WHAT I'VE LEARNED FROM SOUL VACCINATION

NickSchles

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OK, so I'm pretty chuffed with myself because I've done a drum cover of Soul Vaccination by Tower Of Power.

I've been studying David Garibaldi's playing for a few months now, and I find it's doing my playing a lot of good. All the way from time and feel, to technique and coordination, and creativity!

In fact, I've done a couple of blog posts with some of the lessons discussing certain aspects, both technical and creative with some of the grooves.

BLOG 1: TECHNICAL
https://nickschlesinger.com/soul-vaccination-drum-grooves

BLOG 2: CREATIVE
https://nickschlesinger.com/funk-drum-beats

Anyhow, I wanted to share the cover with y'all if you're interested. It took me a month and a bit to learn, and 6 takes to get it in one go.

THE COVER
https://www.youtube.com/watch?v=v6QcQ8aTTDo

Enjoy my concentration face playing Soul Vaccination. Next stop: Squib Cakes!

Have you guys been learning Tower Of Power stuff? Would love to see some cover! :)
 

Matched Gripper

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OK, so I'm pretty chuffed with myself because I've done a drum cover of Soul Vaccination by Tower Of Power.

I've been studying David Garibaldi's playing for a few months now, and I find it's doing my playing a lot of good. All the way from time and feel, to technique and coordination, and creativity!

In fact, I've done a couple of blog posts with some of the lessons discussing certain aspects, both technical and creative with some of the grooves.

BLOG 1: TECHNICAL
https://nickschlesinger.com/soul-vaccination-drum-grooves

BLOG 2: CREATIVE
https://nickschlesinger.com/funk-drum-beats

Anyhow, I wanted to share the cover with y'all if you're interested. It took me a month and a bit to learn, and 6 takes to get it in one go.

THE COVER
https://www.youtube.com/watch?v=v6QcQ8aTTDo

Enjoy my concentration face playing Soul Vaccination. Next stop: Squib Cakes!

Have you guys been learning Tower Of Power stuff? Would love to see some cover! :)
“Future Sounds” is a comprehensive method in dynamic independence, what Garibaldi calls two level playing. I got about half way through it and ran out of steam. Started it again, got to the part I left off on and it’s a little easier this time around. Not easy, just a little easier.
 

Old PIT Guy

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OK, so I'm pretty chuffed with myself because I've done a drum cover of Soul Vaccination by Tower Of Power.
I've been studying David Garibaldi's playing for a few months now, and I find it's doing my playing a lot of good. All the way from time and feel, to technique and coordination, and creativity!

Anyhow, I wanted to share the cover with y'all if you're interested. It took me a month and a bit to learn, and 6 takes to get it in one go.
Excellent job! And your honesty on how long you worked to get it down, and the number of takes, is extremely refreshing.
 

moosryan

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I've been making my way through the Garibaldi transcriptions book, having just learned all of Squib Cakes and Knock Yourself Out. In the past I've only ever learned the main grooves from these songs, but I've loved being able to play through the whole track note-for-note. Playing along with the track note-for-note is such a great exercise in feel.

The biggest takeaway for me in learning these tunes is the subtle variation in the grooves. Seeing, especially in his comping under solos how little changes in the grooves, but how the little changes and accents are so effective. The grooves are so musical in the way they're built on motifs that come in and out. It's definitely going to be reflected in my playing, as I try to tone things back a little bit and focus on groove and the small things as opposed to bigger variations.
 

NickSchles

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“Future Sounds” is a comprehensive method in dynamic independence, what Garibaldi calls two level playing. I got about half way through it and ran out of steam. Started it again, got to the part I left off on and it’s a little easier this time around. Not easy, just a little easier.
Big fan of that book. My suggestion would be to not approach that book in a linear fashion (that's, of course, assuming that's how you've been using it). Rather, pick and choose sections in no particular order... As long as your focus is time, technique, coordination, musicality and reading, you can't go wrong! :)

Also another tip I give my students, is to always take a break. When you come back to it, your brain will have processed the information in the background. Be that a short break, or a long break... There's a great podcast called The Bulletproof Musician which has great practice tips. :)
 

NickSchles

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Excellent job! And your honesty on how long you worked to get it down, and the number of takes, is extremely refreshing.
Thanks, dude. I saw the piece as a technical exercise, so I approached all grooves and sections as skill development rather than just learning the song... Hence why I wrote those blogs about it (check 'em out if you haven't). So, yes, it took me over a month, but I wanted to make sure I explored certain things in more detail to become more conversational with the piece.

Also, what's cool about learning this note for note, is that it's let me get inside DG's mind and explore the choices he makes. Very interesting stuff! :)
 

NickSchles

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NickSchles

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I've been making my way through the Garibaldi transcriptions book, having just learned all of Squib Cakes and Knock Yourself Out. In the past I've only ever learned the main grooves from these songs, but I've loved being able to play through the whole track note-for-note. Playing along with the track note-for-note is such a great exercise in feel.

The biggest takeaway for me in learning these tunes is the subtle variation in the grooves. Seeing, especially in his comping under solos how little changes in the grooves, but how the little changes and accents are so effective. The grooves are so musical in the way they're built on motifs that come in and out. It's definitely going to be reflected in my playing, as I try to tone things back a little bit and focus on groove and the small things as opposed to bigger variations.
Brilliant, thanks for sharing your experience, man. And yes, you make great points!

I'm currently going through Squib Cakes and it's tough, so well done for nailing it. I'm currently going through the grooves and listening to the song as I go, as that helps gives context to all the bits! I'm using his Off The Record book, which is lots of fun and very challenging. :)

Check out the BLOG 2: CREATIVE post above, as in learning these tunes I'm diving deeper into the grooves by exploring them creatively to become more conversational with the style. Hopefully that's interesting & useful to you!
 

moosryan

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It is interesting that given that Garibaldi participated in the Off the Record book, that some of the transcriptions just aren't totally right. In particular, I've noticed that in places where DG is playing busier, 16th note patterns on the hats, he just renders them as straight 8ths in the book. I sort of wonder if this is because all the tempos are faster live, and so the parts reflect that a little better. (I certainly never noticed how much Knock Yourself Out speeds up during the solos...makes more sense now that they just play it faster live.) Anyway, takeaway is that it's worth checking the transcriptions against the record if you really want to get it right.
 

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It is interesting that given that Garibaldi participated in the Off the Record book, that some of the transcriptions just aren't totally right. In particular, I've noticed that in places where DG is playing busier, 16th note patterns on the hats, he just renders them as straight 8ths in the book. I sort of wonder if this is because all the tempos are faster live, and so the parts reflect that a little better. (I certainly never noticed how much Knock Yourself Out speeds up during the solos...makes more sense now that they just play it faster live.) Anyway, takeaway is that it's worth checking the transcriptions against the record if you really want to get it right.
16th notes split between the high hats and ghost notes on the snare can sound like 16ths on the high hats. Garibaldi, Purdie and Gadd are masterful at that.
 

Matched Gripper

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Big fan of that book. My suggestion would be to not approach that book in a linear fashion (that's, of course, assuming that's how you've been using it). Rather, pick and choose sections in no particular order... As long as your focus is time, technique, coordination, musicality and reading, you can't go wrong! :)

Also another tip I give my students, is to always take a break. When you come back to it, your brain will have processed the information in the background. Be that a short break, or a long break... There's a great podcast called The Bulletproof Musician which has great practice tips. :)
One way that book kicks my butt is counting the 16ths and knowing where 1 is through all the crazy Garibaldi permutations that really obscure the quarter notes. Takes lots of patience and discipline.

The other challenge is correctly playing the accented and unaccented note patterns on the hihats (tip and shoulder of the stick), while simultaneously playing a different accent ghost note pattern on snare. That’s the main theme of the book, IMO. That dynamic independence is what adds depth to your groove.
 
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moosryan

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16th notes split between the high hats and ghost notes on the snare can sound like 16ths on the high hats. Garibaldi, Purdie and Gadd are masterful at that.
Definitely...I'd be curious though, around the 5:00 mark on "Knock Yourself Out", do you think he's just playing straight 8ths on the hats? Same question around 0:40 of "Squib Cakes"...
 

Matched Gripper

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Definitely...I'd be curious though, around the 5:00 mark on "Knock Yourself Out", do you think he's just playing straight 8ths on the hats? Same question around 0:40 of "Squib Cakes"...
Took a listen on my iPhone with earbuds. Are you familiar with Garibaldi’s “King Kong” beat? It’s a 16th note groove between the hihats and snare which is basically a partial paradiddle with a R hand lead on the hats and a partial inverted paradiddle with a left hand lead on snare: R L R R L R R L (bold face = accented; not bold = ghost note), with bass drum notes sometimes doubling the right hand part and sometimes playing syncopated accents. Could be wrong, but, to me, it sounds like Garibaldi is playing that beat with some variations on both songs.
 
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Tornado

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16th notes split between the high hats and ghost notes on the snare can sound like 16ths on the high hats. Garibaldi, Purdie and Gadd are masterful at that.
I once commented to my teacher that I was having a hard time determining whether a note was being played on the snare or the hats. He responded (about Gadd), "Yeah, he's really good at that". Light bulb moment: that's a goal!
 
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DanRH

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He gives lessons here in the Bay Area

Yes he does. I've taken one. All we did was shoot the bull and that was my fault. I had no intention of being humiliated. And yes, I know, that's my hang up. He teaches at my local drum shop on occasion. Also, it's funny, right after my lesson , he excused himself to another studio in the shop where he was taking a lesson believe it or not. He called "his tune up".
 

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Been in and out of Future Sounds and spent my share of time learning some TOP. My current band is playing What Is Hip and that’s a blast.

Wonderful playing on the video - cheers!
 


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