Groove Book Jost Nickel - Jost Nickel – * Jost Nickel

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Groove BookJost Nickel‘sGROOVEJost NickelBOOKContentsPreface . 3Contents . 4Disambiguation . 6What Is “Groove“ Actually About? . 6Drum Key . 6How to Count Rhythms in This Book . 7Chapter 1: Orchestration Concepts – The Split and the Switch . 8Paradiddle . 8The Split . 9The Switch . 10Chapter 2: Groove Design .Groove 1 .Groove 2 .Groove 3 .Groove 4 .1212182328Chapter 3: Do It Yourself . 33The Four Basic Rules . 33No Rule Without Exception . 37Chapter 4: Linear Grooves .Linear Groove – Initial Pattern .Do It Yourself – Two Simple Rules .Linear Groove Study 1–2 .Linear Switch Grooves .4040424547Chapter 5: Ghost Notes .Ghost Notes 1 – Ostinato Approach .Ghost Notes 2 – Intertwined Approach .Ghost Notes 3 – Ghost Notes Before and After Snare Accents .49495257Chapter 6: Bass Drum Displacement . 65Displacement of a Bass Drum Beat . 65Omitting a Bass Drum Beat . 684

Jost Nickel‘s Groove BookContentsChapter 7: Snare Displacement . 71Snare Displacement Studies 1–10 . 71Chapter 8: Half Time – Double Time . 82Half Time – Double Time – “Double Double Time“ . 82Examples 1A–5B . 82Chapter 9: Bass Drum Technique and Control . 88Heel Up . 88Heel Down . 90Chapter 10: Three-Note Groove Variations . 943-Note 1 . 943-Note 2 . 963-Note 3 . 983-Note 1 in Half-Time Grooves . 100Chapter 11: Go-Go Grooves . 103Cowbell Pattern 1 . 103Cowbell Pattern 2 . 106Cowbell Pattern 3 . 108Cowbell Pattern 4 . 110Cowbell Pattern Studies 1–4 . 112Chapter 12: Timing, Groove, and Philosophy . 114Philosophy . 114Perfect Timing? . 115Playing Live with a Click? . 116Tempo and Adrenaline . 116The “Right“ Live Tempo . 116Playing Laid-Back, On Top, on On the Beat? . 117Tempo Anecdotes . 118Timing and Groove Exercise 1 . ou hardly have to move your arm and the movementoriginates in your wrist.The Split 1Track 2In the next example, the right hand continues to play the ride cymbal and hi-hat alternately. Here,the first beat is now on the ride cymbal and the second on the hi-hat, etc.The Split 2Track 3In the next two examples, the pattern in the right hand is divided between the hi-hat and floor tom,beginning with the hi-hat:The Split 3Track 4Here it is also worthwhile to begin with the floor tom instead of the hi-hat:The Split 4Track 59

Groove BookJost NickelThe SwitchThe second orchestration variant is The Switch, which is performed as follows:The right and left hands change instruments.The right hand now plays the snare and the left hand the hi-hat. This is a different orchestration, inwhich the sticking and bass drum pattern are retained. The right hand therefore begins on the snare.The Switch 1Before switching our hands, the snare accents were on 2 and 4. This will no longer work, as the snareis now not played on those beats. For this reason, we have to search for new accents.The Switch 2Track 6Here is a very nicegroove with snareaccents on 2e and 4e.Now we progress to combinations:In measure 1, the right hand plays the hi-hat. In measure 2, we then perform the Switch.The Switch 3Track 7Switch10

Chapter 1Orchestration Concepts – The Split and the SwitchIn the following example, the right hand plays the snare in measure 1 and then changes in measure2 to the hi-hat.The Switch 4Track 8SwitchNow we come to the one-bar versions of the Switch.In the first half of the measure, the right hand plays the hi-hat and changes in the middle of themeasure to the snare.The Switch 5Track 9SwitchThe next example, The Switch 6, is my favorite groove in this chapter. The right hand begins on thesnare and changes on 3 to the hi-hat.The Switch 6Track 10Track 11Switch11

Groove Book Jost Nickel 10 The Switch The second orchestration variant is The Switch, which is performed as follows: The right and left hands change instruments. The right hand now plays the snare and the left hand the hi-hat.

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