跟读练习: 3 Things I Practice Everyday - Drum Lesson - 通过YouTube学习英语口语
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Now this isn't one of the three things I'm going to show you today
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Now this isn't one of the three things I'm going to show you today
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but it is something I'm practicing a lot right now which is basically just sitting down on the kit and improvising
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because I've got the Meinl drum festival coming up in about three weeks
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and a big part of festivals and drum clinics in general is improvising.
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And it's not always that you set out to do a solo,
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it's just that maybe there's a Q&A that says hey that thing that you always do with your left foot,
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what is that?
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And it's like, oh, it's,
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you know, I just kind of add in a chick and then all of a sudden you're just going...
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So you have to have your improv chops ready for those moments.
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Now let's get into this lesson,
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three things that I practice every day.
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The first thing I do when I sit down on any kit,
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especially because I've got a kit at home with some practice pads on it.
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Then I've got my private lesson room that has a kit that I play on a lot.
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They're all the same size,
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but they're slightly different angles.
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And then I've got this kit.
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The first thing I do is I try to get acquainted with the drum set and especially the pedal tension.
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And the reason I say pedal tension is because I've never adjusted any of my pedals.
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However DW sends them, I take them out of the box.
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I put, I mean, unless they were extremely loose or extremely tight,
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I've never adjusted any of them.
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I put them on the kit and I just allow my foot to get used to them.
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So this exercise is really simple.
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Sixteenth notes around the drum set.
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Let's assume we're dealing with a four piece kit here.
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We've got one E and a,
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two E and a, three E and a, four E and a.
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The orchestration isn't that important but I'm trying to get used to the position of the drums,
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try to eliminate rim hits and things like that.
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But on 3E and a 4E
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and a I put a bass drum between every note so it essentially becomes thirty second notes.
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So we have 1E and a 2E and a 3E
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and a 3E and a 4E and a 4E and a 1E
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and a 2E and a Let's give it a shot with a click.
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Link in the description.
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Whoa!
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Singles between hand and foot,
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it's honestly something that's been frustrating me since I was a kid.
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I can never get it clean enough.
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I can never get it quite to
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that Vinnie Cagliotta level on the Buddy Rich Memorial Scholarship concert where he does it
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while he's pushing up his glasses looking at Dave.
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It's the best.
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It's just the best moment ever and I always think like,
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oh, I'll do that and then I go,
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yeah, I'm not going to do that.
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So you might be asking though,
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why not just do just singles?
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And I definitely do that quite a bit for endurance,
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but the thing with that is you're getting used to this rhythm.
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You're just staying there the whole time and your foot kind of adapts to that.
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What I like about this exercise is that your foot is stagnant and it has to jump in and be on time.
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So that not being used,
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then being used, not being used,
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I think that's much more practical.
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Because if you think about a groove like this.
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Those three hits, that's what we're doing here.
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So having that, if you're good at playing singles in between your hands,
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you're going to be good at doing it like this.
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In a groove.
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Not that you would ever have to do this for very long.
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At least I hope you don't.
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But that's what this exercise is all about
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and like I said it gets me acquainted with the position of the drums as well as the tension of the pedal.
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Moving on to number two.
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So every day I pick a new groove environment to improvise inside of and to explore.
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Obviously in this instance it's the Gadsden Groove,
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single handed 16th note groove.
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And I just sit in that pocket,
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I sit in that tempo,
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in that feel and start exploring things.
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Doing some 30 second notes.
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Is that too busy?
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Probably.
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Ooh, could I interject some triplet stuff going on here?
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And can I mess around with little hints of different subdivisions other than the straight 16th notes on the hi-hat?
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Also, I'm trying to find how far can I explore this thing without losing the actual groove itself.
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Naturally, sometimes I go too far,
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then I have to rein it back in,
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and sometimes I think I'm being a little too safe,
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and I need to explore a little bit more.
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But the goal here is to pick a groove,
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any groove, and just start to explore it a little bit more,
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and learn how to feel a little bit more free,
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so you're not so trapped inside that groove that groove.
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And finally number three this might be a bit torturous for some of you
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but trust me you will grow so much from it and it is soloing with a restriction.
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So that restriction could be a foot ostinato you could have a oh maybe like a little splash close close.
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So you're soloing over this.
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Oh I wish I could actually play that instead of just say that.
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No way I can play that.
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I'm trying.
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Woo!
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Come on biscuits and buttercups.
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Anyways, like I was saying, soloing over a restriction.
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So the restriction in this instance,
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quarter note challenge, but a little bit different than how I showed it in the Meinl videos a few years ago.
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In this case, I'm just working on a specific part of the skills that I feel like I'm lacking in.
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By the way, I got this idea from a solo that Terry Angoli did with Christian McBride.
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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.
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So you can think of like what could you do?
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You can do in between.
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Maybe some odd groupings.
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What would fives sound like against this?
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Cool.
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Some polyrhythmic stuff.
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.
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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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.
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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,
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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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背景与上下文
在这段视频中，讲者分享了他每天练习鼓的三件事情。尽管这段讲话主要围绕着鼓技，但是其中的一些概念同样适用于学习其他技能，比如提高英语口语。讲者提到即兴演奏的重要性，这使得他在即席问答中能够自如应对。这一过程不仅需要技巧，还需要适应不同的环境。
日常沟通的五个常用短语
- 我每天都会练习。
- 不管环境如何，我都要适应。
- 这个练习真的很简单。
- 我试着避免多余的音效。
- 我总是想要达到更高的水平。
逐步跟读指南
通过“shadowing”技巧，你可以有效地提高英语口语和发音。以下是根据视频内容的逐步指南：
- 选择合适的材料：根据你自己的学习目标选择视频，比如鼓的练习视频。在这个例子中，可以选择讲者的鼓练习，以此获取发音和语调的示范。
- 逐句跟读：聆听后，尝试跟随讲者的语音。这种“shadow speech”可以帮助你掌握语调和节奏。在听的过程中，模仿讲者的口气和情感表达，确保你不仅关注发音，还要关注交流的自然度。
- 重点短语练习：每天重复练习上述的短语，比如“我每天都会练习”，并尝试在不同的上下文中运用这些表达。这将对你的雅思口语练习非常有帮助。
- 录音与回放：自己录制跟读的声音，回放并与原声对比。关注你的发音如何与讲者的发音相符，以便发现需要改进的地方。
- 反复练习：坚持每日练习，随着时间的推移，你的发音自然会有所提高。将这种shadowing练习变成你日常的一部分，能更快地提升你的英语水平。
通过这些步骤，你不仅能提高英语发音，还能增强整体口语能力。无论你的学习目标是什么，记得保持练习的频率，以达到最佳效果。
什么是跟读法？
跟读法 (Shadowing) 是一种有科学依据的语言学习技巧，最初开发用于专业口译员的培训，并由多语言者Alexander Arguelles博士普及。这个方法简单而强大：您在听英语母语原声的同时立即大声重复——就像是一个延迟1-2秒紧跟说话者的影子。与被动听力或语法练习不同，跟读法强迫您的大脑和口腔肌肉同时处理并模仿真实的讲话模式。研究表明它能显着提高发音准确性，语调，节奏，连读，听力理解和口语流利度——使其成为雅思口语备考和真实英语交流最有效的方法之一。