– Groove illusion is something
(light music) that you don’t expect to hear. It’s something like
(rhythmic drumming) a pattern or groove that will change your
perception of time and space. (cymbals ringing) (rhythmic drumming) (laughing) (clapping) – Well done, well done.
– Thank you. – What’s up, everyone? Welcome to another live lesson on Drumeo. And I’m sitting beside Camille. Camille Bigeault. – Yeah, Bigeault, very French name. – Very French name. Well welcome to Drumeo. – Thank you. I’m very glad to be here. So much fun.
– Yeah. I’m glad you’re here. You’re an amazing drummer,
as you just heard. That song was called, actually that song had a lot
of groove illusions in there, and that song was called Room Eight, by which artist?
– Yeah. By me. (laughing) – [Host] You created that yourself. – Yeah. – I love it. – It’s a track from, I
created with Logic Pro. With the sounds of Logic Pro. – Very cool. I’ll let you catch your breath. If you guys haven’t heard of Camille, you gotta check her out. She’s got tons of great
videos on her YouTube channel. She’s got a Facebook page. You can find her on
Instagram @camille.bigeault. That’s C-A-M-I-L-L-E dot B-I-G-E-A-U-L-T. Find her there or you can
search her on Facebook. Camille Bigeault on Facebook. Or you can find her on her website, which is www.CamilleBigeault.com. So make sure you check her out there. You are, been killing it lately, doing lots of master classes and clinics. More on advanced rhythm
concepts, I guess you can say. – Yeah yeah, on the rhythmic illusions, and the ostinatos and replacements, and everything I like to practice and to search over the kit, yeah. I try to teach it even for beginners. I try to find ways to teach it so they have new doors open, you know. – Very cool. And you’ve been playing with an artist, a French artist named Jennifer. – Yeah, I’m gonna play actually with her, because we just auditioned, and Jennifer has brought a whole new team of only girls, so I’m part of the team, and we are touring next year. So that’s very cool. – Very cool, indeed. Now you’re also our first
Drumeo instructor from France. – Yes. – Which is a pretty cool achievement. – I’m so honored. To be the first French teacher on Drumeo. That’s so cool. – Awesome. Well we’ve got a lot to teach today. So much that we won’t be able to fit it all into one live lesson, so we’re gonna be filming
a bunch of extra stuff with Camille for Drumeo Edge, including a course on poly-rhythms, a course on building solo creativity and freedom with ostinatos. – Yeah. – And maybe even some
more groove illusions. And this is a really cool topic. What you played there
had a lot of illusions. And what is an illusion? What is a groove illusion? – Groove illusion is
something that you don’t expect to hear, actually. It’s something like a pattern or a groove that you will include in
your already set of play, and that will change your perception of time and space. So when an illusion occurs, for example, the audience often loses
the track of the real beats, and he doesn’t know where
is the beginning anymore. So that’s the magic of it. And it’s often like super-posing or mixing several metrics or tap
signatures at the same time, using a common subdivision. – Give us an example. Just play us a groove illusion, or something along this line.
– Yeah. – Just to give us an example of what you’re talking about here. – Okay. For example. (rhythmic drumming) I use the same subdivision that is– (rhythmic cymbal tapping) This subdivision. And I did a different grouping
over that subdivision, and that’s made a new
groove over my first groove. And I kept the beat, the hi-hat, and my U-beat was here, playing with the closed
hi-hat, for example. – I love it. Well you got a lot ahead of you. So download the PDF. Make sure you’re ready. Before we get into it, though, do you wanna play us one more track? – Yeah, of course. – Awesome. Maybe do, Human Hardware. – Yeah, from Icefish.
– By the group Icefish. Yeah.
– Exactly. – Alright, let’s do that, and then we’ll get right into the lesson. – Okay. (“Human Hardware” by Icefish) ♪ What do we want ♪ ♪ Perfection made of silicon ♪ ♪ Value aligned ♪ ♪ Assumed responsibilities ♪ ♪ Let them be free ♪ ♪ Unplug it if it misbehaves ♪ ♪ Until they turn on us ♪ ♪ Save us from the human ♪ ♪ Human ♪ ♪ Human ♪ ♪ Human ♪ ♪ Hardware ♪ ♪ Ethical burden ♪ ♪ In a lab of conscious slaves ♪ ♪ Sentient being ♪ ♪ Of different kinds of particles ♪ ♪ Evolution ♪ ♪ The ultimate experiment ♪ ♪ How can it seem so real ♪ ♪ Save us from the human ♪ ♪ Human ♪ ♪ Human ♪ ♪ Human ♪ ♪ Hardware ♪ ♪ Transformation ♪ ♪ Computation, human ♪ ♪ Afraid to look behind your face ♪ ♪ Your carbon depth
dissolves with no trace ♪ ♪ Cybernated soul in
the light of the day ♪ ♪ Look the other way ♪ ♪ Save us from the human ♪ ♪ Human ♪ ♪ Human ♪ ♪ Human ♪ ♪ Save us from the human ♪ ♪ Human ♪ ♪ Human, save us ♪ ♪ Human ♪ ♪ Human hardware ♪ – Yeah. Well done, well done.
– Thank you. – Very cool song. I love that track. – Me too. – Alright, so let’s get
into it. Groove illusions. What do you got for us, Camille? – Yeah, I have plenty of things. – Yeah. That’s funny, when you came, she had 21 pages. It was great, it was great. I’m like, 50 exercises. And I’m, yeah, I’ve got
to cut it down a bit. – Yeah, I have to choose some exercises. – Pick and choose the best ones. – It won’t fit. So the first illusion I have for you is, in my opinion, maybe the
simplest illusion you can do. Is just concerning your driving hand. I call it driving because
it’s all that you do over a groove with your right hand, if you’re right-handed, of course. So all that you can do
(tapping hi-hat) with your hi-hat or your right. It’s simply, let me just do a groove. (rhythmic drumming) I want to keep the same pattern that is accentuating the beats. But I will displace this
pattern a little bit. Here is my subdivision. (rhythmic tapping) There is four notes per beat. So I will just displace this pattern, from note after note. So the first displacement
will sound like this. (rhythmic drumming) Okay. The second displacement, if you start with the first note, you end up playing half beats. (rhythmic drumming) And the fourth note, if you start with the fourth note, it sounds like this. (rhythmic drumming) So it’s really cool to use, and to don’t hesitate
to go search for your effect cymbals, because it makes it sound more tension, and it’s very cool to hear this way. (rhythmic drumming) So I really like those displacements, and those are illusions because as soon as you play them, the audience will start wondering, okay where is the beat? Is it on the kick and the snare? Or is it in your drive? It’s pretty obvious it’s
on the kick and snare. (rhythmic drumming) But the audience will
still wonder a little bit, what’s happening? Why is the drive displaced like this? And it creates tension, and you can apply it for
every groove in four four, for example. In every style, and it doesn’t really impact on the feeling of your band mates. Like, they won’t be lost, because you still have
your basic groove going on. So those are very cool to use without getting the
listener too much lost. – Yeah, it’s like a subtle illusion, I guess you could say.
– Yeah. – Show us some examples just
playing different grooves that you would apply this concept to. – Okay. I have four four grooves, I guess, yeah. (rhythmic drumming) So yeah.
– Very cool. Do you have a favorite one you find that you use more often? ‘Cause you have like, A, B, C, and D, just displacing a sixth C note. Do you find one that you use most? – I think I will use the one that is starting on the second note of the subdivision. Like one two three four,
one two three four. (rhythmic drumming) This one, I think I prefer. – It’s very cool, yeah. Now you also, before the lesson, you were showing me how you can follow the groove within
that displacement. – Do I play it on the track? – [Host] Yeah, you even
got a track for it, too. – Yeah. – So what you basically are gonna do here is you’re going to not
just displace the hi-hat. You’re now gonna play the beat– – Yeah, I’m gonna follow all
my illusion with the hi-hat with my kick and snare. So all the groove will be displaced. I will play it on the right, and my hi-hat here will stay, like doing the real beat all along. – Got ya. – So let’s go. (metronome ticking) (rhythmic drumming)
(light rock music) – Okay, explain that one to us. You gotta do it one more time. Explain what you just did there. – So I– I basically– I played the groove. (rhythmic drumming) And I displaced it, displaced the groove from 1/16th notes, and then I played the basic groove again, and I displaced my
groove from 2/16th notes, so like on the half beats. I played my basic groove again, and the last combination is I play on the fourth 16 notes. And then that’s over. – Do it one more time, if
you can. That was so cool. – Yeah?
– Yeah. – Okay. (metronome ticking) (rhythmic drumming)
(light rock music) One illusion I didn’t talk about, on the same kind of thing, is groups of three. So I play a regular groove, and then I just play single strokes every three notes. (rhythmic drumming) So there are many possibilities with this illusion. You can do shuffle groove, for example, instead of doing single stokes, like this. You can go for–
(rhythmic tapping) That sounds much better. (rhythmic drumming) So this one is very cool, and you can go on the stacks. (rhythmic drumming) For example. You can also follow the groove here. Follow the illusion with your groove. – Okay, show us what that looks like. – Yeah. I will play first regular bars, like– (rhythmic drumming) And then my illusion, simple strokes. Then shuffle, and then I will
enter the groove completely into the illusion. (rhythmic drumming) So you can also, thanks to that, if you follow your
illusion with your groove, you can also change your music style. So I went from a regular groove. Like this one.
(rhythmic drumming) To a shuffle groove, out of nowhere. (rhythmic drumming) Because they are linked
with the same subdivision, (rhythmic tapping) Like doo, dat, doo, dat. (scatting) You can really do whatever you
want with these subdivisions. Because it’s just a matter of
your choosing of groupings. So you can do groups of three. We won’t do that here, but you can go for fives, too, or seven. So really, all your illusions are based on your subdivisions. – Now if I give you a click. I think, ’cause I wanna hear that. ‘Cause I know what you’re doing. You’re modulating. And when
you hear it without a click, it’s really hard to hear the power of it. – Yeah. – Do you have a metronome on here? Well let me find, I’ve got one here. – Yeah yeah, I have one, I have one. (rhythmic drumming)
(metronome ticking) – Cool. It sounds like you feel
like you’re speeding it up. – Yeah. So yeah, with illusion, you can slow down, or speed, or whatever the time. That’s the magical thing. And I did that illusion
in Human Hardware, too. So instead of going for a shuffle, I went for like the groups
of three you’re doing. (rhythmic drumming) You just take your group of three, and they become your new eighth note. (rhythmic drumming) And you go for your groove. (rhythmic drumming) So if I want to explain
the groove illusion in the Human Hardware, you will hear. (rhythmic drumming) And then you do groups of three. (rhythmic drumming) So really, your groupings
are the new value of notes. So you can choose, it’s your
new value of fourth note, or eighth note. And you can do new grooves with it, and slow down or accelerate the time. So that’s cool. – [Host] Awesome. – So, you can do groups of five, too. It’s the same principle. I will show it like, I don’t want to do just simple strokes. Like, one two three four five,
(rhythmic tapping) one two three four five,
one two three four five. I want to do this pattern. (rhythmic tapping) Okay so, one two three four five, one two three four five. So let me play this regular pattern, and then the illusion. And then I will go into
it with all the groove. (rhythmic drumming) So I can show you what it sounds, how it sounds in a more musical context. – Well first break down
what you just did there. You did two different patterns. – Yeah. – Explain the first one. – So the first one was just doing the illusion with the hi-hat. (rhythmic drumming) My subdivision is here.
(rhythmic tapping) And I do groups of five. (rhythmic tapping) But my groove stays the same. So it’s just an illusion over the groove, with the hi-hat. (rhythmic drumming) And then, if I want, I can follow, (rhythmic tapping) this pattern, and it turns out, it turns into a groove
of three, of five, sorry. (rhythmic drumming) Now I can play it in a
more musical context. (metronome ticking) (rhythmic drumming)
(rock music) – Very cool. So that was back and forth, from straight, to the five note grouping. – Yeah, exactly. The first one was, I basically followed the
melody, that is in five. Doot do do, doot do do,
doot do do, doot do do. So the first one I did
was kind of regular, and then I went back
to the original groove. And I started my illusion
just hearing the melody. So you can really start
it everywhere you want, as long as it fits the melody, if it’s in five, for example. And then I followed my groove, but you really have to
keep the real beat in mind, so you can, you know where to look again, and to end your illusion, to start your main groove. – Got ya. That’s all notated, if you
guys need to watch this again. That’s totally fine. But you do have the sheet
music there in front of you. Let’s move on to the
six eight, Bossa Nova. This one’s really cool. You have a cool track for it as well, and this is where it gets
into some real illusion. ‘Cause you might’ve seen groupings before. It’s not the first time
people have talked about it. But this stuff’s really cool. Especially when you get
into the stylistic stuff. – Yeah, should I explain it? – Play it first, and
then explain it, yeah. – Okay. (metronome ticking) (rhythmic drumming)
(smooth rock music) – So yeah, you had like
a shuffle going on, and some like Bossa Nova
back into the shuffle. Explain what you’re talking about here. – Yeah. So my first groove is a shuffle. And again, I use my subdivision to do a group of four. Because shuffle is groups
of three, basically. One two three, one two three.
(rhythmic tapping) One two three, one two three. Okay, so instead of doing this, (tapping) I want to do this. (rhythmic tapping) So you can practice maybe
on a shuffle groove, just the drive. (rhythmic drumming) So it’s just a matter of
groupings and subdivisions. I’m feeling the same subdivision here. It’s–
(rhythmic tapping) (rhythmic drumming) (rhythmic tapping) (rhythmic drumming) So I basically changed my drive, and I went straight
ahead with a new groove, that is Bossa Nova. – Awesome. Play it for us again, slow it down. (rhythmic drumming) So you guys are good. You got the sheet music in front of you if you guys need. 4C is kind of breaking down the pattern. – Yeah, exactly. – And 4B is just the pattern? – Yeah, the A is your original pattern. The B is the pattern you
want to play just after. So you want to include that
pattern in your subdivision. And then you just play the A, and you try to go from A to C. C is the Bossa Nova pattern. Played in 6/8. So it takes four bars to resolve entirely. – Play it with the track one
more time, if you don’t mind. – Okay.
– It sounds really cool. (metronome clicking) (rhythmic drumming)
(smooth rock music) Alright, you got one more illusion for us. – Yeah, and this is, yeah, the best one. So the Rumba clave two three is this one. (rhythmic drumming) We call it two three because
we have first two strokes, and then three. (rhythmic drumming) One two three, one two, one two three. So I’m gonna basically
go from this groove, this clave. (rhythmic drumming) To a new groove in 6/8, this one. (rhythmic drumming) – So, you first, starting with 5A, and you don’t have any snare notated just ’cause you improv the
snare, if that’s right. – Exactly, yeah.
– So show us 5A again, just so we can get reference point here. – 5A is this one. (rhythmic drumming) This is 5A. The groove we want to include as an illusion is this one. (rhythmic drumming) So I’m gonna break my
ostinato with a fit here. To just keep the clave with the left foot. Okay so I’m gonna do this groove. (rhythmic drumming) With this clave. (rhythmic tapping) So it’s gonna sound less, a bit like, what’s going on? But in fact, my clave here
is the reference point of my real groove. Because I just started with this groove, this clave in two three. So thanks to this clave, I know where I am in the real beat. – Alright. – So should I play it with music? – Let’s hear it without the track, and then we’ll do it with the track. – Okay. (rhythmic drumming) – Now you prepared a pretty
cool practice track, too. Do you wanna play it with that? – Yeah. Yeah actually, it’s just
loops from Logic Pro. – Don’t need to tell everyone that. – I didn’t make everything. – You did the piano and
everything yourself, come on. – Yeah, I created all this. (metronome ticking) (rhythmic drumming)
(upbeat exotic music) (singing in foreign language) (laughing) – Yes. (scat singing)
– I wanna to get up and dance. Very cool stuff. So you can hear it almost
has like a half time illusion feel to it
when you cut into that. And then you go back to the normal, and you can feel a big shift. And it’s right, it’s not
like most non-drummers won’t kind of know what’s happening, but they’ll feel something has changed. – Yeah, exactly, yeah. Something that has changed. And the point of reference has changed. The beat, too. But if you still have the
real point of reference in the head, or if your
band mates are playing it, you can just hear and
figure out where you are exactly in the beat in order to fall again
under the real beat. – So we gotta wrap up.
We’re running low on time. But is there anything else
you wanted to add to this, or to say to the students out there who are getting into groove illusions, or anything like that? Maybe listening references, to listen to some other bands or songs that have this in there.
– Yeah of course. You can find it in many styles of music. Like Jazz, fusion. But most of all, I think in the rock or
progressive rock or metal, you will find a lot of these illusions. And even as a principal idea of composing. So I’m talking about bands like Tesseract, David Maxim Micic, Plini. Genesis maybe. All those progressive bands are using a lot of illusions inside. And of course, odd time signatures. So yeah, you can listen to
it, to progressive rock. And I can only advise you to start with this wonderful book I started with when I was at the conservatory, that is called Rhythmic
Illusions by Gavin Harrison. So it’s a wonderful book. And all that, I said
here is kind of explained in his way of explaining in this book. And that’s how I started
learning this thing. – Big time. Gavin Harrison’s book and DVD is amazing. If you guys haven’t checked
it out, go and do that. Thank you so much, Camille. – Thank you. Thank you too, thank
you for having me here. – Yeah, absolutely. Huge thanks to TAMA, of course, for helping us out. We have a beautiful
TAMA Star classic here. But he didn’t have an eight inch tom. We were kind of freaking out, ’cause I know how much
you wanted that eight inch tom for your setup.
– Yeah, it’s very important. – And they came through and sent one down. This is like one from their other kit, and they had said no problem. So thanks TAMA.
– Yeah. – Huge thanks to MEINL, of course. Remo as well. Vic Firth. And Cympad as well, too. So thanks to you all for watching. Hope you enjoyed it. If you did, come on over to Drumeo.com. We’re gonna do a lot more with Camille inside of Drumeo Edge. We’re gonna do a couple courses with her. We already did a couple cool quick tips and challenges and solos, and all that kind of stuff. So we have a lot of fun inside, so hopefully you can check us out there. If you want a free trial, Drumeo.com/trial. And leave a comment below, what you think of groove illusions. Is this something you guys are working on? Is this something you
guys have tried before? You a master at it? I’m not a master at it. You wanna play us out? – Yeah. – What are you gonna play us with? – Super Moria Brothers. It’s one of my tracks, too. – Super Moria Brothers.
– Moria Brothers. (upbeat music) (rhythmic drumming) (light funky music)