If you had to listen to a song once while coming up with the drum parts in your head, would you be able to play it with no hiccups from start to finish?

We gave Gil Sharone a drumless track he’d never heard before (“Funky Rastafari”, available in Drumeo) so he could listen to it, write drums for it, and play through it – within minutes.

As you watch him go through the process of learning music, you’ll see how Gil gets ready for a studio session or when he’s asked to fill in for a band. You’ll also realize how quickly he’s able to do it – like learning an entire album on a plane).

During his listen-through, watch how Gil adds his notes and rough form for each section on a piece of paper in realtime. He also doesn’t write down any beats or ideas, and this seems to work for him!

Chart the form, check. Understand the feel, check. No click? No problem. During his first pass, he tested some different approaches while figuring out where he wanted to go with it. By the time he started his second pass, he had made decisions on exactly what vibe he thought would be the best fit for each section.

Well? How’d he do?

The turning point in my career happened around 2007. I had been playing professionally since high school, but these were next level gigs and my career has been growing ever since.

At the time these calls came, I was working a lot in the reggae/ska scene and playing a lot of jazz. My brother Rani and I had our band, Stolen Babies. The industry was starting to take notice of me, and I was invited to play my first international drum festival and PASIC clinic that year.

Then things really got moving.

Out of the blue, I got an email from Daniel Jensen, Travis Barker’s drum tech.

“What are you doing the next couple of months? Can you get on a plane to come to Europe tomorrow?”

I wrote him back. “What band is this for?”

“+44,” he replied.

This was the band Mark Hoppus and Travis Barker formed after blink-182 split. I had another tour coming up, but I knew this was an amazing opportunity and I was able to get a fill-in for those dates.

I wrote Daniel back. “Let’s do it.”

I got the CD from their management. I remember packing a bag with no instruments – not even drumsticks – and flew out to Paris with my iPod. It all happened so fast. The only time I had to prep was on the flight to Europe. I learned the whole record on the plane.

I learned the whole record on the plane.

There’s a lot of pressure filling in for anyone under these circumstances, let alone one of the most famous drummers on the planet. I like working in high pressure situations. It’s all about staying focused on the task and not letting anything else mess with that focus.

I was supposed to see Travis play one show before he flew home. Even though he had a broken arm, he was playing with a modified setup similar to Rick Allen’s from Def Leppard and I was hoping to see the flow of the show.

But my plane got delayed.

I rushed to the venue and saw the show was over. It was chaos trying to get backstage. Fans everywhere. Chris, the assistant, said “Let me introduce you to everybody. You’re the drummer of the band now.”

Jetlagged and upside down, I met the group. They said, “See you tomorrow at soundcheck,” and that was it.

The next day, we didn’t even get to run through the whole set before playing a sold out show. I wasn’t worried about it. I was ready and the first show went perfectly. I know Mark was pretty nervous about having some guy he never met come and fill in for Travis, but now we all knew things would work out moving forward and we had a blast.

On stage with +44 playing Travis Barker’s green acrylic OCDP kit. 2007
Photo: Amanda Rose

I remember Daniel looked at me after one of the shows and said, “Under the circumstances, this couldn’t be going any better.” I ended up doing the full European tour and the Japan/Australia run with them.

Not long after I got home, I was in a rehearsal with Stolen Babies when I received a MySpace message from The Dillinger Escape Plan.

“Are you interested in playing drums on our new record? A mutual friend said you’d be capable of playing our parts.”

My brother got me into Dillinger and I was well aware of how difficult their music was. I saw this as another opportunity to prove to myself that I could do it. I was being asked to play some of the hardest music a drummer could be asked to play and I wanted to take that challenge on.

I wrote them back and told them I was interested.

“Okay. We’re going to send you one of our hardest songs. If you can play that, you can play anything else on the record.”

Ben (Weinman) and Greg (Puciato) sent me the song “Lurch” and I hit them up a little while later. I played it full speed and super slow over speaker phone so they could hear I had the rhythm down, and they were like “you got it!” That’s when they knew I was going to be the guy to play on the album.

From the Ire Works session with The Dillinger Escape Plan. 2007

I originally came in as a session guy to play on Ire Works, but we had such a strong chemistry playing and hanging that I joined the band. I remember the first time we ever played – the energy in the room was electric. I couldn’t not do it. I ended up touring with the band for about a year and a half before I left.

To this day, people ask me, “Why’d you leave Dillinger?” It was amazing and I was honored to be a part of such a legendary band, but I had a lot of other things that I wanted to accomplish with my career during that time. I always knew that going in and so did the band.

It’s important to set goals for yourself, like the kind of player you want to become or the kind of career you want to have. You’re in the driver’s seat for your career. I never wanted to be labeled as a guy who only does one thing. I saw that I was carving out my own lane and was starting to do everything I wanted to do.

One of those goals was to create and release my DVD/book, Wicked Beats on Jamaican Ska, Rocksteady and Reggae drumming. I remember outlining the DVD in the back of Dillinger’s tour bus.

Then, while doing Dillinger, I got an email from Mat Mitchell who produces Puscifer with Maynard James Keenan from Tool. He asked me and Rani if we were interested in playing on some songs for the first Puscifer record, V is for Vagina. Of course we jumped on that – Tool was one of our favorite bands coming up and Maynard has always been one of my favorite singers.

The session went really well, and Rani and I were then asked to be a part of the first batch of live shows. It was a pretty amazing experience. I also got to double drum with one of my early drum heroes: Tim Alexander of Primus.

Live with Puscifer in Las Vegas. 2009
Photo: Patrick Surace

My twin brother Rani and I playing with Puscifer in Las Vegas. 2009
Photo: Patrick Surace

We all have different paths, but one thing that’s universal is the moment you step out of your comfort zone and seize an opportunity.

The moral to all of this is to be ready. All of these opportunities pretty much happened at the same time for me. I can’t even imagine having to pass them up because I wasn’t ready. We all have different paths, but one thing that’s universal is the moment you step out of your comfort zone and seize an opportunity.

Ever since these gigs, I’ve had plenty of other significant milestones and they keep coming. The unpredictability of not knowing what kind of call I’m going to get makes it exciting for me. I’ve been able to establish myself as a session guy, a band guy, and an educator, and those are the three avenues I’ve always wanted to achieve in my career.

Establish what you want for yourself and go after it.

Gil Sharone

If you’re looking to get into reggae drumming, look no further than Gil Sharone, the author of the award winning DVD and book on Jamaican Ska, Rocksteady & Reggae drumming entitled Wicked Beats. He has played and/or collaborated with reggae legends Eek-A-Mouse and Lee Scratch Perry, Grammy Award-winning Morgan Heritage, Fishbone, Slightly Stoopid, HR from Bad Brains, Dave Wakeling of the English Beat, and Western Standard Time Ska Orchestra.

In this video, Gil gives you 13 essential hi-hat patterns to get comfortable with. He plays them all over a simple one drop groove but you should also try these variations over a steppers and a rockers beat.

You’ll see how changing just the hi-hat pattern can completely shift how the beat feels:

1. Start with this first variation:

2. Now straight 8th notes, no accent:

3. 8th notes with upbeat accent:

4. 16th notes with accent:

5. Broken up pattern with a straight feel:

6. The same broken up pattern with a swung feel:

7. Another variation with a straight feel:

8. Now swing it:

9. This is a shuffle variation with swung 8th notes:

10. Try this one as an exercise:

11. This is the straight version of a common beat played often by Grizzly from Steel Pulse:

12. Here’s the swung version:

13. This essential pattern sounds like a simplified version of Carly Barrett’s signature style of one drop:

Don’t forget to play these variations over one drop, steppers, and rockers beats. Click here to download the play along track.

This video is one of eight parts of Gil Sharone’s course “Exploring Reggae Grooves”. If you enjoyed this clip, check out the full course inside Drumeo!

“I’m not just a rock dude…a reggae dude…an extreme metal dude. I’m a musician and I play what I love.”

Gil Sharone is known for his work with Dillinger Escape Plan, Marilyn Manson, Hollywood movie soundtracks and much more.

A king of versatility, he’s a huge advocate for paying respect to the early drummers who changed the world of music. In this lesson, Gil will teach you how to apply classic drum techniques to get you through any modern style.

Lesson Index:
0:00 – SONG: “Nutville” by Buddy Rich Big Band
3:13 – Introduction
7:38 – SONG: Soundtrack Medley
14:08 – Why go back to the classics
16:58 – Moeller exercise
24:37 – How to apply it to different styles
27:08 – Shuffle exercise
29:15 – Syncopation exercise
30:52 – Triplet exercise
31:55 – Putting it all together
33:21 – SONG: Medley by Western Standard Time
37:13 – Gil’s best advice
43:03 – SONG: Roots Reggae Jam into Drum Solo

The techniques shown in this lesson barely scratch the surface. For an in-depth look at how far you can actually go, check out Gil’s course on Drumeo Edge!

About Gil:
Gil Sharone is an industry award winner and educator/clinician who has played with Marilyn Manson, Stolen Babies, The Dillinger Escape Plan, Team Sleep and more. His work further extends into film and television scores including Deadpool 2, Guardians of The Galaxy 2, John Wick 1, 2 & 3, The Punisher and Kingdom. He co-wrote & performed on songs for DC Comics’ Dark Nights: Metal soundtrack with Tyler Bates and Mike Elizondo. He is also the author of the award-winning DVD and book called “Wicked Beats” based on Jamaican drumming styles.

Gil plays:
DW Drums
Zildjian Cymbals
Remo Drumheads
Vater Drumsticks

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