In this lesson, we carry on from part one and look at combining the Mozambique rhythm with some other well known Latin-style rhythms to create a bit of a hybrid. Part two of three. Issue 18 of iDrum Magazine. For the notation for this lesson, please email pat@patgarvey.net and I'll email it to you.

In this lesson, we look at introducing the Mozambique rhythm and using it in a more Rock & Pop type context. Part one of three. Issue 17 of iDrum Magazine. For the notation for this lesson, please email pat@patgarvey.net and I'll email it to you.

In this lesson, we look at creating textures with basic components of the kit, as well as inter-limb dynamics, touch, musicality and tone production to produce multi layered grooves with texture being the main component focus. Issue 11 of iDrum Magazine. For the notation for this lesson, please email pat@patgarvey.net and I'll email it to you.

In this lesson we look at how to communicate with a writer and re-create programmed beats. I'm using a track called 'Under The Weather', which I recorded with a band called 12 Stone Toddler as an example of this. Issue 12 of iDrum Magazine. For the notation for this lesson, please email pat@patgarvey.net and I'll email it to you.

The first in a two-part lesson looking at phrasing and how to get multiple phrases, grooves, chops & solo ideas from one sticking pattern. This lesson introduces the sticking and some foundation setting exercises, along with creating different phrases from the one idea. Issue 15 of iDrum Magazine. For the notation for this lesson, please email pat@patgarvey.net and I'll email it to you.

The second in a two-part lesson looking at phrasing and getting multiple phrases, grooves, chops & solo ideas from one sticking pattern. This lesson expands on the content from the first lesson by introducing multiple fill/chop & groove ideas. Issue 16 of iDrum Magazine. For the notation for this lesson, please email pat@patgarvey.net and I'll email it to you.

In this lesson, which is part two of two on the subject of odd time signature work, I add the next section and put the whole piece together. Issue 6 of iDrum Magazine. For the notation for this lesson, please email pat@patgarvey.net and I'll email it to you.

In this lesson I'm looking at methods of practicing and playing broken 16th note double kick grooves, under three different hand patterns. Issue 3 of iDrum Magazine. For the notation for this lesson, please email pat@patgarvey.net and I'll email it to you.

Following on from part one, our second dose of double kick groove construction, this time spicing things up with sextuplets. Issue 4 of iDrum Magazine. For the notation for this lesson, please email pat@patgarvey.net and I'll email it to you.

In this lesson, we continue our exploration of groove construction, analysis and application but with a different groove and style, and in a different context including how to get multiple sounds from one drum. Issue 2 of iDrum Magazine. For the notation for this lesson, please email pat@patgarvey.net and I'll email it to you.

In this lesson we're going to take a look at soul, but a very specific groove & one that is not talked about, widely speaking, as much as many others in this genre. This groove, originally played by Ed Greene - a truly great session player who has played on many, many great records with many defining artists -- is from the Barry White song "I'm Gonna Love You Just a Little More Baby". Part of learning an instrument is learning other people's parts, and part of that is learning to emulate their time feel and sound. Time-feel in particular is something that is unique to each individual - which is what makes it so hard to emulate! Remember the goal is to develop your own voice, and your own sound through a study of others. Sooner or later we all have to look at how to break down parts and ideas in order to build them up and break down independence barriers & that's part of what we'll look at this month. Be patient with this and try to really sit on the groove for long periods at a time in your practice. Issue 24 of iDrum Magazine. For the notation for this lesson, please email pat@patgarvey.net and I'll email it to you.

In this lesson, which is part one of two, I break down some odd time grooves, put them together and demonstrate ways of counting and then augmenting the patterns. For the notation for this lesson, please email pat@patgarvey.net and I'll email it to you.

In this lesson we continue our work under the Groove Concepts heading by looking at some creative uses for the paradiddle & some of its inversions. Nice grooves & fills here people! Issue 14 of iDrum Magazine. For the notation for this lesson, please email pat@patgarvey.net and I'll email it to you.

In this lesson, we're looking at key hand/foot combo's for the metal genre as well as putting a dynamic groove together made up of 2's & 3's - good workouts for the feet in this one. For the notation for this lesson, please email pat@patgarvey.net and I'll email it to you.

In this lesson I re-cap on part one and explore building on the foundations we laid in part one with some cool little exercises and patterns. For the notation for this lesson, please email pat@patgarvey.net and I'll email it to you.

From my time with iDrum Magazine: In this lesson we take a look at 70's rock/jazz fusion in the context of the great Tony Williams and his fusion group The New Tony Williams Lifetime. The original trio, Tony Williams Lifetime, formed circa 1969, went a long way to paving the way for Jazz/Rock fusion as we know it today, and although perhaps unsurprisingly it was rejected at the time by many a 'die hard' jazzer, the debut album 'Emergency!' is now looked upon as a fusion classic. We're going to break down a groove from the track 'Fred', it's one of those 'must learn' grooves - one that has many uses but a groove that also presents many technical challenges. Issue 20 of iDrum Magazine. For the notation for this lesson, please email pat@patgarvey.net and I'll email it to you.

In this session I explore part one of a two part session on left foot independence, starting by laying some foundations. For the notation for this lesson, please email pat@patgarvey.net and I'll email it to you.

Another old video from my time with iDrum Magazine. In this lesson, we take a rhythm for the snare drum, take it to the kit, look at an approach to practice in this area, and augment the subsequent groove with what are essentially rudimental sticking patterns - rudiments. Issue 7 of iDrum Magazine. For the notation for this lesson, please email pat@patgarvey.net and I'll email it to you.

In this lesson, we carry on from parts one & two, and look at using the Mozambique rhythm as a basis for a more fusion style groove - you'll need your wits about you here! Part three of three. Issue 19 of iDrum Magazine. For the notation for this lesson, please email pat@patgarvey.net and I'll email it to you.

In this lesson we're going to take a look at Reggae, and we're going to do that in the context of the great #CarltonBarratt who rose to prominence as the drummer for The Wailers, who of course ended up as the backing band for Bob Marley. Carton Barratt featured on all the albums recorded by The Wailers through this period and due in no small part to the world-wide appeal of Bob Marley, went on the popularise the one-drop rhythm, going a long way to setting in stone its place in contemporary popular music. There are many prototypical examples of this beat, however, some of the best and most audible from a production perspective, in terms of more 'modern' day production, can be found on Bob Marley & The Wailers 'Legend' and Natural Mystic' albums. We're going to break the rhythm down, have a look at different feels and build it back up in the context of the rhythm itself, whilst also having a look at a slightly different groove at the same time -- the Steppers, aka 'four on the floor'. Issue 21 of iDrum Magazine. For the notation for this lesson, please email pat@patgarvey.net and I'll email it to you.

In this lesson, we're going to take a look at hip-hop. Hip-hop, like any of the other styles/genres/sub-genres that we're looking at in this series of lessons, is far reaching and wide ranging in its mix of influences and rhythmical gold that is on offer for us, the drummer. Rather than look at the 'usual' stuff, I'm going to use a fascinating groove that was originally in a track called 'Reign of Terror' by a great UK hip-hop act called 'Gunshot'. Replicating this pattern on the kit, opens up the kit and forces us to think about the logistics or recreating such a groove, and reminds us that there is a wealth of great music out there, past and present, that is more than worthwhile exploring. Take this slow, be patient and aim for consistency, feel and spot-on timing - the centre of the click is what you're aiming for with this. Issue 22 of iDrum Magazine. For the notation for this lesson, please email pat@patgarvey.net and I'll email it to you.

In this lesson, we're going to take a look at shuffling, specifically the Texas Shuffle in the context of Rhythm & Blues. Late last year I took on a load of work that involved nothing but shuffling, with a blues trio and with an organ trio, and suddenly there was a lot of left hand work going on and shuffling with different swing feels (or degrees of swing if you prefer) & it got me thinking that it would be a great subject for a Tech Session because of the shuffles importance as a groove and feel in contemporary music. Understanding the shuffle and being able to swing are two very important factors as a musician. Some of this session is about understanding technically how it works with the right and the left hand, e.g. there are more economical ways of playing than others - but that's nothing new & nothing unique to this subject - most of it is in the feel and musical application. How good it sounds and how well you can control it at a cross range of tempi, depends on how good, or effective your technique is. When you get into this, you'll find there are many different 'types' of shuffle & feels to match, & it can all get very confusing at first. The best single piece of advice anyone can really give you here is simply to listen to the records, find out who played on them, learn to play them, get some mates together & jam it out. Get out & play music in this style & find your own voice within it -- then you'll have it. Sometimes we come across rhythms, grooves and feels that past theoretically what they actually are, are hard to quantify -- this is music, just enjoy it! Take this slow and be patient, and don't be put off if your left hand feels really awkward at first - I've been there! Push through, persevere, get out & play, have fun & it'll come. Issue 23 of iDrum Magazine. For the notation for this lesson, please email pat@patgarvey.net and I'll email it to you.

In this lesson we're taking a look at Classic Metal in the shape of a defining groove and set of fills, and we're going to do that in the context of Dave Lombardo and his playing on the end section of Slayer's 'Ghosts of War'. Dave's drumming style and interpretation of other styles has influenced most metal drummers -- and a lot of drummers further afield -- around today. We're going to look at developing single stroke based fill patterns around the kit, the logistics of getting around the kit and how to develop getting power into your stroke at speed. Copying other peoples playing, trying to emulate their feel and the sound of their equipment is such a valuable part of the learning process for us as musicians that it's hard to get across just how important it is in one paragraph but remember the goal is to develop your own voice and your own sound through a study of others - the world doesn't need another Chris Aldler, Pete Sandoval, Lars Ulrich or Dave Lombardo - it needs YOU! Be patient with this, it takes time, but with focus and commitment you'll get there -- quicker than you think as well! Issue 25 of iDrum Magazine. For the notation for this lesson, please email pat@patgarvey.net and I'll email it to you.

In this lesson, I look at groove construction, analysis and application using some cool stick patterns as a basis. From my time with the now defunct iDrum Magazine. For the notation for this lesson, please email pat@patgarvey.net and I'll email it to you.