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Groups

Lesson 2/62 | Study Time: 5 Min
Groups

Groups

A successful group is not just a mixture of good musicians. You will need to be aware of the many other factors involved in order to avoid the pitfalls that cause many groups to disband within a very short time. The following ideas should increase your awareness of the problems facing a group, and how to avoid them.

Group Direction

Before forming a group, you should talk with prospective musicians about their aims for the group. You may decide to form what is called a "60/40" group; the type that plays at cabarets, dances and hotels. This type of group plays a selection of old pop standards (approx. 60%) and "Top 40" tunes (40%). 60/40 groups can be assured of a steady income, although recognition will not go beyond the local scene.

A different aim for the group may be to play mainly original material in the eventual hope of cutting a record and going on tours. Groups of this type generally do not make much money until they have become well known.

If you are forming a new group you may find it more beneficial to play a 60/40 style to gain experience and money to invest in top quality equipment.

Decide on the number of musicians, the type of instruments and the basic style of music before forming the group.

Music Choice

The style of music you play must be one that is enjoyed by all group members (not just a majority vote). Listen to other bands playing their various different styles and take particular note of the audience reaction in order to gauge the appeal of each style. Once you have decided on a style, aim specifically towards the section of people who enjoy that type of music. This will immediately decrease the number of possible venues for you to play at; but remember that you cannot please everyone and you should therefore aim to play to the type of people whom you will please.

The Group Structure

A group can be divided into two basic sections; a "rhythm section" and a "lead section". The instruments of the rhythm section include drums, and bass (which lay down the basic beat), and rhythm guitar (which "fills-out" the basic beat). These instruments must co-ordinate to provide the background rhythm; the "tightness" of the group will depend on it. The lead section usually consists of lead guitar, vocals and keyboards (which may be used as either a lead or rhythm instrument). the lead instrument acts as a separate voice from the vocals and "leads" in and out of each section or verse of a song (i.e., an introduction or a "lead break".)

All instruments must work as a team, in order to provide a combined group sound.

Rehearsals

In a serious group you will spend more time rehearsing than dong anything else, so it is important to be properly organized. As far as possible, each session should have an objective which you should strive to achieve.

Remember that the performance of a song involves not only the music, but also sound balance and stage presentation as part of the rehearsal. As will as group rehearsal, you should practice individually. Concentrate particularly on the harder sections of your songs, so that it will be easier to play them when working with the group. It is far more beneficial and time-saving for each member to attend group rehearsal with full knowledge of this part.

The underlying theme of all the previous topics is one of group unity, both on and off stage. This is essential if the group is to survive together as an effective musical unit.

Andy Griffiths

Andy Griffiths

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Class Sessions

1- The Bossa Nova 2- INTRODUCTION 3- Time Signatures - Simple and compound time 4- Rudiment No. 7<br> The Single Paradiddle 5- Rolls 6- Rudiment No. 10<br> The Seven Stroke Roll 7- Rudiment No. 12<br> The Ten Stroke Roll 8- Rudiment No. 14<br> The Thirteen Stroke Roll 9- Rudiment No. 16<br> The Double Paradiddle 10- Rudiment No. 18<br> The Drag (or ruff) 11- Rudiment No. 23<br> The Single Ratamacue 12- The Four Stroke Ruff 13- <span class="symbolA">+</span> Time 14- Latin American Beats 15- The Mambo 16- Rudiment No. 4<br> The Flam Tap 17- Introduction to Jazz and independence 18- Advanced Independence Studies 19- Jazz Fills Using The Swing Beat 20- Rock Beats Using Sixteenth Notes On The Hi-hat or Cymbal in <span class="symbolA">*</span> Time. 21- Disco Beats 22- Disco Beat Variations 23- LESSON FORTY-SIX 24- Rock Beats Using Sixteenth Note Triplets 25- Syncopated Rock Beats 26- Additional Beat Studies 27- Introduction Fills 28- Tuning 29- Groups 30- GLOSSARY OF MUSICAL TERMS 31- Drum Rudiments 32- Right and Left Hand Exercises 33- Quarter Notes and Rests 34- Eighth Notes 35- LESSON FOUR 36- Snare Drum Studies 37- Syncopation 38- <span class="symbolA">^</span> Time 39- Sixteenth Notes (Or Semi Quavers) 40- Exercises Around The Drums 41- Fills 42- Eighth And Sixteenth Note Combinations 43- Advanced Fills 44- Dotted Eighth And Sixteenth Notes 45- Rudiment No. 2<br> The Single Stroke Roll 46- Accents 47- Sixteenth Note 48- The Triplet 49- The Shuffle Rhythm 50- Quarter Note Cymbal Patterns 51- Rhythm Review 52- Dotted Eighth and Sixteenth Note Rock Beats 53- Sixteenth Note Rests 54- Dotted Notes 55- Rudiment No. 17<br> The Flam paradiddle-Diddle 56- Troubleshooting 57- Copying Beats And Fills From Recordings 58- Seating 59- Choosing The Drum Sticks 60- Practice Pads 61- Holding the Drum Sticks 62- Rudiments of Music

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