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5 Latin Grooves Every Drummer Should Know (Juan Carlito Mendoza)

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Are you a working drummer who doesn’t often play latin but wants to make sure you can get through the gig if you get the call? Juan Mendoza is here to save the day with five cool latin grooves every drummer should know – even if the style isn’t your bread and butter.

1. Cha-cha
Don’t have a cowbell? You can play the 8th notes on the hi-hat, but make sure you keep it “delicate”, especially in the song’s verses! Add the bass drum on the 2+ and the 4+.

One variation is to sub the 1 and 3 with a long quarter note buzz (to emulate the sound of a güiro).

2. Mambo
Your left hand moves from a cross-stick on the snare to the high tom, then back again. Your right hand plays a ride pattern over top. Add the bass drum on 2+ and add your left foot on the hi-hat on 2 and 4. (Juan moves the hi hat to the 1 \u0026 3 to make it easier to hear the downbeat when breaking down the rhythms.)

3. Nanigo
In this 6/8 groove, notice where the right hand accents are. Fill in with ghost notes on your left hand. You’re essentially playing a double paradiddle with a variation at the end. The pattern is RLRLRR LRLRLR RLRLRR LRLRLR. No cowbell? Put your right hand on the ride cymbal.

Add a kick on the downbeat and again on the last note of the second bar as a pick-up. Your left foot keeps time on the hi-hat.

4. Mozambique
Your right hand keeps the pattern going on the cowbell (or ride), with your left hand moving from the snare to the toms. The key to the Mozambique is the funky bass groove. And always keep your left foot going on the hi-hat.

5. Songo
With your right hand playing the pattern on the cowbell or ride, make sure you’re getting two distinct sounds: the accent from the mouth of the cowbell (or bell of the ride) and the other notes from the top of the cowbell (or bow of the ride). Your left hand alternates between ghost notes and accents while a few bass drum punches anchor the groove. Keep your left foot going on the hi-hat, or add a clave for an additional challenge!

While there are many other important latin grooves you should learn, these five will give you a good foundation as a working drummer. You can build from there!

Notation:
► https://www.drumeo.com/beat/5-latin-grooves-every-drummer-should-know/

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11 Ways To Be Creative With Any Drum Rudiment - Juan "Carlito" Mendoza

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“I learned a rudiment. Now what do I do with it?”

Juan Mendoza’s book Rudiment Creativity answers that question – and then some – by introducing 11 methods for adapting each rudiment to the drum set in a creative way. Anyone can play this stuff, not just seasoned drummers.

In this game-changing video lesson, you’ll learn what those 11 methods are and how rudiments can be applied to grooves. Juan recommends starting with just one of the methods (get outside your comfort zone and choose one you wouldn’t normally think of) and exploring rudiments in a non-traditional sense.

Lesson Index:
0:21 – SONG: “Nada es Imposible” by Rene Gonzales
4:24 – Introduction
7:39 – Splitting hands
10:37 – Moving the right hand
11:55 – Moving the left hand
14:55 – Sweeping inward \u0026 outward
17:35 – Subdivision adjustment
19:50 – Substitution
21:25 – Displacement
22:48 – Using a rudiment as an ostinato
24:05 – Adding accents
26:55 – Moving the accents
29:09 – Changing the time signature
31:00 – SOLO
35:40 – Takeaways
36:28 – SONG: “Odd Movements” by Damani Rhodes

The Methods
1. Splitting hands
Instead of treating a rudiment pattern as a one surface exercise, split it between two surfaces (ie. snare and tom). Try with both right and left hand lead.

2. Moving the right hand
While playing the same pattern, start moving the right hand around the toms to create more textures.

3. Moving the left hand
You can keep moving the right hand around while you start moving the left around, or keep the right hand steady and move the left between the hi-hat and the snare.

4. Sweeping inward \u0026 outward
Create melodies by sweeping inward (letting the sound sources come toward the body) or sweeping outward (moving away from the body). Try this with a double stroke roll. In this video, Juan swings the doubles.

5. Subdivision adjustment
Give the pattern a different flavor. Play an 11 stroke roll (organized around a sextuplet) and breaking it up around the kit with different accents.

6. Substitution
Substitute one limb for a different one. Try playing a paradiddle diddle where you sub the left hand for the bass drum.

7. Displacement
Instead of always starting on the downbeat, put the ‘one’ on a partial or any subdivision.

8. Use the rudiment as an ostinato
Play paradiddles and put an accent on the downbeats. Use it in a groove context and get creative.

9. Adding accents
With that same paradiddle pattern, you can move the accounts around to the e, the and, the a, and so on. Paradiddles don’t have to sound mechanical; you can make them groove!

10. Moving the accents
Add accents to a double stroke roll. Move them around. Try combining them with sweeping in and out.

11. Changing the time signature
Let’s say you’d normally play a paradiddle with 16th notes in 4/4 or 6/8. Try playing it in 7/8, letting it drift over the bar line. This is a great way to train your ear so when you’re soloing or playing something tricky you can understand how everything falls into place.

Follow us:
►Facebook: http://facebook.com/drumeo/
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Follow Juan:
► Instagram: https://www.instagram.com/juancarlitomendoza/?hl=en
► Youtube: https://www.youtube.com/user/jmensticks
► Website: https://carlitomendoza.com/

AMALIA MENDOZA "LA TARIACURI" 20 EXITOS PEGADITOS (RESUBIDO)

AMALIA MENDOZA LA TARIACURI

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