Advanced Sextuplet Chops - Gospel Chops Drumming Masterclass
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Advanced Sextuplet Chops - Gospel Chops Drumming Masterclass

Creative Linear Phrasing and Sextuplet Gospel Chop Sequences
5.0 (29 ratings)
Instead of using a simple lifetime average, Udemy calculates a course's star rating by considering a number of different factors such as the number of ratings, the age of ratings, and the likelihood of fraudulent ratings.
279 students enrolled
Created by Nick Bukey
Last updated 9/2016
English
Curiosity Sale
Current price: $10 Original price: $30 Discount: 67% off
30-Day Money-Back Guarantee
Includes:
  • 1.5 hours on-demand video
  • 27 Supplemental Resources
  • Full lifetime access
  • Access on mobile and TV
  • Certificate of Completion
What Will I Learn?
  • Play a range difficult, innovative and inspiring Sextuplet Gospel Chop Sequences.
  • Gain a whole new tool kit of Linear Sextuplet Phrasing.
  • Create your own Chops, Licks, Fills, Patterns, Orchestrations and Sequences.
  • You will develop some serious CHOPS!
View Curriculum
Requirements
  • Sticks, drum kit and a practise space
Description

The best Gospel Chop lessons on the internet!

This course consists of 20 lessons explicitly teaching advanced linear sextuplet phrasing. You will learn to play a variety of innovative, challenging and inspiring gospel chop sequences. 

The aim of this course is to demystify the world of sextuplet gospel chop drumming and provide you with a tool kit of phrases, licks and fills that you can use in your playing. 

This course is aimed at intermediate/advanced drummers and is unique because there very little talking. It is suited to drummers who enjoy seeing clear demonstrations, exercises and transcriptions. Each lesson follows an innovative lesson structure that makes learning the difficult chop sequences presented easy!

7-step lesson structure.

1.    Demonstration

2.    Breaking It Down – Phrasing Exercise

3.    Putting It Together I – Triplet Combination Exercise

4.    Putting It together II – Sextuplet Combination Exercise

5.    Fill Applications I – 2 Beat Fills

6.    Fill Applications II – 1 Bar Fills

7.    The Finished Product

All you have to do is follow the videos and complete the exercises outlined in the PDF's.

This course delivers a variety of fun, challenging and inspiring linear sextuplet fills that you can copy, practice and internalise. After you have spent enough time developing your technique and playing these fills, you should be able to improvise freely and create your own patterns and phrases.


Who is the target audience?
  • Intermediate to Advanced Drummers looking to develop Linear Phrasing, Speed and Coordination.
  • Drummers who want to develop the skills to improvise freely.
  • Drummers who enjoy quality demonstrations, breakdowns and challenging exercises .
  • Drummers serious about developing amazing chops.
  • Drummers who want to improve their ability to read drum set notation.
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Curriculum For This Course
20 Lectures
01:29:15
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The Featured Chops
11 Lectures 59:57

Welcome to the Advanced Sextuplet Chops Course!

This video walks you through the 7-Step Method and explains the structure of the lessons in this section. 

Course Outline - Download the Course Outline for further more detailed information about the author/producer, background, lesson format and content.

Progress Checklist - Download the Progress Checklist to keep track of your progress throughout the course. Tick off each exercise you have completed and use a metronome to to track your tempos. Make sure to play the patterns cleanly paying attention to the ghost notes and accents before you speed begin speeding the patterns up.


Preview 02:23

In this Lesson, you will learn to play the ‘4 Stick Cross’ Sextuplet Chop. This fill features a left leading (LRLR) cross-over pattern between the Hi Hat and the Floor Tom. The pattern occurs on beat 3 of both bars and is a little awkward to play at high speeds. When practicing this orchestration, remember to bring the left hand under the right when transitioning from the Hi Hats to the Floor Tom. The fill also features an interesting Paradiddle-diddle orchestration in Phrase 1 and a 6 Stroke Roll in Phrase 3.

Preview 05:45

In this lesson you will learn how to play the ‘Smooth Rider’ Sextuplet Chop. This fill features many interesting ideas put together. Phrase 1 is played completely with the hands and features a 6 Stroke Roll and two (RRL) 3 note sticking patterns. Beats 3 of both bars are made up of a RKK RKK pattern and a LKK RKK pattern and the fill finishes on a 4 + on the Crash/Snare followed by the Kick to transition back into the groove.

The 'Smooth Rider' Sextuplet Chop
05:59

In this lesson you will learn how to play the 'Hallmark' Sextuplet Chop. This fill features a number of different length sticking patterns joined mostly by doubled Bass Drum insertions. The sticking patterns all differ in length throughout this fill are arranged in groups of 3,7,2,3,4,7,7 and 2. The fill also features an interesting 7 note sticking (LRRLRLL) between beats 1 and 2 of both bars as well as a very tasty right leading 7-note orchestration to transition back into the groove. 

The 'Hallmark' Sextuplet Chop
06:06

In this lesson you will learn how to play the ‘Slick Slider’ Sextuplet Chop. This fill features a shrinking 9 note sticking pattern based on the 6 Stroke Roll that gets shorter by one note each time (RLLRRL RLL, RLLRRL RL, RLLRRL R). The fill also features 5 doubled Kick Drum strokes inserted throughout and finishes on the Crash and the Snare on beats 4 + to transition back into the groove. It is called the ‘Slick Slider’ because it slides down the toms twice throughout the fill and flows very smoothly around the kit.

The 'Slick Slider' Sextuplet Chop
05:42

In this lesson you will learn how to play the ‘McIntyre Mudshake’ Sextuplet Chop. There are many notable patterns within the phrases of this fill and it is an excellent Kick Drum workout. Phrase 1 makes a simple and repeatable lick around the drums and works great as a stand-alone fill on its own. This chop also features an interesting (RRLKK LRKK RRL) orchestration in Phrase 2 played between the Kick, Snare and Hi Hats as well the recurring theme of KKRL played all over the kit.

This chop was written during a lesson with one of my students where I was guiding him through the process of how to make up a linear sextuplet fill. The resulting fill is what was transcribed during the lesson and later became part of this course.

The 'McIntyre Mudshake' Sextuplet Chop
05:47

In this lesson you will learn how to play the ‘Fay Smelter’ Sextuplet Chop. The 4 phrases combine nicely to make a unique fill with a lot of attitude. The left handed ghost notes in Phrase 3 can be a little difficult to keep quiet and the fill finishes with a slightly different variation of the ‘4 Stick Cross’ covered in lesson 2.

The 'Fay Smelter' Sextuplet Chop
05:41

In this lesson you will learn how to play the ‘Go-to Gavin’ Sextuplet Chop. This chop is very hand dominant and features only Single Kick Drum insertions. This fill was inspired by Gavin Harrison’s playing in the song ‘Hatesong’ on Porcupine Tree’s 2005 live DVD Arriving Somewhere. I fell in love with this style of fill from the moment I heard it and decided to write my own version using similar sticking's and orchestrations.

The 'Go-to Gavin' Sextuplet Chop
05:46

In this lesson you will learn how to play the ‘Trail Blazer’ Sextuplet Chop. This chop features an interesting orchestration of the RLRLKK pattern in phrase 1. The orchestration forces a lot of hand movement and creates the illusion of a cross-over when the hands don’t actually cross. Watch out for the (KRLRLL RRLKKL) sticking in phrase 3 as it feels a little unnatural at first and take note of the identical rhythms with different orchestrations in Phrases 2 and 4.

The 'Trail Blazer' Sextuplet Chop
05:31

In this lesson you will learn how to play the ‘Caramel Kick’ Sextuplet Chop. This chop features a very satisfying (LRLRLL) pattern that flows down the toms between phrases 1 and 2. The sticking, ghosting and kick drum insertions in Phases 3 and 4 can be a little awkward to play as well. Watch out for the LRL sicking and the single ghost note in the middle of Phrase 3 as it can be a little difficult to coordinate too.

The 'Caramel Kick' Sextuplet Chop
05:34

In this lesson you will learn how to play the ‘Angry Bird’ Sextuplet Chop. This chop features an accented Paradiddle sticking in Phrase 1 as well as a left leading Paradiddle-diddle sticking in Phrase 3. Phrase 4 flows very nicely down the toms and back to the Hi Hat and Snare to finish the pattern.

The 'Angry Bird' Sextuplet Chop
05:43
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Getting Creative - Combination Fills + Phrase Banks
2 Lectures 09:01

By now, you should have 40 new phrases under your belt and be able to apply these phrases into the gospel chop sequences I have given you. In this section, I have created a summary of the 40 Phrases you have learned so far and have put them into 3 Phrase Banks.

Bank 1 – Right Leading Phrases

Bank 2 – Left Leading Phrases

Bank 3 – Kick Leading Phrases

It’s time to get a little more creative and start to cut and paste, combine, and arrange these phrases into your own Gospel Chop sequences. In the following 5 lessons, you will see examples of fills that I have created by combining 4 Phrases together from the Phrase Banks. All you need to do now is pick out some phrases and arrange them in different sequences to challenge yourself. Make sure you choose and select your phrases carefully so you don’t create any awkward patterns like 3 or 4 right hands, left hands or kicks in a row. 

TASK 1 – Learn and master Combination Fills 1-5

TASK 2 – Use the Phrase Banks to create you own Fills

Combination Fills 1-5 - Creating Fills using the Phrases Banks
04:43

In this lesson you will see a collection of 10 Phrases that you can use as ‘go-to’ licks when you are improvising. These Phrases work well as stand-alone fills on their own and sound great at high speeds.

Many of these phrases have been taken from the fills in the previous section of the course and there are a few bonus phrases added in towards the end. Practise these phrases over and over paying attention to your dynamics and gradually increase the tempo.

Happy shredding!

Shredding
04:18
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3 Piece Sextuplet Chops
5 Lectures 13:40

In the following Section, you will learn to play five 3 Piece Linear Sextuplet Fills.

I created this section of the course to show that you don’t need to have a large and extensive Drum Kit in front of you to showcase your chops. I am finding that these days my gigging kit is getting smaller and smaller and is often reduced to just 3 pieces. Playing with three pieces is of great benefit because it makes you be more creative and forces you to make the most of what you’ve got.

At this stage of the course you should be getting faster at decoding and learning the Chop Sequences. The following 5 lessons are fast-tracked lessons and only include 4 parts.

Lesson Structure

1.  Demonstration @ 95 BPM

2.  Breaking It Down – Super Slow

3.  Putting It Together – Sextuplet Combination Exercise @ 60 BPM

4.  The Finished Product @ 95BPM

The summaries of the individual phrases are included in the PDF’s.


The '4 Stick Cross' #2 3 Piece Sextuplet Chop

In this lesson you will learn to play the ‘4 Stick Cross’ #2 3 Piece Sextuplet Chop. This fill features three 4 Stick Cross-over sticking’s as well as an interesting RLR sticking between the Floor Tom and the Hi Hats. The first three phrases are unique as they start on a Kick Drum stroke. 

Note - When playing 3 Piece fills, it is important to become confident leading with your left hand as it is often used to transition from the Floor Tom back to the Snare or Hi Hat.



Introduction + The '4 Stick Cross' #2 Sextuplet Chop
03:23

In this lesson you will learn to play the ‘Kick Wrangler’ 3 Piece Sextuplet Chop. This fill features 9 doubled Kick Drum strokes and is very right foot dominant. It is difficult to play a high speeds because many of these Kick Drum strokes are very close together and are only separated by single or double notes played by the hands.

Preview 03:00

In this lesson you will learn to play the ‘LR Swiper’ 3 Piece Sextuplet Chop. This fill features a LR swiping motion between the Hi Hats and the Snare. There are also two ‘4 Stick Cross’ sticking’s to further complicate things. This fill is the hand equivalent of a tongue twister but flows nicely when you can transition smoothly between the Phrases. The ending is also a little awkward as it finishes in a LRLKKR sticking and transitions back into the groove with a Crash Cymbal stroke played by the left hand.

The 'LR Swiper' Sextuplet Chop
02:15

In this lesson you will learn to play the ‘Pocket Rocket’ 3 Piece Sextuplet Chop. The way that the accents and the Kick Drum notes fall within this pattern make the chop sound very groove-like. Because the accents fall heavily on beats 2 and 4, this fill could be classed as a Pocket Chop. The two left handed accents on the last beat of Phrase 1 and the third beat of Phrase 2 make this rhythm a little awkward to play at high speeds. The fill finishes with a very simple (probably the easiest in this course) RLRLKK pattern finishing on the Crash and the Snare to transition back into the groove.

The 'Pocket Rocket' Sextuplet Chop
02:23

In this lesson you will learn to play the ‘Fill Dunphy’ 3 Piece Sextuplet Chop. This fill takes elements from the ‘LR Swiper’ as well as the ‘4 Stick Cross’ and merges them into Phrases 1 and 2. Take note of the KRL KRL transition from Phrase 2 to 3 as well as the Crash/Snare KLRLL pattern to transition back into the groove.

Download Phrase Bank 4 - 3 Piece Fills

Phrase Bank 4 consists of 20 more 2 beat Sextuplet Phrases. Cut and paste these Phrases together to come up more fills of your own.

The 'Fill Dunphy' Sextuplet Chop + Phrase Bank 4 - 3 Piece Fills
02:39
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Improvising + Conclusion + Extra Material
2 Lectures 06:37

In this lesson you will see an example and an explanation of how to develop skills improvising with sextuplet chops.

TASK – Put on a slow metronome and begin playing various phrases from the phrase banks and combine them into an improvised solo. Keep it slow so you have time to think. Add in your own sticking’s, orchestrations and kick patterns and get comfortable transitioning between your different ideas and transitioning smoothly. Do this for minutes at a time or until you run out of ideas. You can always go back to single strokes, rudiments or just leave some space if you run out patterns to play.

It may take weeks or months to develop confidence improvising with these patterns but persistence is the key. Gradually increase the tempo if your improvisation sessions and flow will come.


Improvising
02:04

In this video you will see my concluding remarks as well as some extra footage. 

The footage consists of extra exercises, bonus chop sequences, 32nd Note Chops, shredding examples and footage of me practicing in preparation for the recordings.

You’re at the end of this course now, but it’s really only the beginning because there is a lot more work to do. You can always play these fills, cleaner, faster and smoother and add new chops to your repertoire. I hope you revisit this material over and over and have many hours of enjoyable and challenging practise ahead. It is your job now to take these ideas, make them your own, build upon them and work them into your game.

Congratulations and thank you for completing this course! Stay tuned for my next course Advanced 32nd note chops, which is coming soon. It was a pleasure making this material for you.

Cheers!

Nick


Conclusion + Extra Footage
04:33
About the Instructor
Nick Bukey
5.0 Average rating
29 Reviews
279 Students
1 Course
Musician, Session Drummer and Music Educator

Nick Bukey is Musician, Session Drummer and Music Educator from Newcastle Australia. He runs a Drum School focused on developing well rounded, versatile and musically literate drummers. He is also an experienced school teacher holding a Bachelor of Education/Arts (Honors) from the University of Newcastle. He has 20+ years of drumming experience and 15 years of teaching experience. Nick is well trained in virtually all styles of music and has a strong knowledge of music theory and a high level of musicianship.