(salsa music) (rhythmic music) – Oh, my Goodness. (laughs) Unreal. Ladies and gentlemen,
Mr. Dafnis Prieto. – Thank you. Thank you, Dave, for
having me again here. Great pleasure.
– Yeah. Dafnis, it's his
second time here. He was, I think three and
a half, four years ago? – That's right,
something like that. – On Drumeo, and his
lesson's actually on YouTube as well as a whole
section in Drumeo as well. But, so happy to
have you back, man. – Thank you, I'm
happy to be back too. – Yeah, very good solo too.
– Yeah, thank you. – I'm just blown away
by your solo skills. And for all of you who
are watching, welcome, for all of those watching
live on YouTube and in Drumeo. Everyone, welcome to the lesson.
There is sheet music
you can download below so make sure you get that. And you're in for a treat today. The lesson is entitled "The
World of Rhythmic Possibilities" so there's a lot of cool
stuff you're gonna teach. – Oh, yeah. – But before that, if you
guys don't know who Dafnis is, you are a world-class drummer, but also educator and composer. You are a winner of many
awards, grants, grammies, and all sorts of stuff, and the author of
this book right here which, again, like
I said, is called "A World of Rhythmic
Possibilities".
But we're gonna give
three books away. Once this lesson hits you, if you guys are watching
this on YouTube, within 30 days of the
release of this lesson leave a comment
below, basically say what your favorite
part of the lesson was, I wanna hear what
you liked the most, and we will randomly
select three winners and we'll send you a book. Explain this book
for us quickly. – Well, the book
is a long story. It took me a long time. It's self-released, I
released it on Dafnison Music. And it's a journey of
different experiences, different adventures and
experiences with rhythm, and there is a chapter about
the clave and the cascara, the relationship, but then
as the chapter develops and kind of having a
different relationship between the clave and
cascara, and having this place the two patterns to create
other different possibilities.
So basically it is focused on a world of rhythmic
possibilities, which to me is an endless world. – [Dave] Yeah. – And there is always so much
possibilities to choose from, and that's the wonderful thing, and that's what kind of I had
inside when I did the book. There's so much stuff. And I'm really excited with
it, the book actually has 338 audio tracks
and 33 video clips, it has like 275 pages,
and it's a long journey.
There's a journey on songo, there is another journey on
the rhythmic independence, which we actually touched
that in the previous class. – Yes, that's right. – The independence
using the stick control with the clave and the
cascara, et cetera, et cetera. It's a lot of stuff in the book, and it has been getting
a great response by my students and other
students and teachers who actually have asked me to let them use the book
and stuff like that, so. – Well, I've had the chance
to go through some it and it's an amazing book, and if you guys wanna win it be sure to leave a comment
below this video on YouTube. And if you guys wanna pick
up I strongly recommend it for everything you're getting. Look at how thick this is.
– Oh, yeah. – This is not a small read, man.
This is one that's gonna take
you some time to go through. – It's not a method. A method is a little bit
more focused on instruction, you know, a thinner
thing, very focused. But this is a book in itself,
it has analytical things, philosophical things, journeys,
you know, things like that, and also the instruction
aspect of it.
– Very cool, very cool. So definitely check it out. And if you wanna follow Dafnis
online he's on Instagram and Facebook and all
that kind of stuff. Twitter as well. But you can find all that
information in his main website which is www.dafnisonmusic.com. That's "D-A-F-N-I-S-O-N"
music.com – That's right.
– Cool. So what we're doing today is
just a snippet from this book, and we're gonna get Dafnis
to show us some of the stuff that you can learn
from that book alone, but we also have the
opportunity to film an exclusive course
for Edge members called "Solo Strategies".
– Hmm-hmm. – "Solo Strategies",
which is really cool. So if you're an Edge member
you're gonna get that in the next couple of months, which is gonna be really cool. But a huge thanks, before we
get into the lesson, to Yamaha. Yamaha in general
really helped us getting this whole
thing organized, setting us up with
the kit and all that.
Also huge thanks to Sabian, Evans and Vic Firth
for this as well. You guys always do a bang up
job, so thank you so much. Now, I think that's
enough of me talking, it's time to get
into the lesson. Am I missing everything? – No, that's good for now. I mean, let's go into the lesson and then we'll see what happens. – We'll see what happens. So, "A World of Rhythmic
Possibilities" within an hour.
What is this lesson about. – Well, I'm gonna really … – Condense.
– Condense the whole thing. Well, this lesson is
actually about improvisation and specific rhythmic cells
that I've brought today to share with you guys about, you know, I think the most
fundamental and important rhythmic cells to use
inside of improvisation, any improvisation
basically that we'll have on a steady pulse. You can play that in
different kind of groove, like a funk or
Latin, in this case, or swing even. So I'm gonna just play,
and play it a little bit as we'll go into the class, but first I would like to
actually just play them, play them along. We'll have 10 different
rhythmic cells, and I'm gonna actually play them just individually like that, and then we'll
actually gonna start putting that information
into the groove, into them, and then start giving more
possibilities within that. – Very cool. – Combinations and
stuff like that. – Well, I remember
the first lesson you did with us on Drumeo, I looked at the sheet
music and I was just like, it was so hard to
just understand it, there was too, it was
really, really crazy stuff.
And then when you sent me
this music sheet I'm like, "Oh, this is just
rhythmic patterns". So I'm really curious to see
where you're gonna take this. – Yeah, this is,
it takes the … You see the whole basic points
of this, the purpose of it. So, let's say for
example that we play a steady pulse on the hi-hat, which we're going to do
quarter notes, alright? So, we're going to play,
I have 10 rhythmic cells, and then we're going to
play a bar of number one and then a bar of number
two, bar of number three, four, five, until 10.
– Sounds good.
– I'm gonna play it on the
snare first with the hi-hat, you will hear it, and then
we're gonna start expanding that into the drums. – Okay, so let's do
individual first. – That's right.
– Alright. – Let's just do number one now, which is basically 16 notes. This is very basic, alright? One, two, three, four. (rhythmic music) That would be number one. Now we're going to do number two which is the same
subdivision with 16 but then we don't play
the first note, okay? One, two, three, four. (rhythmic music) Now let's do number three. One, two, three, four. (rhythmic music) Let's do number four.
One, two, three, four. (rhythmic music) Number five. One, two, three, four. (rhythmic music) Number six. One, two, three, four. (rhythmic music) Number seven. One, two, three, four. (rhythmic music) Number eight. One, two, three, four. (rhythmic music) We're gonna do number nine. One, two, three, four. (rhythmic music) Now, number 10. One, two, three, four. (rhythmic music) Alright?
– Alright. – Those are the
10 rhythmic cells that we're gonna work on today.
Alright, so what
happen with these? Now, after we have these
we can actually play it, just with the snare
and the hi-hat, we start embellishing
these rhythmic cells. For example, just with
the flam, alright? So you have number one, we're gonna do now,
I'm gonna place flam in different places
of number one. – Okay. – Right?
– Alright. – One, two, three, four. (rhythmic music) Alright. That's we call accents.
– Okay. – Alright? Now we're going to
do the same thing number two. – Okay.
– Alright? One, two, three, four. (rhythmic music) Et cetera. – Okay.
– But let's do, let me do three and four also.
– Alright.
– This is very nice
with the flam, okay? One, two, three, four. (rhythmic music) Number four. One, two, three, four. (rhythmic music) So …
– Cool. – What happen with this,
there are many combinations so you can choose to
play some of these obviously throughout, expand
it to the whole drum set, but also you can use it, play some of the
notes simultaneously
with the bass drum. For example, number one
playing some of the, choosing some of the notes
to play simultaneously with the bass drum.
– Okay. – That will give it a
different level of complexity but also of sound, it
enriches the sound. So let's see that. One, two, three, four. (rhythmic music) And then the same thing all
song with the other examples. – Now, you just
randomly picking notes? – Yes, I'm randomly
kind of improvising, this is based on improvisation. I'm using these rhythmic cells as kind of setting
up the basics of, these small rhythmic cells
so we can be conscious of it, work on it, and then when
you improvise you kind of let it all happen. You cannot improvise thinking,
"I'm gonna do number one.
"Now I'm gonna do number three". This is not the point, the point
is that this will allow you to when you start improvise
then you have the freedom to choose different … Rhythmic cells.
– Got it. – Let me, actually, give
some variations of it. I'm gonna actually,
let's do number eight, and I'm going to distribute
number eight on the drum set, already using flams and ruffs, and also including
the bass drum. – Okay. – Alright.
– Yeah. – One, two, three, four. (rhythmic music) Alright? – A whole new level. – Yeah, a complete different — Yeah, a new level. I mean, obviously, this implies
that you have to actually get the independence so you
can keep playing the hi-hat, but, yes, definitely a
whole new level of it. The same thing happens
with all of them. There are two main subdivisions where we're going
to actually work, which are the stray subdivision, which is in this case 16 notes, and the triplet eight-note. – Okay.
– See? These are very fundamental.
It's good that the
drummers practice that and be very conscious
of how to manipulate that subdivision, alright? So I'm gonna distribute a
little bit 16 and triplets, which are basically number
one and number nine. – Okay.
– Alright? One, two, three, four. (rhythmic music) – And that's just
16ths and triplets? And eighth-note triplets?
– That's it. That's as simple as that. Different combinations. And the beauty of
it is actually that then later on as he develops
and the drummer start feeling more comfortable with it then you start adding
more sounds, right? And I'm gonna actually just, now that we're in it, the content of it,
I'm gonna improvise, and I'm going to be using
selective rhythmic cells randomly, you see? – From the page.
– Yeah, from the page.
– Or either be, like, are
talking the whole bars worth or just maybe a quarter
note of number six and …? – Exactly. I'm gonna repeat it
so it becomes a little
bit more evident. So you will see how many
things it could be done. But before I do that it's
important that there's also this other possibility which
is alternating between beats. – Oh, okay. – Yeah?
– Yeah. – So we have 10, which means
that you can alternate that 100 times already, you see?
– Yeah, yeah. – And, for example,
if you use cell … The rhythmic cell from number
one, then for number two, and then … Let's actually do one,
two, three and five. – One, two, three and five. – I'm just gonna
play it straight, no improvisation in
the middle, alright? And you'll see what
comes out, right? One, two, three, four. (rhythmic music) You see, that already creates, that already creates
rhythm, rhythms. So I'm gonna now
improvise, just like that, with some of them. – Okay.
– Alright? Just freely.
– Alright. – One, two, three, four. (rhythmic music) – Just like that, man. – So you can make any
combination you want to on this.
And that's the beauty of it. Then, later on, the
second approach to it, let's say that in this case I'm
going to play just a groove, and then I'm going
to use some of these to embellish that groove, see? For example, there's just
get a regular pattern of … Just a simple pattern like … (rhythmic music) One, two, three, four. (rhythmic music) – So sweet. So explain what
you're doing there, like, how are you
interpreting that groove or embellishing that
groove using those figures? – Yeah, well, you
know, as you heard, I'm playing those figures but already distributed
on the drum set. So I set up a simple thing, you can actually do
it just like this. (rhythmic music) Right? So let's say that
you just set up a simple thing just like that, in quarter notes on the
bass and on the hi-hat, and then just, in this case, I'm gonna actually
make it much simple, just play the subdivision
in the bottom, kind of the groove
of the whole thing as the 16th-note.
– Okay.
– And then you start
picking up one of them, you just look at one of
them, and start using it while you maintain the
subdivision going, right? And that happens
with all of them. Let me just do that
for a second, alright? One, two, three, four. (rhythmic music) – Yeah, okay, I see
what you're doing now. – Yeah, so I'm
improvising with them, I'm using this as a reference,
but I'm improvising with it. Another approach that you
can do is, for example, getting into number
three, which is the … Playing the 16th-note rest
and then an eight-note, that eighth-note. For example, you can end
the, whatever you feel you do end it there.
– Okay. – Let's say that
I'm doing a feel … And then I'm going to end
at the beginning of the, at that, after the
first 16th-note rest. Right? So … (rhythmic music) – So you just use that
to end a lot of your whether be solos or fills,
something like that.
– Yeah, and the same thing
could happen with number four, you know, use it as the
ending, as kind of a hook. – Yeah.
– To end something like that. Any kind of feel that
you're willing to do. – Yeah, so, how
much of this concept do you use when you
approach any kind of rhythms that you're playing,
whether be a solo or an actual track for a song? How much of this
comes through you? – Well, I think
with this is like, with this specific rhythmic
cells that I've found, these rhythmic
cells are very basic but it could really
amplify and expand in so many different ways.
You can play in so many
different rhythms as well. And I just found that, you know, when I do soloing
or improvisation I use them as
embellishment or I use them as part of the
vocabulary of soloing. You know, there is
much different level, much more abstract ideas
and things like that, but this is very
fundamental but very strong, at the same time, rhythmic
cells that I recommend beginners or more advanced
drummers to practice. And also in combination
with the bass drum. You see, keeping the steady
and then the combination.
Because, for example, if
I do something like this. Let's say that I'm up
there playing a solo in a Latin groove, right? So I'm gonna actually
use number 10, which is the sextuplet, okay? So … One, two, three, four. (rhythmic music) You see, I'm using it
but not necessarily in a monotonous way, I'm
using it in combination with the bass drum
and then with dynamics and then with different sounds. In this case I was actually
using a lot muting the toms, and things like that. So there are different
strategies, different
possibilities that will embellish any
solo or any accompaniment, because as playing in a band or even if you wanna just
nail down a regular groove and then you wanna embellish it, you have some
material to work with that it will give
you more vocabulary.
– Yeah, you're comfortable
with those cells. And one thing I noticed when I
was watching you just do that it sounded so good, and one
of the reasons why I think is because you also had your foot on that quarter the whole time, and that gave us all a
reference to where you were, you were speeding or
you were slowing down, and you were just manipulating
those 16th-note triplets. – Yeah, to me it's important, you know, I have
a tendency to do a little bit of complex
stuff when I play.
– Yeah.
– You see? So, for me I like to keep, many times I like
to keep the hi-hat so there is a reference,
there is a relationship of what I'm doing, that
abstract or that sophisticated or more complex
rhythms that I play in relationship to
something static so that invites the
listener to understand. To me the point of playing
drums and playing music is a communication
device, you see? So I want the audience
and I want whoever listen to understand what I do. So, the hi-hat, by
playing the hi-hat in all of the
pulses, of the beats, that will give a good reference
to that that I'm playing in relationship to that pulse. – Yeah, absolutely. But it gets really tough when
you have your left foot going and then you start
improvising — Sorry, you have your right foot, sort of phrasing that
into those patterns while your left foot is
doing those quarters.
That's an independence
killer right there. – Yeah, that's it. I like to just suggest that, the way I look at the hi-hat
is almost like a dancing limb. – Dancing limb, okay.
– Yeah. So I kind of set
a groove with it, and then obviously it goes
almost as automatic pilot. – Cruise control.
– Exactly. So it's automatic pilot and
gives me that nice, you know, groovy pulse, and
then I jump into play. There are all kind of playing, I do a lot of other
much more open that it has not
necessarily a reference to a specific constant pulse, I do a kind of a soloing
also which are more melodic, much more … And I like to call it romantic
or whatever like that. This kind of approach
that is not related to the specific pulse, but then you can see a
wave and a shape of sound and melodies and
things like that.
– Awesome, man. So for a beginner drummer, or even a low-level,
intermediate, how would you recommend they
start practicing this stuff to make it effective and
applicable to their skill level? – Yeah, basically,
I mean, if you like, if you're one the drummers that like to practice
with a metronome you can perfectly do
this with the metronome, or you can do the metronome
and the hi-hat also. The hi-hat you can play
it in all the beats or in the off beats, those are the most
kind of standard way of using the hi-hat as a
reference, as a constant pulse.
And then the same way I
was doing at the beginning where you basically just
do it in one drum first and then you have that
sense, that relaxed feel to all of these rhythmic cells and then start expanding
little by little. This takes a lot
of time, I mean, to get really
comfortable with it, but the thing is that
you can even play some of these rhythmic
cells with one hand as you're playing
another rhythm, see? For example, let's
say that, in this case I'm going to play this pattern on the cymbal, just "chan, cha cha chan, cha
cha chan, cha cha chan", and I'm going to play on
the hi-hat the off beat. – [Dave] Okay. – One, two, three, four. (rhythmic music) You see? So that's
a possibility.
Also you can do
it with the clave, which to me it's
comfortable also. I'll just play that
with the clave. – Yeah, yeah. – One, two, three, four. (rhythmic music) So you make combinations,
alternate between the snare, in this case, and the first tom, alternate these rhythmic cells and you distribute
it on the drum set while you're playing on a steady
pattern on the right hand. And that really
gives a different … Because you want to interact
with the musicians as you play, they might need a push from you, and then sometimes the
drummer is trapped, is trapped in that rhythm
that he's not able to move on and to really be
relaxed with it, and to be able to
embellish that pattern, et cetera, et cetera.
– Now, talking about music,
we have a vamp loaded up if you want to show us just a
couple of these demonstrations to some actual, like a
piano montuno, I guess. So, Taylor, you wanna
get that ready for us? And if you guys have questions
for Dafnis get them in because we will have
time for some of those. – Oh, yeah.
– Yeah, looking for this. So he's ready whenever you are. – Okay, so this is a, this is
a montuno, a piano montuno, and I'm going to play some
of these rhythmic cells on top of this. This is another way. We actually giving this
montuno away for the … – That's right. If you're
a Drumeo Edge member, part of the course that we did,
this vamp comes with it, so. – That's right, so I'm
gonna be playing this, I'm gonna choose a few of them and play it on
top of the montuno with different combinations,
the bass drum, the cowbell, the toms, the snare,
the cymbals, we'll see.
– Alright. (salsa music) (applauding) – Amazing, and that's
just using those figures or rhythmic cells. How do you call them?
– Rhythmic cells. Yeah, rhythmic cells,
like small rhythmic cells you can kind of
divide them by beat. So you can use different
combinations of it. And another way you
can practice this is if you vocalize them. I like to always
suggest the students when they're having
a difficult time to make these
patterns feel relaxed is to kind of clap
the steady pulse and then sing the parts, see? For example … One, two, three, four. (rhythmic vocalization) – That is so cool. That is very important too, you were talking about
that with me before. Why is that so important
for students to do? – Well, it helps to internalize.
Whatever the audience
and the listener listens, is listening what
you choose to play, but is listening also
what is the foundation of what you choose to
play, the subdivision. – Yeah. – Subdivision is the
power of a good groove. – Yeah. – Whoever has a good
groove, and I do like any drummer that you like,
et cetera, et cetera, is able to actually
groove on that pattern or is able to kind of
capture your attention because they have a strong
sense of subdivision. – Yeah.
– You see? So in this case this
will kind of focus on many weak spots that we have
inside of the subdivision as the second and the fourth, the combination of
two, three, four, like number eight, also, that it plays on the
first and the second and then on the fourth,
it leaves the third out. So all these weak spots. And also using the sextuplets on top of a straight
subdivision, and also the triplets. So there is so much variations
you can do with that. You can do it with kind of a, with the two hands
simultaneously or you can play it with the
two hands at the same time these rhythms because
they are not super …
This is very fundamental, but it gives a very
strong support. And you can do the same
thing if you play in a funk, a more kind of a
funk rhythm, right? So let's just do
that for a second. – Okay. – One, two, three, four. (rhythmic music) – Yeah. – I'm using that randomly, and using a lot of
the rhythmic cells. Basically that's what
I was focusing on. And on top of any — And the same thing could be
in a swing feel, for example, if you're more of a
jazz guy to do that. In this case you
have to actually kind of change, because swing
in this case it would be double time of this, right? But just following the
sound, for example, I'm gonna do some of
them, and you'll see. One, two, three, four. (rhythmic music) You see? You can apply it to any
kind of groove, basically. Anything.
– Awesome. Well, just with that page load you can have years of practice. – Oh, yeah, this
is a lot of things. I mean, you can use,
as I said before, embellishments of single notes, that's the way I
like to call it.
So you can actually do flams
or ruffs or combinations of threes and things like that, and still be using
the same information but expanding much more and expand it to
the whole drum set. – When you see the
results of your drumming and you can see what you
can do when you're soloing and your creativity,
your groove in general, it's mind-boggling. And to hear that this
is just one sliver of what you did to get
there, that's exciting 'cause it makes me wanna try it. – Of course. – And then work through
the stuff as well. And for all the
beginners out there, I know that a lot of stuff
that Dafnis just played might be over your head, even just trying to pick
those rhythmic cells out of what he was
playing, but start simple, like he said, just start
with singles on the snare.
I really like your
suggest to clap and sing, sing them just like Dafnis. Don't be ashamed if you
have a terrible voice. – That doesn't matter, you
don't have to be a great singer. Actually, all of my
students they have to do it, and at the beginning
they might be a little bit skeptical about it, feel very, very afraid of it, but then, you know,
you relax to it and you accept this is
part of being a musician.
There are a lot of
traditions in the world, rhythmic traditions
that actually you have in order to play
the instruments. Like in India, for example,
you have to really learn all the chronicles and
all the rhythms first so you can imply
the right intention. And you learn how to organize
in the compositional level all the rhythms before
you actually play them, so when you play them
you're much more conscious of what you're playing, you see? – Yeah.
Now, is there more
rhythmic cells that these that you
really focused on or are these just like the 10 that you find the
most applicable? – Well, there are
other combinations but they are much more
faster, for example, or combinations of
triplets that they go and they are displaced
on top of the sextuplets, for example. Like, you can start a triplet
in the last sextuplet. – Okay.
– You see? – Yeah, I see.
– So, for example you have … One, two, three, four. (rhythmic vocalization) – Yeah.
– See? Or you can start it
on the second one. (rhythmic vocalization) One, two, three, four. (rhythmic music) – Yeah. So there's just tons
of opportunities. – Yeah, there is a lot …
– Options. – A lot of, a lot of. – We're running low on time. – Alright.
– Yes. So, we'll get into a
couple of questions here, and before that we will — After that, sorry, look at you
to play solo, if that's cool.
– Oh, yeah.
– Yeah? Cool. So one question that, you
kind of already answered it but this is from
Drummer Carson, he says, "Can these solo ideas be
used in any style of music?" You already kind
answered it before. – Yeah, I did already. As long as you keep
that same pulse. You know, we have to understand that notation came
after the sound, and many schools have
approached notation differently. Even the clave is sometimes,
it is written in two bar, sometimes in one bar, you see? So, in this case I am
focused on what it feels. So that constant pulse is, it is what it feels in
relationship to what you play. So this could be, you
can use that, let's say, number one could be either 16th
notes or it could eighth notes, it depends how you
want to subdivide that.
You know, you make
that translation of the way you
see it is written, but in this case my
focus is in actually the relationship of
what you're playing with the steady pulse. But you can definitely use it
in any style of music. Yes. – Yeah, and we just saw
you doing funk and jazz, and Latin style as well. Question from Drummer
Carson as well, he says, "Hey, is that right cymbal a
Sabian AA Raw Bell Dry Ride "or what it is?"
– That's right. It's an AA Raw …
– The 20 inch.
– This is a 20, yeah. – 20? Okay, awesome. There you go. Last, coming here from Daniel — Daniel, sorry,
before we wrap up. This says, "Hey, Dave and
Dafnis, it's a great lesson, "it sounds incredible". He says, "Dafnis, what's
your favorite go-to tune? "And also, what got
you into drumming?" Like, what's your
favorite style to play. – Well, obviously for me
it's more natural to play Cuban music, 'cause
I come from Cuba, so it's natural to me,
and I have a lot of fans playing that music.
But I like any of the styles, I like swing, I like funk a lot, I like different kind of music in some other
places of the world, like India music or
music from Indonesia, from Africa, obviously,
because the tradition where I come from in Cuba, it has a lot of
fundamentals and … We inherit their
culture, basically. – Yeah.
– You know? So, I like a lot of different
kind of music, you know? – And what got
you into drumming? – What got me into drumming? I used to, when I was
a kid, very young, I used to listen to
the carnival music rehearsing very
close to my house, and I just couldn't avoid
to just go behind it and start dancing and see,
I was very curious to see how the whole thing came about, like how, let's say, 10, 15,
20 people can play together and they all groove
simultaneously, and with that sonic
empathy and that joy.
I also remember the
joy that I felt. I almost felt like I was in a, in rhythmic heaven, basically. My body moved, my
brain couldn't stop … – Sure.
– Yeah, you know. So that's what it got me
into music, basically. – I love it. Well, you've come
a long way, man. I love your drumming, your independence is beyond
something I can even comprehend, and hopefully we'll see
some of that come through in your outro little solo there. Are you gonna do
it over the vamp? – Yes, I am gonna do it
over the vamp. That's right. – Okay, we'll get
that ready to go. Any last points to add
about this whole concept before we wrap up? – Yeah, to me it's
important besides getting the strength
needed in the subdivision, but also the sense of dynamics
and the sense of accents.
You can really use, just
by a simple subdivision as the 16th notes or any
of the rhythmic cells that we have worked
on in this class, just using with a dynamic or
with a musical intent behind it you will really increase the, a better intention and a clarity of what you're trying to point
out as a music, as a sound. – You'll open up a world
of rhythmic possibilities. – That's right.
– Absolutely. Thank you so much. – My pleasure. Thank you, Dave. – We get you on more often. – Oh, yeah, I'd be
happy to come by. And this is a great new
facility you guys have here. – That's right, it's first
time in the new place. – That's right.
– Yeah. And we got your picture
on the wall of fame. – Oh, yeah? Okay. Great. Thank you.
– Yeah. Huge thanks, again,
to Sean Browne and all the folks of Yamaha
for helping with this. And if you guys
are watching live and you're not an Edge member,
what are you waiting for? We have a whole course
that we filmed with Dafnis as well as a couple
other lessons from the last time he came out, a vamp that we offer as well, amongst all the
other amazing artists that we've had with
their exclusive content.
So be sure to check us out. And, again, follow Dafnis. Dafnisonmusic.com
is his website. You can also find the links
to his social media there as well as to pick up his book, "A World of Rhythmic
Possibilities". And, lastly, for
those who forgot, if you're watching
this on YouTube, and within the 30
days of us posting it, please leave a comment below with what your favorite
thing about the lesson was and we will pick
randomly three members, or three YouTube
members, I guess, to win a free book
from Dafnis himself.
So with that all being said,
thank you all for watching. Thank you, Dafnis.
– My pleasure. – And we're gonna leave you guys with you soloing to that vamp. Now, please, do not
hold anything back. – Alright.
– Go as long as you can. I know how long the
vamp is, it's a loop, I know a lot of it, so
feel free to have fun. And we'll see you
guys out there. – Alright. (salsa music) (salsa music).