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What is Odd Meter Soloing and Why Do I Need to Take My Playing to the Next Level?
Tell me if there has ever happened to you...

You head out to see a band, drummer, or group that you have never seen before and they start playing a grove that is somehow different...

You nod your head and tap your foot trying hard to find where beat one is. Trying to figure out what in the world it is they/him/she/it are doing.

When you get home you sit down at your kit and you start trying to imitate it... Trying to create something as special as what you heard that drummer, group, player do...

But for some reason you keep going back to the same old grooves, fill-ins, or solos that you're comfortable with.

Is there anything wrong with your grooves, fill-ins, or solos? Of course not. You're a good drummer. But for some reason you can't find the same magic that you heard and you're having a hard time figuring out exactly why. You are very comfortable playing your set list of songs that are in 4/4 time... but you have never ventured into the world of odd meter in any style of music. 

Yes, you can play along with every Led Zeppelin album, you piss off your neighbors and people you live with on a daily basis, and you can drink more than anyone in the band.

You know... drummer stuff. 

So what is it about these grooves, fill-ins, or solos that make them so difficult to understand?
Enter Odd Meter Playing...
There is nothing too crazy or unattainable about soloing in odd meters. In fact usually the first time I show my students a few simple things they start doing it right away.

It is simply getting comfortable playing in 3, 5, 7, 8, 10, 11. Pretty much anything but 4.

After you become comfortable playing in these odd meters, you can start to apply them in many ways. They can even be applied in 4 using polyrhythms or across the bar improvisations.

In other words, we are expanding your pallet and vocabulary of rhythms and creative ideas. 
Josh Schlabach on My "Soloing in Odd Meter Course."
Put Simply...
Taking my "Soloing in Odd Meter," course will make you a better more interesting drummer and is the best way to get you out of any creative rut you might be in.
Put Complicated...
Some of you may already be working on the first part of my course. I give away the first part for free to get you hooked because I know that it will make you realize how much you need the rest.

If you haven't tried the free lessons you can do that right here.

If you are curious about the material here is a break down of what we cover in the 3 levels that it takes to master soloing in odd meters:
Level 1: Getting Comfortable with the Odd Meters By the Use of Ostinato
You Can Get The First Few Exercises in This Course For Free by Clicking Here...
Level 2: Internalizing Odd Meters and Kissing the Ostinato Goodbye
Level 3:
Polymetric Improvisation- Playing in 2 Meters at the Same Time
Level 1
Level 1
You Can Get The First Few Exercises in This Course For Free by Clicking Here...
  • The Ostinato and Why it's Your Friend
  • Using Your Feet as Your Anchor: Soloing over groups of 2 and 3
  • Master Soloing in 5 (With Ostinatos in the Feet...)
  • Master Soloing in 7 (With Ostinatos in the Feet...)
  • Why 8/8 is so different than 4/4 and how it will give your playing in 4/4 a fresh sound. Master Soloing in 8.
(Free Stuff Stops Here... But Once You Get a Taste of This You Are Going to Want More I Promise...)
  • Master Soloing in 10 (With Ostinatos in the Feet...)
  • Master Soloing in 11 (With Ostinatos in the Feet...)
  • At this point you have completed level 1 and should be comfortable playing in all these meters.
Level 2
  • This Level We Will Internalize the Ostinato (As Opposed to Playing it), Which Will Keep You in the Desired Meters
  • The Differences Between Dissonant and Consonant Rhythms
  • Rhythmic Sensitivity Exercise ( I Like to Call This the Rhythmic Solar System): Going From 1 to 9 and Back Again. (Starting with the feet in quarter notes, eighth notes, and then eighth note triplets.)
  • Soloing in 3, 5, 7, 8, 10, and 11 Without the Ostinato Pattern and Why it's so Freeing! This Level Takes off the Training Wheels.
Joe Miano
  • The Difference Between Polymetric and Polyrhythmic 
  • The Goal of the Whole Course is to Get to This Exercise:
Playing in 4 With Your Feet While Soloing in 3, 5, 7, 8, 10, 11 With Your Hands. The Mark of a Master and the Thing That Will Set You Apart From All Other Drummers...
I Will Slow All of This Down and Show You Step by Step How to MASTER Playing in Odd Meters! Complete Your Enrollment Below And Let's Get Started 👍 
Want to Try it Yourself? Let Me Show You a Couple of Examples...
Enroll Here
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Theo Shirmely
 Anthony Miranda invented Fingerstix (patent pending) in 2001. He created Fingerstix as an original concept developed after seeing a need for new musical expression options. He describes them as not just a product, but as a way of playing that expands the possibilities in all musical styles.

       Biography:

Anthony Miranda has been an active performer, educator and composer for over 35 years. During this time his career has evolved in many fascinating directions, including that of a Hollywood producer of A-list films. His first Hollywood film, Safety Glass stars Steve Coogan, Hillary Duff, Josh Peck, Molly Shannon and Olivia Thirlby. He is the Executive Producer as well as co-composer of the original music.

As an educator, he became a private instructor at the age of twelve. Within a few years, he had already developed a waiting list of students for his private teaching studio. He graduated Cum Laude with a BFA in Music Performance from the University at Buffalo department of music in the spring of 1980. Immediately that fall he was offered a faculty position at Villa Maria College. In addition, during the 1980s he held faculty positions at Daemen College and Buffalo State College where he taught percussion and percussion ensemble for several years. In 1985, he joined the faculty at the University at Buffalo working with the legendary Jan Williams teaching percussion and percussion ensemble. Holding the title of Assistant Professor in 1998, he became the exclusive director of the Percussion Department and historic University at Buffalo Percussion Ensemble until his resignation in 2007.

As a composer he has achieved an international reputation for the use of the Drum Set as a multiple-percussion solo instrument. This journey began in 1978 when completing a book entitled Eleven Solos for the Drum Set published by Music for Percussion Inc. (now Colla Voce Music Publishing). Since this publication, Anthony Miranda has written and published several other works exploiting the Drum Set as a legitimate solo instrument. Some of these works have included Independent Motion (published by Ludwig Music Publishing Co.), Collage, Suite for Unaccompanied Drum Set, Polysonics (drum set concerto commissioned by Kent State Percussion Ensemble), Overture for Drum Set and Percussion Ensemble and Three Solos for Bass Guitar and Drum Set, also composed by James Kurzdorfer. Mr. Miranda has also written and published several other pieces for percussion and percussion ensemble such as Inventions on a Polyrhythmic Motif, Displacements, Latina Pequena, Two Episodes for Solo Snare Drum, Percussive Personification, among others.

In 2006, Westar Music located in Toronto Canada, published an acoustic percussion library for licensing. Anthony Miranda composed and performed all tracks in this library. Currently he has formed a publishing company Teretone Productions LLC. This company has an extensive music library for licensing of television, motion picture and other commercial music needs.

He began his performing career over 35 years ago as a soloist with orchestras, wind ensembles, jazz ensembles and most styles of commercial music. He has been a performer and full time musician most of his entire life. In the area of contemporary music, he has performed and premiered the music of countless composers. Some of which have included John Cage, Lucas Foss, Morton Feldman, John Bergamo, Rocco DiPietro, Chester Mais, William Ortiz, David Vayo, Eric Moe, Lou Harrison, Earl Brown, David McBride, Richard Trythall, William Koteg (The SEM ensemble) and Jeffrey Statleman, just to name a few. Composers whom have written pieces for Anthony Miranda are David Vayo, William Ortiz, Rocco DiPietro, and Chester Mais to name a few. Performances at Carnegie Hall, Alternative Museum, Albright Knox Art Gallery, Slee Concert Hall and Center for the Arts, are a small cross section of the dozens of contemporary performance venues. Participation in such New Music Festivals, and June in Buffalo, and the North American New Music Festival (directors Jan Williams and Yvar Mikhashoff) for multiple consecutive years enabled countless premier performances with dozens of composers. In 2005, the University of Buffalo awarded him the IRCRAF Grant with his fellow faculty member Tressa Gorman Crehan of the University at Buffalo dance department. This research grant was for collaboration of dance and percussion music with a premier concert performance at the University at Buffalo Center for the Arts. Additional collaborations with Italian hand drummer and virtuoso Alessandra Belloni paved the way for additional research with ethnic dance and percussion music. Alessandra and Anthony performed several concerts together in venues in New York City, Toronto, Ontario, Buffalo, New York and a featured show case performance at the PASIC (Percussive Arts Society International Convention) in 2004.

In the category of commercial music, he has been both Drum Set artist and Percussionist for such artists as Madonna, Natalie Cole, (Grammy award winning Unforgettable Tour), Johnny Mathis, Gladys Knight, Marvin Hamlish, Michael Damean, Patty Weaver, Englebert Humperdink, Tom Jones, Milton Berle, Jim Nabors and many others. As a Jazz musician he has performed with the Count Basie Orchestra, John Mosca, (Buddy Rich Band, Blue Note House Band , Thaddeus Jones), David Friedman, and Willa Dorsey among others. He was a featured jazz artist at the Morningside College Jazz festival in Sioux City Iowa.

His career has also expanded in the category of theatrical productions. Some of the highlights would include Man of La Mancha, starring Robert Goulet, Peter Pan, starring Cathy Rigby, The King and I, starring Yul Brenner, and West Side Story, starring Jack Wagner.

As a sought after first call studio musician, he has recorded for hundreds of films, albums, commercials, and network television shows. Mr. Miranda has contracts and affiliations with Sony Pictures, Amherst Records, NBC, MGM Pictures, Tri Star Motion Pictures, Insight Pictures, NGN Productions and Lorimar Telepictures Corporation. His most recent percussion credit is in the movie Impulse, starring Angus McFadden (released by Sony Pictures).

 

Other Credits Include:

Recorded for Hundreds of Films, Albums, Commercials and Network Television Shows :: Tri- Star Motion Pictures, Lorimar Telepictures Corporation, MGM Studios, NBC, and RCA Studios

Endorses :: Yamaha Drum Company :: Yamaha Band and Orchestral Division :: Sabian Cymbals :: Pro-Mark :: Remo Drum Heads, Inc.

Professor at the State University of New York at Buffalo :: Since 1986

Composer of Works Like :: 11 Solos for the Drum Set :: Independent Motion :: Collage :: Polysonics :: Suite for Unaccompanied Drum Set :: Overture for Drum Set and Percussion Ensemble

Founder and President : Teretone Productions LLC.   

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