Old PIT Guy
Well-known member
I didn't read the entire thread so apologies if I'm repeating something already written. Everyone knows slow and deliberate usually wins this one, but also helping out is carving difficult sections off to work on separately, and not just in the context of whatever it is giving you difficulty.
For example, if you're having trouble keeping 2&4 with the hi-hat under a jazz ride pattern while playing syncopated figures with the free hand, play 2 & 4 on the hi-hat with something more familiar. Perhaps random syncopated rhythms between the snare and kick drum using both hands, etc.
Feel how a nailed to the floor hi-hat on 2&4 meshes with the other gears in that context and note where problems occur. Then try to mentally articulate why they're occurring. What position is the hi-hat foot in juxtaposed with the other limb and further separate that out to work on.
This sort of approach to problem solving helps me with patterns I find tricky.
For example, if you're having trouble keeping 2&4 with the hi-hat under a jazz ride pattern while playing syncopated figures with the free hand, play 2 & 4 on the hi-hat with something more familiar. Perhaps random syncopated rhythms between the snare and kick drum using both hands, etc.
Feel how a nailed to the floor hi-hat on 2&4 meshes with the other gears in that context and note where problems occur. Then try to mentally articulate why they're occurring. What position is the hi-hat foot in juxtaposed with the other limb and further separate that out to work on.
This sort of approach to problem solving helps me with patterns I find tricky.