- Yeah! (laughs) (applauds)
Well done, man.
Well done. - Thanks.
- Ladies and gentlemen, Mister Rodney Holmes on the drums.
Yeah.
Thanks for coming out, buddy.
- Oh, it's a pleasure.
Thanks for having me.
- Yeah, anytime.
We've actually been chatting for,
I don't know, the last couple years now,
and I'm so glad we finally got to make something work.
- Right. - And bring you out to Drumeo.
And for those of you who don't know who Rodney is,
there's almost a 99% chance you've heard him.
He has recorded,
or is a drummer on one of the most popular songs ever,
which is Smooth by Santana,
along with a bunch of other great accolades,
working with the Brecker Brothers.
In fact, you're currently working with Randy Brecker,
I believe. - Yep.
- And are gonna be going on tour with him and Jim Weider.
You are also going to be going to India
for an All-Star show in the next couple months.
- That's right. - As well as Switzerland, too,
to do a jazz arts festival.
- It's a Jazzaar festival.
- My bad.
- It's okay.
- (laughs) Yeah.
So, yeah, man.
Welcome to Drumeo. - Thank you.
You have a really cool lesson plan for you.
You're a very creative and unique drummer.
There's a reason why
you get called to the studio as much as you do,
and that's because you have a personality
to your playing.
And I think it's a great lesson topic,
adding personality to your grooves and to your playing,
because, like I said, you're very unique.
You have a distinct sound to you,
and I think it's great.
- Thank you very much.
- Huge thanks to TAMA, Meinl, Vater Drumsticks
and Evans for helping put this together,
and for supporting Rodney throughout his years.
But, yeah.
What did you play on?
What was that song called, the first track you just did?
- Oh, that's a song called Ghost.
- Ghost.
- That I wrote for an upcoming album that I'm doing.
- Very cool.
So, that's coming out this year?
- Yeah. - 2018?
- 2018.
- Awesome, what's that album going to be called?
- The name of the album is Axiom,
and I'm about halfway through right now.
- Nice.
Make sure you find that when it's released.
You can find Rodney Holmes at his website,
RodneyHolmes.com.
You can also find him on Instagram at RodneyHolmes1.
- That's right.
- And then on Facebook at RodneyHolmesMusic.
So make sure you check him out, follow him,
and see what he's up to this year.
So, that's enough of me talking.
For those watching on YouTube, welcome.
For those watching on Drumeo, welcome.
If you want to see what we do here on Drumeo,
head on over to our website and sign up.
We do this kind of stuff all the time.
We're also gonna be filming
a bunch of exclusive content for Edge members,
as well as an interview,
with some questions being answered tomorrow.
But today's topic: adding personality to your grooves.
- Right.
- Take it away, man.
- Well, a lot of people have asked me
about certain grooves that they've heard me
do over the years,
and I wanted to talk a little bit about
how you can add some of your own personal touches
to just normal kinds of grooves
that you may be playing all the time.
(hi-hat clangs) And so there were two
that I thought might be interesting.
One is kind of like a halftime groove with a backbeat,
and I just wanted to give you some idea
of how I come up with different ideas,
just from having to deal with a halftime groove,
just some of the things that I've come up with over time
playing in different projects
and different kinds of music.
So, this particular groove
(hi-hat clatters)
came from
playing like a halftime backbeat, like this.
(drumming)
Something like that.
And so I started
just adding little things,
and because of certain situations where I've been in
where there's been, like,
a space for a guitar solo,
or maybe just a break, like an instrumental break,
I started adding little things.
First it was a little ghost note type patterns
behind the hi-hat and the snare.
(drumming)
Stuff like that.
And then I started adding the toms.
So, let me give you an idea of what the actually idea is.
The sticking, (laughs)
I guess I should start with the sticking.
Well, okay, let's start here.
Basically, the sticking is
(hi-hat beat)
So, we play the backbeat.
(drumming)
So, if I was gonna play it,
just kick, snip, hi-hat,
it would sound like this.
(drumsticks clack)
(drumming)
So, it sounds pretty straight and simple that way.
But the idea was to add different parts of the kit,
using the same sticking.
- Now, before you go onto that,
can you just show us the sticking?
It's on the PDF, too.
This is number two we're talking about here.
But maybe you just explain the sticking
and how you came up with that?
Because that's already a pretty personal touch
to that regular halftime groove.
- Yeah.
It's a--
(drumming)
So, it's basically,
if you were just listening to the phrase--
(hi-hat beat)
So, this is--
(drumming)
that's where the backbeat would be.
(drums beat)
And it's, I use that a lot.
It's a nice pattern to kind of move around a kit.
Like, plate it in grooves like this.
(drumming)
- [Host] (laughs) Okay.
- So, you can take that and move it around.
So, you take that same sticking,
and you can kind of move it,
well, primarily with the right hand,
you can move it anywhere, you know.
Anything that sounds musical,
and if you can get some sort of,
like a melodic narrative going.
Like you could use it on the toms.
You can use it on the cymbals.
(drumming)
So, I started using it on the toms,
and adding some cowbell, adding some cymbals.
Like this.
(drumming)
So.
(drumming)
You can do it like that.
And it sounds cool slow.
(drumming)
So, I would sometimes,
well, a lot, add the hi-hat
just to give people a point of reference,
so they can hear exactly where the one is.
That's a nice thing to do.
(hi-hat beat)
Open-close splash thing happening.
So, the whole thing sounds like this.
(drumming)
- (laughs) I love it.
- And that's the idea.
- So, how did you develop that?
Because I remember watching a video of you,
I think it was in 2003,
maybe it was the Modern Drum Fest.
It was a video where you taught a beat
similar to that, actually.
- That was 2005.
- 2005, sorry.
But I remember watching that over and over again,
and you have that, like,
you can tell that that's a Rodney groove.
So, how did you develop that personality behind the kit?
- Uh, well. (laughs)
I think that it's a combination,
it's a culmination of all of my influences.
And I think what gives a person a personality,
it's like,
I mean, I look at it like spoken language.
And just like any child,
you learn how to speak from the people around you.
- Right.
- You know, your parents, your friends, whatever.
Like, whoever's around you,
as a child, you imitate them.
And so no matter,
it doesn't matter
if you're speaking the same language as everyone else.
You're processing that language through your own prism,
and through your own life experiences,
and through your own characteristics.
So, even though I'm using the same words
that other people use, you know,
I'm still saying something that they wouldn't say.
- Right.
- I put words together in ways that are slightly different.
I have a way of speaking.
You know, everyone has their way
depending on where they grew up
and what their influences are.
So, the way I processed my musical
influences
was unique to me just because I'm me.
You know, and you're you. - Yes, yeah.
But it was a lot of different influences.
It's from listening to a ton of different dialects of music.
And so, I just thought of
not only playing the groove,
and getting the groove to sit in a certain way
and sound great,
but melodically, how can I get the groove
to have a narrative all its own?
You know?
Particularly in the context of a drum solo.
Or a break or something like that.
And I think that applies to drum solos.
It applies to just coming up with grooves
that fit music really well.
Just to try to come up with something that sounded good,
like, that someone would want to hear more than once.
- Right.
- And so I just got into the habit of orchestrating things
based on the music that I listened to
and my early drum influences.
- Makes sense. - Yeah.
You know, people like Max Roach and Tony Williams,
and when I was very young, big fan of Steve Gadd.
Just anyone who was melodic.
Well, any of those guys.
They were very melodic.
So, they were influences.
But trying to come up with things
that if I hadn't heard them,
I never would have come up with any of that.
Do you know?
They would open little portals,
but it's up to you to step through it.
You know, they show you a concept,
and it's just like, "Wow, that's an approach."
So, you can extrapolate that over years and years
of just listening to different kinds of music
and different drummers that came along before me.
- Right.
- And they just opened things up to me.
Like, helped me to think of doing things in a different way.
- So, your approach with this and the melodic side of it,
going around the toms,
making something enjoyable to listen to,
that's bled through everything you play.
- Yeah, yeah. - You try to apply,
if someone comes to you and say,
"I'd like you to play a halftime groove on this album,"
that's kind of what you go.
It obviously depending on the song.
- Yeah, I mean, yeah.
Well, if someone asked me,
if they called me and said, "Okay, can you play on this?
"It's a halftime groove,"
I wouldn't just start playing.
- Sure, of course, yeah. (laughs)
- What I would do is to play them,
the thing that works best for the song,
you know. - Yeah.
- With the bass players playing.
If it's a vocal tune or if it's an instrumental tune.
My first priority is to make the song work and feel great.
Then, you know,
if the artist or producer would ask me,
"Hey, could you,
"That's cool, could you add something to it?"
Then little by little, I'll try different things
to augment the groove.
Maybe little things on the hi-hat,
like, subtle, subtle things.
Or maybe the kick drum a little busier,
maybe playing with the bass player,
or not playing exactly with the bass player.
There are a million variables, you know.
It depends on what's happening in the song.
But there are other places where I could take it.
- Yeah, well take us through that process.
This halftime groove.
Show us, like, kind of step-by-step.
Maybe play it as you develop it,
and add some nuances in.
- I think in the very beginning,
I'd started just adding other pieces.
(drumsticks clack)
(drumming)
See, it's like a straight groove like that.
Then you have more a groove, just more like--
(drumming)
So, I may do something like that.
Or-- (drumming)
Something like that.
Or, keep this going,
so that this gives
the band and the listeners a point of reference,
and maybe trying something over here.
(drumming)
You know, something that's not too offensive.
Something that still sounds like music.
(drumming)
Something like that. - Yep.
- Still sounds nice and musical.
- Yeah.
- It came from just adding things
in different situations,
and, you know, one thing led to another
and I started doing--
(drumming)
Stuff like that.
And then that's when that sticking came about.
(drumming)
That particular pattern.
And from doing that,
from some of the stuff that I did with Jim Weider,
because he does a lot of,
sort of like rock halftime grooves.
Stuff like--
(drumming)
I started going--
(drumming)
(cymbal crashes)
Stuff like that. - Yeah.
- He wrote a tune called Ma'am Cry
that was a halftime groove,
and it was like this tempo.
(drumming)
And so I started doing this.
(drumming)
I wanted something with some tom toms.
And then that's when I started coming up
with all sorts of things, you know.
Because it's a long tune
with like two guitar solos,
and eventually a drum solo.
So, I came up with
(drumming)
And then eventually, with that, that other pattern.
- Very cool. - So it was just
playing with Jim and playing with different people
and just developing ways of expanding, you know.
- Do you have a certain mix or pattern or rudiments
that you find creeps into your playing more times than not?
- Um, I would say the paradiddle
did a little more than anything.
- Yeah?
- I mean, in my opinion,
I think the paradiddle might be the most valuable rudiment.
And it's a silly thing the say,
like one rudiment being more valuable.
I think what I mean is,
it's just a great, it's a beautiful rudiment
because you have to,
you have to alternate.
And it's a combination of doubles and singles.
So, what it does is,
it not only builds your hands
and gets you used to switching from doubles to singles,
but it also does something with your brain.
Your brain gets used to firing the synapses to switch.
Which is a useful thing. - Right.
- So, you can come out of whatever you're doing,
either with the right or the left.
And it's just kind of a nice way to
gain more accessibility to the kit.
You know, even something simple as--
(drumming)
And then you can come up with different phrases.
(drumming)
It just gives you this access to the kit.
(drumming)
All of that comes from (drumming)
switching from doubles and singles,
and alternating. - Right.
- So, I would say in terms of getting the most mileage,
the paradiddle,
I get the most mileage out of that than anything.
- Makes sense.
- Yep. - Yeah.
- You have another groove on the page, a 7/8 groove.
Do you want to talk about that
and show us how you added your own personality to that?
- The 7/8 groove was something
that I like to use during drum solos.
But yeah, that came from playing in situations
where the music, nothing was in 4/4.
I mean, nothing. - Really?
- Yeah, I played with this great guitar player
many years ago named David Gilmour.
Not the famous David Gilmour--
- From Pink Floyd. - From Pink Floyd.
- Okay. - Another David Gilmour.
He's a phenomenal guitar player.
And he used to write all this crazy music.
And I was in his band for a few years.
And so I got used to trying to come up
with different ways of playing all of these odd meter tunes.
And it was always like
a bar of seven, a bar five, two bars of two,
a 3/4 bar, and something.
It was always these really angular shapes.
But how would I make that sound pleasant,
you know, rather than like math?
So, and the songs are very beautiful.
But it was complex stuff.
So, in an attempt to make it feel
and sound less like an odd meter, or meters,
I started coming up
with ways of making it sound
I guess more digestible to people that don't know anything
about odd meters at all.
You know, they're just listening.
- Right.
- So, and playing something like
a 7/8 groove with something simple, like--
(drumming)
Something like that.
I started, again, similar to the other groove,
just trying to find different ways of
filling it out and making it colorful.
And so I started using--
(bass drums boom)
This double kick drum pattern,
which is--
(bass drums boom)
So, that's the pattern.
And so, let's say I was playing
like a simple 7/8 groove.
(drumming)
So, that was how it started.
Just to get that heartbeat going.
(bass drums boom)
And to me, it just sounds nice.
It just has a nice shape to it.
It had a tendency to pull people in when they heard it.
- Right.
- So, that was the basis of the groove.
So the whole thing is--
(drumming)
You can play that anywhere.
We can play it on the right cymbal.
You can play it on a tom
the right hand part.
(drumming)
Okay?
(drumming)
When you move it around,
it sounds less like the same angular pattern
spliced together. - Right.
So when you do stuff like this--
(drumming)
- Very cool. - Stuff like that.
And then you can add things.
(drumming)
You can do things like that.
- Show us that one more time a little slower, if you can.
That was really cool what you just did there.
- Um.
The basic pattern?
- Just what you were doing on the cymbals, and everything.
It was just so cool.
- Uh.
(drumming)
That's the pattern.
- Right.
- And then you would add things like--
(drumming)
Because when you move things around,
it has a, it's got a nice hump, you know.
It doesn't sound like math.
When you have interconnecting parts, you know.
It's hard to explain, but.
- Yeah, no, I get it.
I get it.
So, for drummers watching,
you mentioned your influence is a huge reason
why you're, that's how you developed your sound.
But what kind of recommendations
would you give drummers out there
to come up with some sort of personality behind the kit?
- Well.
Well, one thing I would say,
that being open minded is crucial.
If you're a younger drummer,
I would recommend listening
to drummers that came long before
you or anyone else that you know.
Because it seems like drummers don't go back
and listen to people from the '50s and the '60s,
and the '70s, the '80s, even the '90s.
You know, they may go back four years.
They name their influences,
and it just doesn't go back that far.
So, what happens is you're denying yourself
this reservoir, this universe of rich music.
I mean, there've been so many phenomenal drummers
over the decades,
and it just seems like a lot of drummers
don't know who they are.
People like Max Roach and Elvin Jones and Sid Catlett.
Just incredible players.
So, it helps to know who they are
and have some idea of what they did in the past,
because we're,
even if you don't know it,
you're standing on a lot of people's shoulders.
You're playing things that
were done a long time ago,
and then there were people that learned from them
and added to that,
and people that learned from them and added to that.
So, you're probably playing a lot of things
that drummers sort of developed
or were experimenting with in the past.
Personally, in my humble opinion,
I think it helps your music, it helps your playing,
to know something about those guys or girls.
To know something about the linears,
the permutations that music and the drummers that made it
or were involved in it.
Just knowing something about what they did
gives you something to draw from.
So, that's one thing, you know.
I'm not saying you have to be a historian,
but just have some idea
of what guys have done throughout the years, number one.
Number two is don't cut yourself off from,
I like to call it different dialects of music.
I don't like to use the term genre.
- Okay.
- Don't cut yourself off from something
because you don't think it's cool to listen to it
right away.
Because the moment you say,
"Oh, I don't like this kind of music,"
when you make a definitive statement like that,
you'll hear something, and you'll hear someone,
and you say, "Wow, that's cool."
And it's that music that you said you didn't like.
- Of course, yeah.
- So, remain open minded and do some research.
That's number two.
Number three, listen and learn, but
understand that there's a difference
from being influenced by someone and copying them.
- Yeah, I was gonna say that,
because at one point you want to listen
and figure out what these other great drummers have done,
but you also want to be more personal.
- Right.
- It's not about imitating,
it's about coming up with your own personality.
- Exactly.
And I was, I guess, up until the age of maybe 18,
I would imitate people that I looked up to.
By the time I hit 19,
you can't get away with that.
I mean, I couldn't.
Where I came up in New York playing,
I mean, you were frowned upon if you sounded,
if you were playing the exact licks,
you know, they could tell.
So, there's nothing wrong with imitating people,
but again, it's like a child imitating an adult
to learn how to say certain words.
They just repeat what someone else says
because they're used to using the words
and putting sentences together.
Once you understand that,
you're not gonna go around
just repeating what other people say.
So, if you can think of it that way.
- Right.
- However, maybe there are certain words
or certain,
a certain terminology
that you wouldn't even have known about
if someone hadn't said something to you.
So, just hearing them say something
or sharing an idea can open your mind to something
and lead you to something really cool later on.
So, that's an influence.
- I love it, yeah.
- That's the difference. - Right.
I mean, there are tons of influences in
the way I play, but you couldn't recognize.
You couldn't say, "Oh, that came from this person," ever.
- Right.
- Which is how I think they would want it.
Because I had to find myself within those parameters.
You know, you hear other musicians,
older musicians, and they would open the door,
and then you have to walk through it.
You have to find yourself,
but again, just to reiterate,
being influenced by someone doesn't mean copying them.
Not forever.
So.
- Love it. - That's one thing.
And just remain open minded.
Try things.
If you like something,
if you hear something and it really affects you,
and you just love what you're hearing,
check it out.
It doesn't matter what category it's in.
If it's something that appeals to you,
do the research.
Check it out.
See what they're doing.
See what they've done.
See what the band has done.
Don't just look at 10 seconds of something on YouTube.
Really check it out. - Right.
- And that, I believe,
can help you to kind of find your own voice.
Even if there are things that you think you might like,
but when you play it you're not really feeling it,
that's okay.
Because then you can acknowledge, like,
"Wow, I like this, but that's not really me."
So, this part of it something that can help me,
but not this part. - Right.
- And there's no disrespect in that.
But just be open minded and do some research,
and check things out,
and open yourself up to all the possibilities,
and be honest with yourself.
Realize when you're,
when you get to a certain point,
like I said, I can only use myself as an example.
By the time I hit 19 years old,
I did not want anybody to be able to hear me
and say I sounded like someone else.
You can say that you hate me,
but just don't say I sound like--
- As long as you don't sound like anyone else.
Well, you definitely have your own sound to it.
Let's get you to play another tune, if you don't mind.
Because we want to hear some of your personality
out of these drums.
You have another track lined up,
correct? - Yeah.
- And what is the song?
- This is a song called Electric Wildlife.
Ghost is new.
That's going to be on this new album.
Electric Wildlife is on an album
called Twelve Months of October.
- Okay.
- That I recorded,
actually it was released in 2005.
So this is old. - Okay.
- And some people out there would know this song.
But it's fun.
It's a cool tune, so I figured I'd play it.
- Let's hear it!
- All right.
("Electric Wildlife" by Rodney Holmes)
- Oh, I love it!
I love it, man.
Very smooth.
You're just, effortless behind that kit.
- Oh, thank you.
- That was very cool.
So, we've got a couple questions that have come in,
and if you don't mind, I'll ask you a few of 'em.
First one is actually talking about your kit set-up.
I know Gene and Shackman and a couple members
have asked about your specific kit,
and I'll take it one step further.
How much of your kit set-up
has to do with your personality behind the drums?
Because you look at guys like Neil Peart,
and he has a specific set-up.
He's known for it.
Terry Bozzio, you know, all these drummers.
And you have a unique set-up, too.
I always see a cowbell right mounted on your bass drum
in most of the videos that I've watched of you.
So, first question is,
how big of an influence is your set-up to your personality?
- I would say zero.
I think
my set-up is a reaction to my personality.
- Ah, okay. - Not the other way around.
- All right.
- I was a big Rush fan when I was a kid.
Me and this guitar player, we used to get together
and play through all the stuff
from Permanent Waves and Moving Pictures,
and at that time I wanted this huge kit.
And after listening to a lot other people later on,
like Clyde Stubblefield and just a ton of other people,
I realized that lot of the things I wanted to get,
I didn't need a kit that large.
The way, the kind of how I was hearing drumming.
I think with some people, there's certain sounds,
or certain things that they want to get,
so they need those things.
Me, I was able to get the sounds that I needed
from a kit that constantly got smaller
and smaller and smaller.
So, the kit is a direct reaction
to how I want this,
the music that I was hearing drum-istically.
- Which makes sense.
And again, you can see it,
the very similar set-up in a lot of your videos,
so you can tell that
that's influenced your set-up, at least,
your personality's influenced--
- Definitely, definitely.
and I may add a floor tom.
You know, I think,
you know, maybe a 16, a couple of floor toms.
Maybe a couple of cymbals.
Sometimes I'll use a splash.
But that's it.
And the cowbell, you know,
that was just something I came up with
when one of the very,
one of the only teachers I ever had
was a percussionist named Frankie Malabe.
And so I took a couple lessons from him
to learn some of the authentic Afro-Cuban rhythms
and kind of how he applied them on drum kit.
And so I used the cowbell for that
because some of those rhythms that I was learning.
- Right.
- And then seeing other drummers, again,
from the past that did cool stuff,
and maybe they had a cowbell.
Steve Gad, a few other guys.
And I though it was nice.
It was nice to have it there.
And then I found out, I don't know,
it was just a nice color to have in any style of music,
so it's just a nice sound to go to.
- I agree.
I love it.
I love hearing the grooves.
Whenever you move to the cowbell,
it always gives it another level, in my opinion.
Last question before we wrap things up.
We're gonna do a full interview with Rodney,
so for those Drumeo members that have questions
that we're not getting to,
we'll get to those tomorrow.
But the biggest one, we're talking about influences.
Who are your top five influencers
on the drum set? - Oh, god.
That question is--
- I know, you probably get asked it a lot.
- That's so hard. - Yeah.
- That's difficult.
- Because you don't want to leave anyone out.
- That's the thing.
I don't want to leave anyone out.
I feel really bad, because everyone is so important.
- Yeah.
- And even, like, a lot of guys
that a lot of drummers don't know.
Just phenomenal players that I grew up seeing.
- Maybe mention some of those guys, because--
- Guys like Tommy Campbell
and
you know, just wonderful musician.
There are a lot of guys that are around town
that were just phenomenal and good people.
And drummers never talk about them.
So whenever I leave someone out,
I just feel bad. - Yeah, fair enough.
Fair enough.
- But I'd have to say,
I mean, there are probably a few
that really shaped me at a particular time.
And (exhales)
Max roach is a big one.
And the reason I keep mentioning Max
is because there's so much of what,
there's so much of Max in a lot of drumming in general.
That's another thing I don't think people realize.
Like rock drumming.
Like, just the whole thing of using toms.
Like-- (drumming)
Using things in melodic ways.
You know, Max used to do things like that.
He would compose entire drum solos
in different time signatures,
then pay the melody on the toms.
And just kind of little things that he would do
during his drum solo.
(drumming)
Stuff like that.
(drumming)
You know, Steve Gad, who was also a big Max fan,
would, you know--
(drumming)
You know, a lot of that stuff comes from Max.
- Right, right.
- Tony Williams is huge.
John Bonham was a big influence, as well.
I would say they're Tony, Max.
When I say Tony I mean Tony Williams.
Maybe Elvin, well, definitely Elvin.
But I'm trying to think of
the people that kind of shaped how I set up my drums
and things like that.
It's hard to name five.
It's just impossible.
- Yeah, I get it.
- Yeah, but those are the guys that I would say
really shaped how I kind of set-up
and realizing what I could get out of a small kit.
- Right.
We'll we're running low on time.
- Okay.
- Is there anything else you want to add?
Any other tips or challenges to the viewers watching,
the drummers out there who are trying to get
their own sound behind the kit before we wrap up?
- Uh, no.
I don't really have much to add,
other than just
fundamentals are, like, incredibly important.
But just remember that these are tools.
You know.
It's a means to an end, not the end.
So, whatever technical things you're practicing,
they're tools.
They're tools so you can gain access to the kit
and play your music, play the music that you hear,
play the music that, you know,
whatever band you're playing in, or whatever.
But the technique, it's just a tool.
An important tool, but just, you know.
Keep in mind that the idea is to play music
and find yourself in whatever you're playing.
Like, if you're in a rock band,
or if you're doing a lot jazz,
or if like me you're doing a lot of all of it,
there are ways
to be authentic and truthful to the music,
and adapt to the music, but still sound like yourself.
You have to find yourself.
Just be honest.
If something's not happening,
be honest with yourself and say, "Hey, that's not.
"I need to get that together.
"I need to work on this," or, "I need to work on that."
But through that, through honesty,
you'll start to find your own way of speaking.
At the same time, doing the music justice
and servicing the song or the situation.
- Very cool.
Thank you so much.
- You're welcome. - Yeah.
I hope you guys enjoyed this.
I really liked how you just broke down
two simple beats, halftime, 7/8 groove,
show it how you add your own creativity to it.
And you took 'em to a whole new level.
They're notated there if you want to try what Rodney did,
and again, if you want to try to use him
as an influence to your drumming.
But try not to imitate him 100%, right, I guess?
- Yeah, I mean, if they're really young--
- Go for it.
- Then that's how you learn.
You imitate people, but--
- A couple members in the chat were saying,
"If someone told me I sounded like Rodney Holmes,
"that would be the biggest honor in the world."
So. - That's nice.
- So, thank you everyone for watching.
I hope you enjoyed it.
Again, if you like what you're hearing here,
come on over to Drumeo.com.
We're gonna do a full course
on the body fulcrum with Rodney,
a Q and A, and some other real cool little lessons
and quick tips for you, as well.
So, check us out there.
And again, a huge thanks to TAMA.
Huge thanks to Evans, Meinl, and Vater Drumsticks
for helping make this happen.
Rodney, I'm gonna leave it at that,
but I want you to play us a solo.
Is that cool?
- I'll try, see what I can do.
- All right. (laughs)
I'm putting you on the spot here.
I'm gonna leave.
Everyone, enjoy the solo.
Rodney, thank you so much.
- It's a pleasure.
- And we'll see you later, guys.
- All right. - Buh-bye.
("Electric Wildlife" by Rodney Holmes)
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