Jonah

“Triplets”

Jonah played up till the fifth line with a strong musical feel, and it is clear that he is beginning to understand the groove of the piece.

Double-Sticked Leaps

Practise the double-sticked leaps that appear throughout the piece. One example is the D-to-B leap played R R in bar 11.

To develop this movement:

• Choose any two notes that form a major sixth.
• Play the leap using two consecutive strokes in the same hand.
• Keep the hand relaxed.
• Aim for two clear, even notes despite the distance between them.
• Practise with both hands when possible.

Learning Goal

Learn through to the end of the page.

The four-bar phrases in this section are constructed differently from those in the previous section. I have bracketed the phrases and labelled them A or B to make their patterns easier to identify.

As you practise:

• Notice which phrases share the same structure.
• Identify where the A and B patterns differ.
• Follow the written sticking.
• Continue shaping the music with the ragtime groove rather than focusing only on the notes.

Sam

“Smells Like Teen Spirit”

We began the lesson with a complete play-through of “Smells Like Teen Spirit.” Sam did a fantastic job holding down a steady beat while playing all the flashy fills cleanly.

“Holiday” by Green Day

We have now moved on to “Holiday.” Sam has already learned most of the song by ear and from memory. This week, use the score to clarify the smaller details that may have been missed while learning it by rote.

Bar 6

Pay attention to the left-hand stroke near the end of beat 2. This sticking allows the seven-note pattern to flow correctly into the following bar.

Follow the written sticking carefully and practise the transition into the next bar until it feels natural.

Verse Structure

Although the bars in the verse sound similar, their rhythms vary slightly. Read the score closely rather than assuming that every bar uses the same pattern.

The verse is organized into repeating four-bar phrases:

• Bars 1 and 3 are almost the same, with the main difference being the change from crash cymbal to hi-hat.
• Bar 4 contains the most important variation.
• Its kick-and-snare shuffle creates momentum leading into the next four-bar phrase.

Keep track of which bar you are playing so that each variation happens in the correct place.

Stick Control, Page 8

Begin working on the triplet variations on page 8, with particular focus on the second column. This column introduces some new triplet stickings.

Practise slowly and aim for:

• Even spacing between all three notes
• Accurate sticking
• Relaxed movement
• A clear pulse
• Smooth transitions between sticking patterns

Class Material