शैडोइंग अभ्यास: 3 Things I Practice Everyday - Drum Lesson - वीडियो के साथ अंग्रेजी बोलना सीखें

Now this isn't one of the three things I'm going to show you today

but it is something I'm practicing a lot right now which is basically just sitting down on the kit and improvising

because I've got the Meinl drum festival coming up in about three weeks

and a big part of festivals and drum clinics in general is improvising.

And it's not always that you set out to do a solo,

it's just that maybe there's a Q&A that says hey that thing that you always do with your left foot,

what is that?

And it's like, oh, it's,

you know, I just kind of add in a chick and then all of a sudden you're just going...

So you have to have your improv chops ready for those moments.

Now let's get into this lesson,

three things that I practice every day.

The first thing I do when I sit down on any kit,

especially because I've got a kit at home with some practice pads on it.

Then I've got my private lesson room that has a kit that I play on a lot.

They're all the same size,

but they're slightly different angles.

And then I've got this kit.

The first thing I do is I try to get acquainted with the drum set and especially the pedal tension.

And the reason I say pedal tension is because I've never adjusted any of my pedals.

However DW sends them, I take them out of the box.

I put, I mean, unless they were extremely loose or extremely tight,

I've never adjusted any of them.

I put them on the kit and I just allow my foot to get used to them.

So this exercise is really simple.

Sixteenth notes around the drum set.

Let's assume we're dealing with a four piece kit here.

We've got one E and a,

two E and a, three E and a, four E and a.

The orchestration isn't that important but I'm trying to get used to the position of the drums,

try to eliminate rim hits and things like that.

But on 3E and a 4E

and a I put a bass drum between every note so it essentially becomes thirty second notes.

So we have 1E and a 2E and a 3E

and a 3E and a 4E and a 4E and a 1E

and a 2E and a Let's give it a shot with a click.

Link in the description.

Whoa!

Singles between hand and foot,

it's honestly something that's been frustrating me since I was a kid.

I can never get it clean enough.

I can never get it quite to

that Vinnie Cagliotta level on the Buddy Rich Memorial Scholarship concert where he does it

while he's pushing up his glasses looking at Dave.

It's the best.

It's just the best moment ever and I always think like,

oh, I'll do that and then I go,

yeah, I'm not going to do that.

So you might be asking though,

why not just do just singles?

And I definitely do that quite a bit for endurance,

but the thing with that is you're getting used to this rhythm.

You're just staying there the whole time and your foot kind of adapts to that.

What I like about this exercise is that your foot is stagnant and it has to jump in and be on time.

So that not being used,

then being used, not being used,

I think that's much more practical.

Because if you think about a groove like this.

Those three hits, that's what we're doing here.

So having that, if you're good at playing singles in between your hands,

you're going to be good at doing it like this.

In a groove.

Not that you would ever have to do this for very long.

At least I hope you don't.

But that's what this exercise is all about

and like I said it gets me acquainted with the position of the drums as well as the tension of the pedal.

Moving on to number two.

So every day I pick a new groove environment to improvise inside of and to explore.

Obviously in this instance it's the Gadsden Groove,

single handed 16th note groove.

And I just sit in that pocket,

I sit in that tempo,

in that feel and start exploring things.

Doing some 30 second notes.

Is that too busy?

Probably.

Ooh, could I interject some triplet stuff going on here?

And can I mess around with little hints of different subdivisions other than the straight 16th notes on the hi-hat?

Also, I'm trying to find how far can I explore this thing without losing the actual groove itself.

Naturally, sometimes I go too far,

then I have to rein it back in,

and sometimes I think I'm being a little too safe,

and I need to explore a little bit more.

But the goal here is to pick a groove,

any groove, and just start to explore it a little bit more,

and learn how to feel a little bit more free,

so you're not so trapped inside that groove that groove.

And finally number three this might be a bit torturous for some of you

but trust me you will grow so much from it and it is soloing with a restriction.

So that restriction could be a foot ostinato you could have a oh maybe like a little splash close close.

So you're soloing over this.

Oh I wish I could actually play that instead of just say that.

No way I can play that.

I'm trying.

Woo!

Come on biscuits and buttercups.

Anyways, like I was saying, soloing over a restriction.

So the restriction in this instance,

quarter note challenge, but a little bit different than how I showed it in the Meinl videos a few years ago.

100

In this case, I'm just working on a specific part of the skills that I feel like I'm lacking in.

101

By the way, I got this idea from a solo that Terry Angoli did with Christian McBride.

102

So I did not make this up.

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I saw him do a solo,

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and I just thought, that'd be easy.

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And then I went, yeah, I think we're good.

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So I had to practice it.

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Now where I feel like I'm lacking is right hand and bass drum together on the hi-hat against this.

108

So you can think of like what could you do?

109

You can do in between.

110

Maybe some odd groupings.

111

What would fives sound like against this?

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Cool.

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Some polyrhythmic stuff.

114

Things like that.

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So I'm just working on that.

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It sounds like this.

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Ah, come on!

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So as you can tell,

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I'm still working on it.

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And that's what I'm trying to tell you is I'm practicing these every day because I don't have them down.

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If I had it down I would just nail a solo out for you and go like,

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Yep, still working on it.

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It's like, are you?

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Or are you just making yourself feel better by playing things you can already play?

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I don't have this down yet.

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I'm trying things.

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I'm going for them.

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And I'm physically not able to do that.

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Those threes?

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Ah, I want those threes!

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And they're within reach, right?

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Like, you know what it's like to have something within reach where you're like,

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I can think of it and I'm so close to do it,

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but I just can't.

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So what's it going to take?

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Oh yeah, practice.

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So, YouTubers, I hope you got something out of seeing a little bit of the process,

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seeing what I'm working on right now,

139

every single day, chipping away at it one note at a time,

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not getting disgusted with myself,

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not thinking, oh, I'm the worst drummer ever.

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It's like, it's just going to take time.

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I'm going to have to chip away at this stuff,

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and so will you for whatever it is you're working on.

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Hope you enjoyed this.

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Please like, subscribe, all that good stuff.

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And if you're going to the Meinl Drum Festival,

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I will see you there.

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If you're going to the UK Drum Show,

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I will see you there.

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I've got my own room this year called the Mike Johnson Education Room.

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It'll be me, Richard Spaven,

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Carter McLean, and Matt Griner from August Burns Red.

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So I'm very excited about that.

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So hopefully I'll see you there.

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If not, I will just talk to you in the comments below.

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Oh yeah, and check the description.

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Everyone asks about notation and like this metronome, all this stuff.

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All the information you could ever need is in the description below.

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But until next time, go practice.

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इस पाठ के बारे में

इस पाठ में, आप तीन महत्वपूर्ण बातें सीखेंगे जो हर दिन प्रैक्टिस करने से आपके ड्रम वादन में सुधार हो सकता है। विशेष रूप से, आप ड्रम सेट के साथ अपना तालमेल कैसे बिठाना है, पैडेल टेंशन के महत्व को समझेंगे, और अपने पैरों और हाथों के बीच एकता कैसे विकसित करें। यह अनुभव आपको आपकी ड्रम्मिंग में सुधार लाने और श्रोताओं के सामने इम्प्रोवाइजेशन के लिए तैयार रहने में मदद करेगा।

मुख्य शब्दावली और वाक्यांश

पैडल टेंशन: ड्रम पैडल की कसावट जो आपके खेल पर प्रभाव डालती है।
इम्प्रोवाइजेशन: तात्कालिक संगीत बनाना जो रियाज के दौरान आता है।
सोलो: संगीत का एक स्वतंत्र भाग जिसे एकल कलाकार करता है।
सिक्वेंस: संगीत के लय का अनुक्रम।
रिम हिट्स: ड्रम के किनारे पर लगने वाले वार जो संगीत में व्यवधान उत्पन्न कर सकते हैं।
सिंगल हिट्स: एकल बार का संगीत जो हाथों और पैरों के बीच होता है।

अभ्यास टिप्स

आप इस पाठ से अधिकतम लाभ उठाने के लिए shadow speech तकनीक का उपयोग कर सकते हैं। वीडियो की रफ्तार और लय के साथ खुद को मिलाने का प्रयास करें। आपको हर समय बोलने और खेलने का प्रयास करना चाहिए, ताकि भाषण और संगीत का तालमेल बन सके। कम वॉल्यूम में शुरू करें, और जैसे ही आप आत्मविश्वास हासिल करते जाएं, धीरे-धीरे वॉल्यूम बढ़ाएं। इस प्रक्रिया में, आप अपनी गलतियों से सीखते हुए अपनी अंग्रेजी बोलने का अभ्यास भी कर सकते हैं। सलाह दी जाती है कि आप वीडियो को बार-बार देखे और shadow speaks शैली में बोलने का प्रयास करें, इससे आप धीरे-धीरे अपने उच्चारण और लहजे में सुधार करेंगे। यूट्यूब से अंग्रेजी सीखें ताकि आपके भाषा कौशल में निरंतरता बनी रहे।

इस वीडियो का व्याकरण

वक्ता जिन संरचनाओं का सबसे अधिक प्रयोग करता है, वीडियो के असली शब्दों के साथ:

संरचना	वीडियो में
शर्त वाले वाक्य if + उपवाक्य, will/would + क्रिया — शर्त और उसका नतीजा	If I had it down I would just · If not, I will just
Present perfect have/has + past participle — बीता हुआ काम जिसका असर अभी भी है	I've never adjusted

शैडोइंग तकनीक क्या है?

शैडोइंग (Shadowing) एक विज्ञान-समर्थित भाषा सीखने की तकनीक है जो मूल रूप से पेशेवर दुभाषिया प्रशिक्षण के लिए विकसित की गई थी। विधि सरल लेकिन शक्तिशाली है: आप मूल अंग्रेज़ी ऑडियो सुनते हैं और तुरंत इसे ज़ोर से दोहराते हैं — जैसे वक्ता की छाया 1-2 सेकंड की देरी से। शोध से पता चलता है कि यह उच्चारण सटीकता, स्वर, लय, जुड़ी हुई ध्वनियाँ, सुनने की समझ और बोलने की प्रवाहशीलता में काफ़ी सुधार करता है।

शैडोइंग तकनीक: पूरी चरण-दर-चरण गाइड पढ़ें →

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