So we're doing it with whole notes, one note per beat.
Now let's try two notes per beat and you still need to maintain that whole internal thing of laying back, letting the beat happen
and finding the wave within that slow pulse and riding that.
So we've got the beat.
I'm just breaking it up into quarters for myself.
So we're going to do two notes per beat and we got.
I'm already rushing, I've got to pull back.
I'm sucking at this, see what I mean? Alright.
One more time. It's the toughest thing.
Three note per beats now. One triplet, two triplet, three, it's so slow, it's painful.
One, two, three, two, two, three. One, two, three, two.
It shouldn't be this difficult. It's difficult but it shouldn't be as bad as I'm screwing it up.
It's because I'm trying and the worst thing you can do is try.
I know that doesn't make sense but when you're trying, you're taking away what makes it natural.
It's when you don't try it becomes something natural.
So you have to think about it but not think about it. You probably know what I mean if you've done that.
Alright. See, I'm still fighting my tendency to rush it.
Let's try four notes per beat. So here's the beat.
So I'm playing and it's not even so much I'm trying to focus on being steady.
I'm almost just kind of thinking about keeping it behind and that's what I'm practicing here.
Once you've got that etched in your head you don't have to think about it anymore it'll just happen.
Let's see what else do we want to try? How much do we want to go here?
We can try five notes per beat, why not? We're going to try five notes per beat.
One, two, three, four, five, one, two, three, four, five. One, two, three, four, five, one, two, three, four, five.
There it is.
I'm trying to get close to the beat but be a little behind it. Alright.
I'm slowing down too much.
One more time. One, two, three, four, five, one, two, three, four, five.
So everything is just a little behind and it's hard to maintain that and you just want to practice getting smooth and relaxed with it and easy with it.
Being behind the beat.
Six notes per beat, why not?
Where every note that's on it, that's anchored down is a little behind.
Too slow.
I'm on it.
Cool.
Seven notes per beat, hmm. How do you fill that one out.
Alright well then you can start dividing.
When it starts getting to seven a lot of times even six you just want to think one, two, three, one, two, three,
or one, two, three, four, five, six, one, two, three, four, five, six.
For seven you might want to think the way the way Rush would always do it.
You know one, two, three, one, two, one, two, one, two, one, two, three. You can do that.
Start dividing the group into little sub groups.
One, two, three, four, one, two, three, one, two, three, four, one, two, three.
So you need to get that in our forty BPM thing going on.
Laid back. Super laid back.
It's tricky, it's tricky.
Ok seven, one more time.
Jumping ahead. Stay behind.
I'm not afraid to screw up on camera, it's human.
Screwing up is good, it's a human thing, in fact it's stuff that people love is the imperfections that's what makes your playing human.
I know we strive to be perfect and accurate and everything
but honestly if you listen to boot legs of your favorite band or something, it's the little screw up that they make that just makes you smile and that's
the thing when you're jamming that song with your friends and you make that screw up and everyone just looks at each other like yeah, you got it.
You got the screw up.
Yeah, there's nothing wrong with screwing up.
That said, try and do your best.
Don't try and screw up but if it happens it's ok, you're human so it's alright.
It gives it character.
Let's try eight now.
Feel it. Divide in your head.
Play to that. Have it a little bit behind.
Too far behind. There we go.
What you should be thinking about is those down beats, those little, the metronome hits and when you land on them being behind them.
So you're playing, you're playing, you're playing, you're playing but where you're connecting to those you want to be behind it.
So it's sort of a weird thing to focus on like normal you focus on just you know, just playing the scale.
You want a piece of your own mind to be thinking about that beat.
There you go.
Cool, so yeah let's work on that.
It's not about your hands, it's not about all of that, it's about what your feeling and connecting to that and connecting that to the rhythm
and really getting in touch with it.
Getting in touch with the beat that you're playing to and then just pulling back and not jumping in front of it.
It's tricky, it's tough and it's not something you really see, it's something you feel.
So it's not really something I can truly demonstrate.
I can just tell you about it and then you have to try it and find it and good luck!
Good, thanks for watching.