ドラムによる、あなた自身のポケットの発展について(By Pocket Queen)

Pocket Queenが語る「ドラムによる、あなた自身のポケットの発展について」を翻訳しました。




◆I feel like I have, I attach emotions and movements to audio and I try to synchronize them.
It's the spaces in between the notes, it's the analyzation of the spaces in between the notes and the feel of those spaces.
You know, pocket is associated with making people dance, but real pocket determines how they dance and how they move to it.
It's the movement of the music.
Which cameras do I look at?



◆Ladies and gentlemen, The Pocket Queen.
Taylor, that was awesome.


◆Thank you so much.
That song is by a good friend of mine, Nikko Ielasi, an amazing arranger, composer, songwriter.
NikKollective Volume 2 will be out soon.
Go check out NikKollective Volume 1 and yeah, great music, support great music.

「NikKollective Volume 2」が近日中にリリースされます。
是非、「NikKollective Volume 1」をチェックして、素晴らしい音楽をサポートしてください。

◆Welcome to Drumeo.
Hey, this kit's sounding killer, I wanna give a shout out to all the brands, quickly, before we go forward.
Special thanks to Tama Drums, Evans Drumheads, Paiste Cymbals for making this possible.
The kit sounds amazing and we are so thankful to be able to work with you guys.
And we are stoked to have you here as well.
This is gonna be amazing.

Tama Drums、Evans Drumheads、Paiste Cymbalsに特別な感謝を捧げます。これが可能になったのは彼らのおかげです。

◆Thank you.


◆We're gonna be talking about pocket, how to develop your pocket.
You're gonna be sharing some of your inside tips on how to get a killer sounding pocket.
But before we dive in, I'd love to hear you play another track and groove some more.


◆Sure, I'm a little winded, I ain't gonna lie, like I, I'm trying to catch my breath.
Whew, too much sushi.
All right let's do it.


◆So this is a play-along track you can find inside of Drumeo.
It's really funky.
One of our own instructors actually played this, Jared Falk, and he has a completely different pocket and sounds than yourself.
So you're gonna take this song and put your own spin on it and if you guys like this, go and check out Drumeo.com, download the track yourself and have some fun.
This is, "Greyson's Ladder".

実際、私たち自身の講師であるJared Falkが演奏していて、あなた自身とは全く異なるポケットとサウンドを持っています。


◆Taylor, nice work! That was, I really love this combo here.

Taylor、素晴らしい演奏でした! このコンボ、本当に素晴らしいですね。

◆Did you?


◆With the stack and the high-pitch 13-inch.
You busted a stick?


◆In the middle, you know.
I didn't know if that was gonna work, that was like, okay, smooth operator in there.


◆That's a pretty smooth stick drop.
Hey, I forgot to mention this in the intro, but if people wanna check out more of your killer drumming groove, where can they find you?


◆You can find me at instagram.com/thepocketqueen, Facebook, Patreon, 10 bucks a month, THEPOCKETQUEEN, @THEPOCKETQUEEN, hash, I mean, not hashtag, that slash thing, THEPOCKETQUEEN, that's where you can find me on most social media platforms.

So today we're gonna be talking about pocket.
You're gonna share some of your inside tips with us and you have some really cool things you work through and some of your own processes.
But first up, you wanted to talk a bit about just what pocket is.
I think a lot of people overthink this subject.
So would you like to dive a bit into that and explain-


◆ Definitely.


◆Where most people maybe fall short or if they overthink what pocket is.


◆I've heard different definitions over time of what pocket is or what pocket means to a musician, because it's not just drums, it's like a overall musical standing or what I define as pocket.
The way that I look at pocket and how I approach pocket is not necessarily the notes that are being played, but it is the notes, it's the spaces in between the notes, it's the analyzation of the spaces in between the notes and the feel of those spaces.
So it's more about analyzing when you're not playing than when you're playing.
I think that is in depth to look at what pocket is.
I think pocket determines the movement of the music.
It determines not only, you know, pocket is associated with making people dance, but real pocket determines how they dance and how they move to it.
It's the movement of the music, pocket.


◆You wanted to cover just the different types of pocket, because you can have pocket in any genre of music and like you mentioned, it's like kind of how people feel it or what makes them dance.
But diving into some other genres and stuff, how would you describe pocket there?


◆Well, you know, it's so broad, like pocket is such a broad topic, but I like to think of it in at least four different categories, which I'll try and talk about today.
Really, I would say that the first one I'll talk about is straight, and that is moreso like the quantized, very on the grid, then we have behind the beat, which is a little bit laggy.
We have shuffle, we have swing, and I think I'll name four.
So I think those are like the main ones that I think people approach and there's different variations from there.


◆So one of your ways that you, we had talked about, or you had shared with us, was something that you like to do with dealing with different grooves and stuff, is thinking of them in shapes.
I thought it was a really cool way to think about grooves because, you know, usually people try to think, they just memorize it or they can groove or whatever, but you will try and approach it from like a certain shape, and I thought that was pretty cool.


◆Yeah, it's a bit unorthodox, I don't think there's many people who have talked about this.
You know, it kind of sounds a little weird, like okay shapes, like how you see a shape when you play pocket, like think about the '80s, right? Think about your favorite '80s tune and how that song feels.
The shape that I associate with the 80s is square because even when if you look back during that time period with like patterns that I just played, you often saw people moving at a very robotic pattern, very fast, you know, so it's very like duh-duh-eh-eh-eh, square, you know, so I feel like it's a representation of how the music moves, so I think of squares when I'm thinking on the grid, when I'm thinking thick-a-thick-a-thick-a-thick-a thick-a-thick-a-thick-a-thick-a and being on top of it, sharp edges, square.

私が80年代に関連付ける形は「四角形」です。80年代の曲で、私が演奏したパターンを振り返ってみると、人々が非常にロボット的なパターンで非常に速く動いているのがよく見られました。つまり、duh-duh-eh-eh-eh、四角形という感じです。これは音楽の動き方の表現だと思いますので、私はグリッドを考えるときには四角形を思い浮かべます。thick-a-thick-a-thick-a-thick-a thick-a-thick-a-thick-a-thick-aといったリズムを考えるときにも四角形を思い浮かべます。それは、鋭いエッジがあるので、上に乗る感じがします。

◆And how many different shapes do you have? Is it just like a square that you modify or what are some other things that you visualize?


◆For a behind the beat, I would say that's more circular, you know, it's more of that motion of like, what is it, even that same pattern where I was like.
Or I go It might just like circle, it might like smooth off the edges a little bit, you know what I'm saying.
If I were to even play something a little bit more like, compared to.
The second one I just played was a little bit more rigid.
The second one was, the first one I played was a little bit more smooth edges, you feel me.
It's unorthodox, but I think it's a concept that's really cool that if you think about it.


◆Another one that I liked, or a shape you had mentioned before, which is visualizing like a waving form and then you actually visualize that, too, but you have like a way of playing something that you associate with that, as well.


◆Yeah, like a wave form, like, you know a lot of types of hip-hop, you see people move you move their heads like this, right? That's, you know, like.
I feel like, you know, from the movement that it creates, you can automatically, like when you see the beats move, if you were to put a visual to it, it could easily fit this or this.
I'm right-handed, so I have to go that way.
But yeah, like that's a wave form.
Even for shuffle.
I associate that more with a sawtooth-type wave because it's duh-uh-uh-uh-uh-uh-uh-uh-uh-uh-uh-uh-uh uh-uh-uh-uh-uh-uh-uh-uh-uh-uh.
Uh uh-uh uh-uh uh.
You see, like, it's just association, like just turning audio into a visual experience and just like seeing how the groove even makes you see the patterns.
if you were to see them.


◆Are you, by any chance, one of those people that has, I think it's called synesthesia, 'cause you were talking about like hearing shapes, do you also have something where you like see colors or does like hearing something back influence, maybe like you're talking about the feel, but there's also what is played, does that like give you a certain shape or color, too?


◆I don't know if I officially have synesthesia.
I think I have synesthesia in my own way, like, you know, like certain notes I do see colors, but it's not like if you play a song right now, I'm gonna see like a rainbow.
It's not like that.
I wouldn't say I officially do have synesthesia but I definitely feel like I have, I attach emotions and movements to audio and I try to synchronize them, so it allows me to also see it.


◆Got you.
Have you ever like, just for like a fun exercise, just taken like a couple grooves and listening back and just try and draw shapes, maybe of other drummers? Is that like a process you did or is that usually-


◆You know, it's really funny.
Actually, when I was making a song once, I actually was visualizing, I was looking at a clock and I think I played the same sort of groove that was kind of laid-back after looking at that clock and just going uh-uh and the feel of it and how it made my body bounce, like even like that.
I tried to put that movement inside of what I'm playing, so I would say even just like, you know, thinking about like how you want to move or how the feeling you want to have, and you want people to be like uh-uh-uh, you got to like implement that feeling and that shape into what you're doing and what drums, what pieces will create that.
You know, it's just definitely about it being an overall stimulating experience, like just tying it all together.


◆I love the clock visual.
Something else you wanted to talk about was just how people can start creating their own grooves and you had a process that you kind of go through to start layering different ideas and stuff.
Would you like to go into that?


◆Well yeah, I'll go into the simple detail of that, which is, let me show you, let me go off a little bit.
Yeah, I'll go into the simple detail, that I'll just start off with just like a regular 2/4 pattern, you know, 'cause that's the the basis of it, anyway.
You got to start with some sort of groove, whatever you do has got to be groovy.
It doesn't have to be complex, but groovy.
So let's just start with.
Now if I have that going, I'm thinking, "Now what if I add in some ghost notes, "how will that change the pattern, "how will that change the feel of the pattern for me?" Even that can give, even adding those little ghost notes can give you more ideas of rhythm and make your body even move subtly a certain way.
And even from there, to even give it even more identity, you might just add in some different hi-hat patterns or let's see.
Yeah, but I would say the main key in like putting together any sort of pocket groove, the main components, I would say, is never being afraid of repetition and phrasing.
Come up with something that fits the song well, which, you know, I'm about to jump into another topic of how you even pick the right pattern for the right song, which I'll be talking about tomorrow in my course which I'm gonna be recording here and you have to sign up for Drumeo to be able to see that.
But, you know, a lot of times you can pick up grooves or what groove ideas from other instruments and from there, what I like to do is decide what is needed, what should I add and what I should subtract, you know, so I'm going to try playing a pattern right now that I feel like has a pretty good format and identity, here we go.
You might even maybe recognize it, I don't know.
Now I can analyze like what would, how would it change the groove if I were to take a couple of those elements out.
Watch this.
You know, like even though it's the same feel, even adding like a little bit of space adds a whole different feeling, so it's definitely playing with the art of space, the art of silence.
Like another example of that, if I can even dive more into being particular about what you play, 'cause that's really the core detail is just paying attention to detail and what you decide to play.
So for example, I'm gonna just play a basic pattern.
You will decide what works and what doesn't work by what type of song you're playing.
It just takes critical listening, I think more than anything, of developing your own pocket.
And how I develop my own pocket, per se, is definitely just taking in songs and compositions that I love and seeing the best way that I could complement them, rather than just like playing whatever pattern I may have just learned or whatever, because that doesn't always work.
Even though the pattern is good, it may be in time, but it has to be complementary, you know, and I think that's just truly the essence of how I play, like I play to try and suit the music.
And yeah, I think depending on whatever song you've got, you got to really decipher what is too much and what is too little, and it's all about experimentation.















◆Awesome, so if someone was at home, kind of working on this exercise, and they maybe didn't have music, but they wanted to develop some skills like you showed, to take a groove and just build upon it, did you have like a couple tips or just like little tricks you would use when you first started out to try to build those ideas before you would jump into a song and try build that stuff?


◆Okay, to build those grooves, I think the main thing that I would say is that it is very important that your, whatever song or whatever groove that you're working on or whatever you are working on, I definitely always emphasize starting at a very slow tempo.
I think that is a go-to because there are often times where certain patterns will sound good at one tempo but once you speed it up, it gets sloppy.
And I think that's due to poor interpretation or poor analyzation of the spaces in between the notes.
If that's more understood, that same attitude will be carried to even faster tempos or slower tempos, so it is very important to exercise that.
Yeah, I would just listen to some of your favorite drummers or drum patterns, take your favorite drum patterns and play them at various tempos.
I think that is like a true trick, and never be too afraid to play it slow.
That's honestly what you do in the beginning, I think with anything, you play it slow, and it can just really be that simple, just play it slow.


◆One tip that I like that you had mentioned earlier today was when you were learning grooves, or when you're still learning grooves, something you do to work on it is try internalize it and then be able to sing it back and-


◆Oh definitely, definitely.


◆It's a great skill and it's something that I think a lot of beginners, or drummers, forget that they can do and it's actually quite helpful.


◆Thank you for reminding me.
I was definitely searching in the lights, I was like, "I said something about this".
But yeah, I will definitely say that this is a very, very well-known thing that drummers do.
If you have the ability to internalize the feeling of the groove by saying it, if you can like vocalize it back, I think I found in previous experiences that that definitely helps.
If you are thinking, like if you're listening to something and you have to really think about how he's playing the 16th notes, not the fact that they're just 16th notes, you have to think about where are they sitting in the beat, this is the beat.
Is he doing this? Or is he doing this? And this is all based on various different things like accents that change the groove, but you have to, even when you say it, you say daka-du-kaka daka-du-kadaka-du-kadaka-du-kadaka-du kadaka-du-kadaka-du, you know, so it just shows that you truly understand the composition of what is happening.
So I would say that any group that you're really trying to figure out, I would definitely make an attempt to try and vocalize it and then after you have internalized it and then have the feeling, and you even analyze how it makes you move, if it's making you move the same way as when you heard that song or that beat that you liked, and then bring that interpretation to the kit.
I think that that has pretty been pretty effective for me.




そして、これはすべて、グルーヴを変えるアクセントなどの様々な要素に基づくものですが、あなたが言うときでも、daka-du-kaka daka-du-kadaka-du-kadaka-du-kadaka-du kadaka-du-kadaka-du-kadaka-duと言うときでも、それが何が起こっているかの構成を本当に理解していることを示します。

◆I'm curious about one of your processes for like, when you are first starting out, trying to work on grooves, would you just put on a track and then start with a simple groove and kind of go, 'cause you just went through a process of like adding in hi-hats, adding in ghost notes and then adding in this stuff.
Is that kind of how you would learn beats, as well, on top of the singing or would you just try sing it first and then be able to play back as it was?


◆I think even now, I think right now, I do try to make a habit of singing certain ideas because even so, it even helps me to remember 'em more.
I think the repetition of singing 'em, if I'm like dum-gah-de-dum-de-de-de-gah-de-de-gee-do-dah, you know what I'm saying, like even if it's just chops, like the fact that it's in my brain, I can now, from even the muscle memory or the memory of how that sounds in my head, it's easier for me to transfer that onto the drum kit.


◆And one important question I want to ask, too, is, do you think drummers who are maybe already developed in their playing and maybe have developed habits or certain playing styles, do you think these drummers can still go back and improve their pocket or relearn new stuff or even learn how to just like build pocket overall?


◆Oh absolutely.
I'm still learning every day how to build pocket and really, it's really about mind control, if anything, like you have to just really have control over this and like, just so that you don't allow certain things like your heartbeat or certain things like, you know, just any sort of outside situations to fluctuate or alter the movement that is going on, 'cause there may be a situation where the bass player is kind of playing on top of the beat and you're trying to pull it back.
It's just really about being so centered in the groove and just being so ingrained in it that all the outside things have to slow down to catch up with the groove, even your heartbeat, you know, it's just like our slowdown to be inside the groove, you know, 'cause I've had certain situations where I'm playing and because of the adrenaline and because of everything, it makes time speed up, you know, and not to necessarily, that can be a pocket, too.
But I think the true essence of capturing a groove is to be able to program your mind to feel certain records and just slow down.


◆And in the beginning, you also mentioned kind of just like what is pocket and I think there are a lot of people also just starting out that maybe have certain parts of their playing which are just like, they're not up there and if they fix those things, it would make their pocket like way better.
So when you hear a beginner player playing something, or someone who is a little bit, or just starting out, what areas do you usually see are like the ones that they really need to develop that's like a most common thing?


◆Honestly, I have lesson students on Patreon and the most the most common thing I see is technique, that I feel like would really change a lot of the sound, change a lot of the pop.
There's so many elements that make a groove pop, like I said, it's the accents, it's how you strike the drum, how to get that sound out of the drum, so I think the main thing, just so that you have enough flexibility to be able to move back and forth in a good manner around a kit, I think it's important to know how to, where to hit and how to hit.
More of my technique comes from my wrist than my arms.
It's very relaxed, it's not a bunch of swinging, I don't try and set up my kit real high so I can't reach nothing.
So yeah, it's mainly this motion.
I use these fingers to bounce up against my palm, you know.
I get a lot of speed just from, I get a lot of speed just from, my fingers.
That's not arm, if I was trying that with arm, it would take all the energy out of me and you need energy to be able to keep a constant groove going, 'cause otherwise, if you're running out of energy, you start to slow down, it starts to get lazy, so you got to conserve your energy and you got to conserve mind space, you know.
And I think good technique is a very great component for that.
So yeah, a lot more wrist motion is appropriate.
A little bit of arm sometimes, but even in my snare stroke.
People all the time ask me how I tune my drum on my videos and the answer is, I do crank it but I think a lot of the reason why they love the sound of my snare drum so much is not really because of the drum.
Even though Tama Drums is amazing, I will say, and Evans Drumheads are amazing, I will say that no matter what you use, if you hit the drum correctly, it'll completely change the sound of the drum kit.
So I think it's definitely important, in development of grooves, you've got to use the right technique to get the right sound out of it.
Otherwise, you could be playing with a certain pocket correctly, but if you're not using good technique, you know what I'm saying, if you're not using technique, it's just not going to hit correctly.
So I think even when you come down to the element of technique, that is really important.


◆It's wonderful to have you on Drumeo, especially talking about something you're very passionate about, also very great at.


◆Thank you.


◆We'd love to have you play another track here and just groove out a little bit and you don't have to display, but you will display these points that we've all talked about naturally and then people can see where you're coming from, which is-

◆It's what makes me smile, honestly, like y'all have seen, if you've seen my videos y'all, I'm known for like looking at the camera and smiling, it's because like all the feelings are hitting me, it's just like a feeling sensation overload, there's so many different shapes being hit, you know what I'm saying, and I'm taking in the music.
It's just really, really about listening to music.
Make sure you tune in tomorrow 'cause I'm really about to go in as to what what makes me play the way I play, because it's definitely, I build the grooves really from other other elements of the music.
And I hope that you can see that when I play and I'm about to play something right now.


◆Absolutely, Drumeo Edge members, stay tuned for the course where we're gonna dive way deeper into all this stuff and actually dive into some music and see how that can influence your playing.

もちろんです。Drumeo Edgeのメンバーの皆さん、コースをお楽しみに。そこでは、このすべてのことにより深く潜り、音楽がどのように演奏に影響を与えるかを見ていきます。

◆I'ma put on my glasses.


◆There we go, that's part of developing your pocket, you need a pair of sunglasses, make sure you write that on your list.


◆You know, it's too bright.


◆All right, I'm gonna leave the room and you can jam out here.


◆All right, cool.




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