my rolls, I’m gonna make it
hard on myself. – Okay, by using brushes? – By using brushes. Practicing rolls on a soft
surface or with brushes, it’s like running
with leg weights on and then taking them off
when you go to sticks, all of a sudden you can fly. Alright, so this is
a great exercise. We’re gonna do this one. This is with a track, and I forget, I think
this is at tempo two. There’s seven of these tempos. We’re gonna do this at tempo two and then we’ll do it again
with sticks at tempo three. So, this is just nine stroke
rolls, six stroke rolls and then 10 stroke rolls. – And you guys can
follow along on the PDF, it’s also on the screen there, and let me know
when you’re ready, there, Taylor with the track. – Tell you what
I’m gonna do too, I’ll first play it
just on the snare drum, I’m gonna keep downbeats
with the hi-hat, but after a while I’m
gonna add the bass drum on the accents. One, two, three, and. (drumming) (moves into funky
instrumental music) (thundering) – Love it, man. Love it, very cool. – So yeah we got thunder. – Yeah we got some
thunder here in Canada. You want to get the other
track loaded up there, Taylor, we’ll do it with sticks
a little bit faster. – We’ll do it a little faster,
we’ll do it with sticks, we’ll do the same thing. First on the snare drum,
the beat boxing in there. I gotta give a shout out
to my son, can I do that? – Yeah, absolutely, yeah. – Yeah Drew, it’s
his birthday today. – Dude, happy birthday, man. – That’s my buddy. – What’s your son’s name? – Drew. – Drew.
– Drew. He’s actually Andrew John,
I’m John Andrew, but. Anyway, he’s part of the
Wootimental Drumming. – He’s on the website as well? – Yes, he’s kinda
– Yeah okay, very cool. – helping me out with that. – Happy Birthday, Drew. Make sure you guys all go check
out WootimentalDrumming.com, see some videos of him. – I thought of that because
I was doing the beatboxing on this thing, and
he walked in on me, he goes what are you doing? (laughing) Dad, what are you doing? He was a little embarrassed. – Yeah. (laughing) Dads shouldn’t do that. – Right? – Okay. (laughing) – Alright, when you’re
ready there with the track there, Taylor. – [Taylor] Comin’ at
you in just a sec. (drumming) (moves into funky
instrumental music) (thundering) – Got an umbrella – Oh there’s that
thunder again, man. I don’t know what’s
going on here. (laughing) Cool, cool. So we should move on because we’re
running low on time. – Okay let’s move
it, let’s move it. – We’ll definitely go
over if we have to, ’cause we’re not stopping until
we’ve done all this stuff, this is gold, love it. So number six. Sextuplets, six stroke rolls. – So, once again, as
you said, your favorite. – My favorite. – Your favorite way to
play six stroke rolls is sextuplets. This is an example in the book of how to play sextuplets
with hip-hop music. So actually the
track in the book, you play it on the hi-hat. Now, we got only
two measures there, are we gonna flip it as we go? – Yeah, there’s too tight
to fit it all in one, but we’ll flip it as we go. – So we’re gonna flip it, okay. – Follow along on the PDF guys. – Alright, so we’re gonna
play this at tempo two and then again at tempo four. I’m not sure how we’re
gonna do it, actually. Let’s improvise. Let’s start on the snare drum. And then we can try
it on the hi-hat, we can do it like this, we could do it with the
accents on the toms, on the cymbals, all different sorts
of ways to play this. And this is just an example, this is just one exercise. Now, what you do with it, you can take these sextuplets and this whole idea,
and do your own thing. It’s your thing, do
what you want to do. – Absolutely. (drumming) (moves into funky
instrumental music) ♪ Come on baby, feel the vibe ♪ Let me take you on a ride ♪ Come on baby, feel the vibe ♪ Let me take you on a ride – Nicely played
man, nicely played. So it gives you an
idea. (laughing) Like you say, if you guys were trying to figure out how
to apply your rudiments, you did how many different
variations there, with the six stroke
roll and a sextuplet kind of feel over
a hip-hop track. – Over a hip-hop track. Then that would be the
way you would interpret six stroke rolls in hip-hop, is to really slerm,
make it funky. – Well let’s try it
at the faster tempo. – Faster tempo, I gotta
remember what I did. – Tempo four, is it? This one? – Which one was your favorite, out of all those variations? – I like the one where
you went on the toms, but I think the hi-hat
one was my favorite. The one where you just sat
in there on that pocket, that was pretty cool. – That was my favorite, too. I could just do that
one over and over. – No doubt, no doubt. – We’ll do a little variety
just for variety’s sake. – Alright, well here
comes the next tempo. – This is tempo four by
the way, out of seven. (drumming) ♪ Come on baby, feel the vibe ♪ Let me take you on a ride ♪ Come on baby, feel the vibe ♪ Let me take you on a ride – That’s a tough one. – Yeah. Nicely done though,
man, nicely done. – Little faster. – Yeah, very cool, so that’s another example. We got one more
here, number seven if you want to move
on to that one. Swiss Army triplets. – This is actually another way I wanted to show on how sticking can
change the interpretation. I mean, completely. So this is actually
part of the etued from lesson 22 in the Rudiment
of Remedies book, there’s a etued. So in that book,
there’s several, each section is on a different rudiment or technique, and
it has several exercises and then a etued at the end that culminates all the
exercises, puts it all together. And they all have tracks. This is a excerpt of that etued. But it’s Swiss Army Triplets,
flam taps and flam mills. Each of these rudiments, really if you could
play flam taps. (drumming) So I play one flam tap, which is right right with
a flam on the beginning. A Swiss triplet
just adds a note. It’s a flam tap
with an extra note. So I play right right, and then another left. (drumming) Mkay. (drumming) Either hand. A single flam mill
is a Swiss triplet with an extra note. So we have. (drumming) – Got it. – So flam taps alternate, Swiss Army triplets do not, unless you force them to, and then flam mills
alternate, naturally. So that’s all we have in
here, those three rudiments, and I strung ’em together
to play this beat. That’s four measures long, so we’re gonna switch
it after two, right. So it goes like
this, with as written with the first sticking. One, two, or Cheh-Kah-Tee Cheh-Ka-Tee, one, two, ready and. (drumming) That’s with the first sticking, now if I play it again, I’m gonna play it with
controlled strokes, so it’ll sound
completely different, but I’m gonna play it as the first measure’s
gonna be flam accents and inverted flam taps. So the sticking is
right left right, left right left, right left, left right, left right, left right, left right. And then flam paradiddles, instead of single flam mills. Alright, so where
we have flam mills, we play a flam paradiddle, wherever you have Swiss
triplets, you have flam accent, and
wherever you had a inverted flam tap,
I mean a flam tap, you play an inverted flam tap. That’s a lot to digest in just a little bit, but
I just came up with this just to show the way the interpretation
can change by the sticking. So I’ll play it again
with those rudiments. Let me tell you what, I’m gonna do ’em back to back, so you can hear the difference. – Okay, sounds good. – Let me play it
the first way first, and then I’ll go right
into the second one. Two, ready. Oop, I’m losing my
earpiece, hang on. One, two, ready, and. (drumming) – Very cool. – Quite different, right? – Very different, yeah. – And that’s just on one drum. So imagine if you
changed surfaces, how different that would sound. – No doubt. – But that’s just the
whole gist of this lesson, is that in using the rudiments, and using them in the
way you need them, or the techniques to create music. That’s how we came up with Play Music, Not Rudiments. – I love that. I love that, and for
everyone watching here, there is just a ton of
great information that you just shared with us, John. So, if you guys have
to, make sure you watch it again, especially
that last little bit there, there was a ton
of stuff in there. But, again too, I
love the couple points that you said about
the real rudiments being the motions, the strokes. And what really got me
when you were talking about that inverted flam
tap and how you can easily apply the same motion that you might not
realize you’re doing in a rudiment, but something
that you use quite often in your day to day drumming, and you might say, how
come I’m so bad at that. But if you practice
your rudiments up, it allows you to be able
to play those things a lot smoother. – That’s exactly right,
that’s exactly right. – Love it. Anything else to add? I want you to play
this fully too, though, for the end, you have a
track for that as well. But anything else
to add before we just get into a couple
questions and wrap up. – Well, should we do
the questions first, or do you want to. – Yeah, we’ll do
the questions first. – Okay, anything else to add. We got all day? – I wish we had all day. I’ll tell you what, for those
who are watching though, we are gonna do a
Q&A slash interview with John tomorrow,
live for Edge members so any rudimental questions
or technique questions, this is the guy to ask, so for Edge members only, we’re also doing like I said that Corps drumming
course as well. But there’s a couple
questions that have been submitted here, we won’t
be able to get to them all, but I got a few for
ya, if that’s okay. – Real quick, I
was just thinking. We got all these sticks here. – Yes. – You know, you use the right
stick for the right music. ‘Course, I’m not gonna use
these sticks on a drum set. – [Dave] Those are
your marching sticks. – These are my marching sticks. And these are the John
Wooton signature stick, which you can only get at
WootimentalDrumming.com. – [Dave] There you go. – But on that big drum
we’re gonna use tomorrow, I’m gonna use these sticks. – Cool. – And so I gotta
practice with these. I practice with these, these are 5A, Vic Firth 5A. And then also, with
Generals, or a concert stick, and as we saw, with brushes. Because I do all those things, I play in an orchestra. I play a drum set. I play on a rope tension drum, 17 by 17 inch snare drum. And these pea shooters
ain’t gonna get it on that drum. I gotta have these, okay. So I gotta practice with
all these implements, I gotta practice with these. When I play brushes, I
want to have the dexterity I have with sticks, and I gotta practice all
these different styles, and with all these
different implements, and with different grips. People, well what
about match grip? Yes, practice match grip. Which one’s better? Yes, practice both. – Totally, yeah. – “Which grip is better?” Yes. That’s my answer. – It’s so good. – That’s my answer. – That’s my answer to it. – Whichever one you need, whichever one you like, whichever one
works best for you. Alright, that’s the better one. – Bury that argument
once and for all, right? – Exactly. – Here’s a question
from Pat Patrillo. – Oh my God, Pat! – (laughing) He says hey,
great to hear you, brother. He says, tell us more about your Drum Corps experience
and how the rudiments helped your overall
as a percussionist. – Well, Pat and I go way back. We competed against each
other not just with Corps, but as individuals, and he always kicked my butt. He’s a little older than
me, he’s my big brother. – [Dave] There you go. – In Drum Corps, so
I marched with the Phantom Regiment, Drumview
Corps for several years and then I went on to teach
and write for that group. And of course, Pat marched
with the Bridgeman, the famed Bridgeman drumline. Of course, at that time, and speaking of
different styles, at that time, our two drumlines had completely different styles, and they played mostly
pop music, funk music, so they played their
rudiments differently. I said, they play
’em differently. They said, yeah well
those other people, they play ’em wrong. I said, wrong? They sound great! I said, we would
play ’em one way, and people would say, oh you
don’t play ’em the right. I said, we’re playing
’em for classical music, they were playing pop
music, we were playing classical music, a
different interpretation. So that’s one of the
first lessons I’ve had with how to interpret
rudiments differently. And then they helped me
with absolutely everything. I see it all the time. When I’m playing congas, you know, when you’re
playing a tumba on congas. (drumming) You see a molar stroke there? – [Dave] Yeah. (drumming) – You know, and
then ghost notes. That’s maybe far reaching but it’s just the dexterity you use and the clarity you
get from practicing rudimental drumming. It’s gonna show
up on your drums. So, actually, the best
examples I can give you is listen to David Garibaldi, listen to Vinnie Colaiuta, listen to Jason Sutter. When you hear
somebody that says, oh man, it just sounds
so clean, so good. Dave Weckl, you know. These guys. Steve Gadd. Steve Gadd marched Drum Corps. They got their rudiments down, and they got that stuff down. That’s why it sounds
the way it does. Pat Patrillo, my man. – Yeah, David Garibaldi. – Got it down, they got it down. – Very cool. We have a couple of
other questions here but a lot of them are
from Edge members, so what we’ll do is we’ll
save those for tomorrow because we are running
really low on time, John. But I did want to get
Pat’s question in, because I know you
guys go way back. It’s funny, we have
all the pictures of our guests that
have come out here and as soon as he
saw a picture of Pat, he’s like I gotta take
a picture with this guy. – You got Jim Riley up
there, Dave Garibaldi. Jason Sutter soon, right. – And soon to be, John Wooton. – How ’bout that. – The wall of fame man, yeah. Thank you so much. – Man, thank you,
this has been a blast. – I’m glad. – And what a place, oh my God. – Thank you, yeah. – Incredible. – 15 years in the making, but we finally got a
studio that’s good enough to bring John Wooton out too. (laughing) But I really do
appreciate all the stuff that you brought
to the table here. You’re always welcome here. I know a couple
people are in the chat saying you should get him up to do a steel pan lesson, so hey, that’s a possibility and I really want to
talk about that more. – We could do that. – Yeah. But again, for all
those watching, thanks for tuning in. Again, make sure you
download the PDF, follow along. For those who are
watching us on Youtube, come on and join Drumeo Edge. We do this stuff all the time, and every time we
bring in a guest, every single guest
that you’ve seen in our Youtube channel we
have exclusive course content that’s separate to
this inside of Edge, so I hope you guys
sign up for that. And also. – We’re gonna break it
down, slow it down tomorrow. And we’ll be throwing it down. – Absolutely. – Seriously. – It’s gonna be good. I’m pumped. We don’t have
anything on Drum Corps specifically on Drumeo yet, so this is gonna be
from the master himself, and again, make sure
you go and check out WootimentalDrumming.com. – Yup, we’re doing
it there, too. – Doing it there, too, they got their own thing. You and your son, Drew, which was great, again, happy birthday, Drew. And huge thanks for
all the sponsors again, Pearl, Remo, Sabian, Vic Firth, yeah so let’s play us out
with that etued. – Yeah, I’m just gonna
play it on the snare drum. This is the etued
from lesson 22, which we kinda covered,
Swiss Army triplets. It’s got flam taps, single
flam mills in there. And we’re gonna do a little
back sticking at the end. – Very cool. Well I’m gonna leave so I
can watch through there, ’cause I’ve been
sitting right here, I want to hear through
the control room. But take it away John. Again, thank you so much. – Thank you, it’s
been my pleasure. – And I’ll see you
guys all later. (drumming)

Tony wyaad

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51 COMMENTS

  1. pacman lp Posted on June 28, 2017 at 1:58 pm

    I really respect Wooton as Marching drummer and master hand technique… but (and I hate to tell this) Wooton needs some bass drum foot workouts…that Crazy Army version sounded so weird…

    Reply
  2. Jake Spies Posted on August 8, 2017 at 8:26 pm

    I actually fell asleep.

    Reply
  3. K Porter Posted on August 19, 2017 at 6:43 am

    This is SO GOOD. Every young drummer, or ANY drummers who don't have their rudiments together should really study this. Hell, drummer who DO have their rudiments in order should check this out. This the sort of foundational learning that will provide techniques, ideas, and musicality your entire life. Man, I wish I would have had access to this material when I was a kid. Incredible.

    Reply
  4. programmed wrong Posted on August 20, 2017 at 5:04 am

    For all the idiots that say he isn't a drumset player, you're clearly an idiot. This video he's using to teach. He not trying to show off. He's trying to teach beginners and less advanced at looking at simple rudiments. This video isn't really for the super advanced. Don't be idiots.

    Reply
  5. Roseller Rabor Posted on September 25, 2017 at 8:52 am

    it's the origin of drumming, this should be done by every drummer.. understanding the root.

    Reply
  6. Aetigma Facade Posted on September 30, 2017 at 5:44 am

    Isnt that a Steve Gad solo from a buddy rich memorial at the begining?

    Reply
  7. Chris Morgan Posted on October 4, 2017 at 2:32 am

    To all drummers, listen to everything Wooten says about the four strokes. This is the most important thing you will ever learn about stick control. You might be bored because he isn't trying to show off, but he is one of the best teachers in the world. He is also one the most efficient players ever.

    Reply
  8. Jeff Porcaro Groove Posted on November 12, 2017 at 2:59 am

    This kit sounds AMAZING…perfect BD mic'ing! i have not heard a kit sound this good mic'd up in a long time…that bass drum is sick!

    His crazy army is what Gadd opens with…and the feel is missing…just saying the difference between pure marching and musical expression has a gap…drum corp to kit is a different skill…this guy is great for jingles and precision drumming. Watch Gadd play the exact same tune on the PASIC 95 video and you will feel the difference

    Reply
  9. Jeff Porcaro Groove Posted on November 12, 2017 at 3:22 am

    Drumeo–HOW was this kit mic'd up? Please comment…this is one of the best sounding kits ever, especially that bass drum

    Reply
  10. giovanni natoli Posted on November 17, 2017 at 8:49 am

    Dear Maestro Wooton! I've missed a lesson whit him because of a train strike! I hope to meet him next time

    Reply
  11. Scott Swift Posted on December 5, 2017 at 4:07 am

    how nice are those shells damn

    Reply
  12. EZJaeger Posted on December 17, 2017 at 12:57 pm

    Really nice lesson!

    Reply
  13. John Bensinger Posted on December 24, 2017 at 1:56 pm

    Dab Daddy Wooten is what we used to call him in his Summer Drummin Camp

    Reply
  14. Teen Clash Posted on January 25, 2018 at 4:59 am

    isn't this from rocket league.

    Reply
  15. David Michaelsen Posted on February 20, 2018 at 2:11 pm

    He is an Expert.smooth as butter,so relaxed.i dont even have words for his technique.when he was young in the drum corps,he played and practiced over 10 hours a day.

    Reply
  16. T Man Posted on February 20, 2018 at 11:49 pm

    Drumeo is the dumbest name ever invented….I like some of these teachers, but I'm sick of seeing Drumeo dorks dominate every drum topic on Youtube. I hope someone comes up with a different channel with some soul. "Drumeo"……Is so millenial speak.

    Reply
  17. Matteo Coletta Posted on February 25, 2018 at 3:22 pm

    you guys should get another marching drummer on here

    Reply
  18. M Posted on March 6, 2018 at 10:40 pm

    HAHA! I love his cheesy comments

    Reply
  19. ygtffhjjgeggfwqqhttps://www.newsu.org/ Jon Davis Posted on March 9, 2018 at 3:00 am

    Rudiments suck just hit the cymbals harder

    Reply
  20. Andrew Tennant Posted on March 21, 2018 at 12:08 pm

    Thanks John! That's so cool; the lick that uses bounced strokes (Swiss Triplets, Flammed Mills, and Flam taps) and then changes to controlled strokes (Flam accents, Flam paradiddles and Inverted Flam Taps), just blew my mind! Those rudiments make much more sense to me now. Thanks again.

    Reply
  21. PNW Sportbike Life Posted on April 15, 2018 at 9:06 am

    My drumming is a shack:(

    Reply
  22. Dan Webd Posted on May 1, 2018 at 2:13 pm

    I like this kind of drummer, not the Steve Smith style of teaching…

    Reply
  23. Grant Perkins Posted on May 13, 2018 at 6:00 pm

    inverted flam taps are punk! career opportunities, all the young guns et

    Reply
  24. Steve Cournane Posted on May 24, 2018 at 4:07 am

    Thanks for this. I first caught John with the Vic Firth rudiment videos. They are some of the best on the internet as far as explaining the four main strokes on a snare drum

    Reply
  25. ryansadventuresontheinternet Posted on June 2, 2018 at 7:31 am

    I started drumming due to Rock Band. Now after coming back to drums years later, I realize than I learned drums all wrong and my skills were unevenly developed. Even though I could play pretty complex syncopated beats, I do not know any of the rudiments and can barely play a double stroke roll. So I Have a lot of work to do now to get better…

    Reply
  26. Spellbound46and2 Posted on June 7, 2018 at 7:55 am

    Ok, close your eyes…now listen to how similar this guy sounds to Michael Keaton. Your welcome.

    Reply
  27. Spellbound46and2 Posted on June 7, 2018 at 7:55 am

    I'm Batman

    Reply
  28. Zac Bagids Posted on July 4, 2018 at 6:44 pm

    https://youtu.be/UJsybbSHfx4?t=2m46s

    Reply
  29. Alex Pearce Posted on August 9, 2018 at 1:52 am

    0:01–1:54 is that… METAMORPH 😂

    Reply
  30. Casey Posted on August 30, 2018 at 9:28 am

    This guy. what a master

    Reply
  31. Rennie Allen Posted on September 26, 2018 at 4:17 pm

    John, you need to renew the certificate for your website: https://wootimentaldrumming.com/

    Reply
  32. Evil Kitten Productions Posted on October 31, 2018 at 6:52 am

    The "vocals" on those tracks are just horrible.

    Reply
  33. calvintrainer1212 Posted on November 3, 2018 at 4:38 am

    He's so cool and calm

    Reply
  34. #TrumpTheLyingInsaneFascistBigot Posted on December 16, 2018 at 10:17 pm

    You say, "it's a ratamacue" when working it up to speed. Not, "ratamacue", while ignoring the grace notes.

    Reply
  35. #TrumpTheLyingInsaneFascistBigot Posted on December 16, 2018 at 10:43 pm

    If one opens up rudiments to where they are all even notes, then they are no longer rudiments, just even patterns with different sticking.

    Reply
  36. Betterworld ok Posted on December 28, 2018 at 11:11 pm

    Thanks I'm learning

    Reply
  37. away72 Posted on January 20, 2019 at 12:12 am

    Very clever and cool lesson – Thank's –

    Reply
  38. Deus Vult Posted on February 17, 2019 at 2:00 am

    I didn't know Christoph Waltz was a drum god

    Reply
  39. Noam Pitlik Posted on March 12, 2019 at 6:35 am

    I can do that, too. But, I am bald.

    Reply
  40. Flamingo Sextet Posted on March 14, 2019 at 5:43 am

    Southern Mississippi To The Top! I was fortunate to be at USM, finishing up a bachelor's in another instrument, when John arrived as the percussion professor. Musician first, drummer second. So glad he stayed at USM, and to run across him here.

    Reply
  41. Geoffrey Wood Posted on May 30, 2019 at 1:02 am

    Here's ancient for ya. When I started playing, there were 13 rudiments. Now they say there are upwards of 40. The only problem with that is, these 27 new "rudiments" are combinations of the original 13. Rudiment means basic, or fundamental. So when you combine rudiments, you no longer have a basic rudiment, you have combined rudiments. An example is a flamaque, which is the combination of a flam with a ratamaque. This is no longer a rudiment, it is a combination. Same with a flamadiddle, or flam paradiddle. It's a paradiddle that starts with a flam instead of a single stroke. hell, a paradiddle is a combination of 2 sigle strokes combined with a double stroke. That is where ALL drumming comes from. Combining rudiments into patterns that are pleaseing and fit the rest of the music.

    Reply
  42. Hugo Rezende Posted on July 15, 2019 at 4:15 am

    this guy has pure control over his notes

    Reply
  43. Vidal Roman Posted on August 29, 2019 at 1:26 pm

    Awesome Woot-iments

    Reply
  44. TheHappyScotsman Posted on September 7, 2019 at 9:02 pm

    I only wanted to comment to say how much John sounds like Keanu Reeves.

    Reply
  45. hmu Philly Posted on September 19, 2019 at 11:09 pm

    plays on drumset still remains faithful to marching snare epicc

    Reply
  46. Thorbjørn Vaasi Posted on September 25, 2019 at 6:01 pm

    Snare sounds horrible.

    Reply
  47. John Wooton Posted on November 7, 2019 at 11:35 pm

    Just putting this here. https://www.youtube.com/watch?v=iWC4XcSE5nE

    Reply
  48. Agostino Scuotto Posted on November 13, 2019 at 5:44 am

    bravissimo complimenti, ma il fraseggio e di steve gad. molto bello complimenti

    Reply
  49. Luis Sanabria Posted on December 5, 2019 at 3:20 am

    I’m a newbie drummer and in love with the beat he plays at 13:10

    Reply
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