ID THIGPnI: BiocrraDhv alike to be one of the finest dnfiilE S Considered by mlsicians and critics jazz, ldl]rnld Thigpen vas Lorn in Chicago Decglber 28, i\ and pelcussionists 1930. He iias raised in I-os Angeles, i!*!ere he attended ThcnEs Jefferson Htgh SchcoL. there, under the instruction of SarTuel Brorne, he gained his firsl practical jazz experience playing with the school's s,!.,ingband. He was the first and only dnnllr€r to win the high schcoL's Music Aqalil. Aftel graduation, he studied at l-os Angeles City Coltege as a sociology nEjor but,
;-i,rihd ^^ : -:rrDr in m,ci^ laFf :riar ^ha vp:r H p - -i v a l- f o r I a year l-l

St- louis, I'Lissor.r-ri witi his father, Ben Thigpen, well-].J1o!,m as the aL!1irn]er of the Andy K.irk Bend in the 1930s and 40s. York, In 1951, Ed joined t]re Cootie wiuianrs Band at tie Sa\.'oy Ba1lio<tr in 1'1ev7 with many liell-knorn rhythrL-and-bfues singers and \,ocal and t-raveu-ed AnErica g.].oups, on d.runs rvith Serving in the Arrny from 1952 to 1954, Ed becane an instructor later he served in Port ord, california. tne sixtn AnTry Band Ttaining unit at Korea irith the Ei.ghtl:r Lmry Band. i'rom 1954 tiiough 1958, he uorked successively with Dina-h washinqiton, Johnny the BiILy HoC,ges'Band, ci1 MeLfe, Hutta Hipp, Toshiko Akiyoshi, and finally now included concetts, clubs, recordTayLor Trio. His professlonal activities 'rgs, t-]le educational Iv series, " The Subject Is Jazz", and \dork as a clinician "or the Ludrig Dnnn ccfirpany. In 1959 Ed joined t}le Osca! Peterson Trio. This group, consisting oi thigpen' all appeared in nightclubs bassist Ray Brc(,m, and the gtreat Canadian pianist, with Nonran Granz' Jazz at the PhiltlafiDnic ' lt over the lior1d and in concetts made an extensive series of recordings that are stil1 considered classics by jazz collector:s. In 1959 Ed and Efvin Jones shared a tie New Star Award in the Po11. Down Beat Critics' Ed left ttle trio to settle in Canada, br.1t after six fiDnths r{as cafled to go on In 1967 he settled in los Angeles to \^,ork as a ttre road with Ella Fitzger:rld, jjnqles, and 1\/ and nDvie sound-tlacks. in recordings, free-lance Itusicj.an Pe99'y period he liorked r.rith Jobrmy l4athis, Pat Boone, Andy willialrrs, Drring tnat l,ee, oliver Nelson, and Gerald wilson, aIIDng others. Tcward the end of 1968 he
-Fj^: 16.l Fl : ci.?dorald re r -errnanent nEmber of her Lr-Lo. He stayed ! ^ ' iL h h e r

until

Septqrdre!, 1972, vihen he (oved to Copenhagen, Demark.

Since then, Ed has used CopenlEgen as a base for !.,orking throughout ELrrope. He !^orks frequently \rith Kenny Dreit, 1llad Jones, Ernle l^/ikins, Clark Terry, TeddY wilson, and rnany other Anerican and Eurooean artisrs. For the last eight years, Ed has been deeply involved in music education, teaching Jazz oriented Percussion Studies at the Music conserwatory and Jazz Tnstitut€ in f4alno, Si./eden. He has his own percrrssion studio in Copentlagen. Ed has written ard published four books: Ed ThigPn Talking D-!Mt Be our Guest, with P.ay Bro!''1_r; Rhytlnn Analysis and Basic Co_ordination; and llDst recently The Sound of Brushes. Says Max Roach: "Thanks to Ed thigpen for giving us a book with a definite " approach tcerards developing the creative aspect of todern di.mring-

The use of ni-re blushes is not new, I have been told 1920's the brushes \,,7ere beccfiring an integral part.f

that as ear]w Fc l-ha dl. a-r,r*i"'"qri#-t.

It would be jnpossible for a,.ry of trs to develope lrltiout tie jnffuence of others. f nould IiJ<e to ackno\41edge soTe of tie rnen who have had the dreel-_ -J. est inf]uence on nv approach to playing brushes. My t"ti,.i n""- ff1igp"i, Jones, -Denzil Best, Art Blakely. Buddy Rich, t4ax Roach, SheUy lvlame and Elvin Jones. One cannot help bul be influenced by great arcisis. Sance.tie efiErgence of "Rock }tusic', which for the nDst palt reguired heal.l' drumling, the btushes were set aside or fot mcst of the young pf.yur" *no began playing during this period, have never Lreen used ai afi.' In 1965 I \rrote a book tltled "Ed thigpen Talking Dnfts,, in which was 1nt.y_ *_o"s of didqranrned brush strokes. it was sugqested that f do 9S"9 a book ? total ly devored to brush LechniquF. this book is tlle result, Atl of the strokes incfudeal herein I use. deDen.lina upon tie irnrsicaf situation- Tt is my sincere hope that ;ft" a;;'.;-;;;;;" \^'i11 help you in developing effective wire bmsi technique.

z/r+f*-

All rights reserved, which include the right to reproduce this book or port-ions Lhereof ^n anv foIln wl^Jrsoever. For it for]nali on addiess r,J Inlqpen/Actlon PeacLron, Bagerslraede 3, 2nd. L.h. --_? V Copenhaqen. Denna.rk

PANYING YOURSEI. TI{E AS WELL AS BEGINNERS. ACCOMTHAT YOU PRACTICEA].AI'I TO P]. BE TELT AS AN EXTENTIONOF TH8 HAND AI.MPLEAT ]. SHOUIJD HANDS THROUG}I THE BRUSH.IDNOT AS A FOREIGNOBJECT. THT IDEA IS TO TRANSMITTH]S FEELING FROMYOUR THE BRUSHLIKE THE STICK.SO RECOMMENDED WITH A ST]IADYPULSE ON THE BASS DRUMA]ID HI-HAT. WITH YOURFINGEE FOLLOW VISUALLYFIRST.AY ALONOWITH IT. DO NOT READ THOROUGHI. fHERXFORE. REI4E}.EAST ONCEWITHOUTTRYING CASSETTE. TIIE SAMEAPPLIES TO TI{E REON THE AND SOUNDS IHE VARIOUSBRUSI{STROKES OF INSTRUCT]ONS CORDED EACH EXI.IBER. ASK YOU TO PLEASE CLUDED MOST]NSTRUCTION IN READ THE TEXT IN THIS BOOKSAREFULIY.RECOMMENDED STUDYAND PRACTICE PROCEDURE ADVTTCED IN IT HAS BEENMY EXPERIENCE THE PAST.F OR TINALLY ?RY PTAYING WITH SOMEOF YOURRECORDS TAPES TO SEE AND MIGHT FIT VARIOUS MUSICALSI?UATIONS. THIS WILL ALLOWYOU TO GET THE FEELINE OF THE STROKEIN YOUR HANDSFIRST.Y WIITTEN TEXT INI BOOKS.t OF THE STROKES ]T IS A]. HEARIIOWTHE STROKES . LISTEN THROUGH AND TRY TO LOOKAT I'HE ILLUSTRATEDDIASR. NEXT TRACETHE DIAGRAI4 IT TIPS ONLY. THAT MANYSTUDENTS.

+ N o t a t i o n . T6 f+ LAf+ U. ... . .lz c^. Accented rrlet countrr of fir6t beat.. .............-... . .. . . . .....6F +a ^ 'rl ^+ .... ... .i E \ r ' l1 qv'aah a i r ^-1-6ulirh Fi dh+ II'h. Combination Left Hand Ful1 Cj.... C i r c L e s.. .. .l aFtrcL qu^6r Anerican l. '.. .. .... .. ... Combinalion Right liand Zorro Stroke .hd ll-h. 10 11 L e f l H a n d P u n t u a t i " o nw i t h R i g h t H a n d R i d e P a t t e r n ... . 5 R i g h t H a n dP u n c t u a t i o n ...TABIE OF CONTENTS Page The Brush ....r.. . . . ... 3 R a u r n r r Jr 4 u ' . Adapting Brushes to Latin li^+r l"o.i T.. .. .. .. . .. . .. ... .. .. . ..6-F-h. / + i l h " v t h m... r l t n t J r v e e pa n o r a p s rfstrulxrnin r'--Gui t ar Stroke g 'l th qrra6h l.o no n e x u c u t i o n ) ..Rigit ano Left Hand Strckes .. ..... ... 3\ D. . .^ r+in6 cfF^L6l . ....... ....+i^h ... .. ..n+tr ih <// 16 17 18 19 2C Zz 23 24 25 25 27 2A )v .<i. 2 B r u s h T ec h n i q u e . 15 . . .7 .. using both Righl and Left Hands.. . ...... . . .... ... .. ...L l e r e q r a p r e f ! n u 1 i " L e. ...... ....... . ... Stroke for DoubleTime Feeling.... . . ... .... .? r ih Z/J D -r.."...... . . qi hol d C+r-L6 I'v6F^i c6c 3t D o u b l eS t r o k e E x e r c i s e s Flex and Multiple Bounce trokes S .. . )5 . Phrasing in Tine (Tempo) .. .... ... Dlrh^l-. .. ... . . A ..... .....rcle wilh Ri-ght ]Iand llook Stroke. . . L T i g h t S h u f f l e S n e e p. ..Lefl lland Ful1 Circle . . . .. ... .. . .. . . ....n^\ q L ... . .... .. ... ' lL - Sixteenth licte Triplet qiv+aAn+lr \r^+6 frinl6t P u n c t u a t i o n i n 4 .. .. ... . .^...... .G r i l s f o r P l a y i n g B r u s h e s .....6i e L e f t i { a n dH a f f C i r c l e .....* + F ......... . !. . . ...... . . .-+-r ^ .. 8 Righl Hand Pu[ctuation with Left Hand Ba6ic Sweep. . .. . Basic ilice Rhythm in 3/4 d...cl s S i n g l e a n d D o u b L eS t r o k e s ( e x p l a n a t i .+ . S y / e e pL i f t a n d T a p M a r k i n 9 6 .. . .... .lusic . . .. ......h f ri.m ...... ... ....... 9 Left HandFultuati-o[ ... )-z R. .... Brush Strokes for Playing Time---Basj-c Left Hand Stroke...... . . ..I5 Right HandHook Stroke .. . ...... ..4 ... ......

lhe Brush The wire brush i-s constructed with thln wi-res bound together j-n the 6hape of an opeD far. h o w e v e r .one. like sticks. t- . Tbere a r e d i f f e r e n t t y p e s o l q|hich the brush is c o n n e c t e d . f prefer wire' The sliffer a-6rultr wltir-tnin and veri flexible wires. The choice of the tyle you use. is a lersonal.nb e u 6 e d : r o s t e f f e c t i v e l y For a s6fter sound ard wider rar8e of effects. the thin nore flexible wire i€ best. I{yself . Mo6t !0odels are oade so that the wires ca! be retracted j-nto the handles for protection when not in use. for rudl[enta1 based so1os. B e l o w a r e P l c handles Bade to ture6 of four of lhe roany. c a .

that difference The one "-hen in u"e. or the matcheo Srrp can be useo' I have found I use the conventicnal 6iip mosl of the time.t" or wJoo' r i g i o " i n c e i t i 6 m a o ef r o n a s i n g l e p i e c e of the brush afford6 us cther elfects and The flexibility Because -of the sounds which canno! oe naoe i4'ith a stick' technique muEt be developed an adciitional ii"-'"iies iil'i-ii io get the naxiriuli use from the brushe6' Grlps for Playing Brushes The brushes are :1elc bas1cal1y the safie as the sxicks-. 6i-iir" rxhereas' lhe slick rerdains Itush are flexjble' t"""-oiJr. positlon of the lefl hand sliaht al-teraticns in the (This wiU be rnentioned when n e c E s s a r y f o ! s o r n es t r o k e s . c'sAette') on the instruction n"""""t"y t= t t t .Brush Technique sjicks B o t h s t-nliia a n d b r u s h e s s h o u l d b e t h o u g h t o l a s . Either the cc)lvonti-naI 8ri}. a n e x t e n theo n being.

.r". lle lo dy: r) .l r! Er{ .f. * J c o @ p a n i @ e n itn i h i s s t y l e y o u w i l I f i n d t h a t t h e s i a n o a r q n o l a l e o ""J' r r irdu Y I hr r h m u ' l f l f i ."" li"'li.i"liifrt syncopateo' .rd the interpretatior of that style by the rousicians PraYrnS. . ie. [he altered in any style. the F c t h o 6 e o f u s b r o u g h t u p q u r i n g t h e s w i n g a n d be-bop erasr _ t n e .au rtti!n.[ th ihis i-nterpre tation o f t h e r h Y t h E o f t h e n e l o d y ' t h e a l t e r e d nore r t iplet used on the 2nd a n d 4 t h b e a t s o f t h e r i d e . t i ren playing at a very fasl tempo i dixier be-bo!t rratural ride pattern for sv/in8r tr'o-+arn c+ wl 6c tT-1 | I tripfet wilr be the g o s p l e or countrywill generally fj. ) -l- J. That is'.vi nd chrrafl p rhyLhm. iight Io Lelt l.a v i n g i n a s f o w b a l l a d t e m p o r w i l h t h e l-e ft hand still left to c i r c l e o r t n e b a s i c l e f t h a n d sweep froro rininE lhe-full to ri8ht etc. r ii". R:.iloiril'lnlriSi"ii or backing up the enserdble' " soloist ""tp"nine i i*i. neturally.!or I 77 ) .t ^- ^l.their .: - Iraditj-onal Dixieland 6tyle or dixj-e1and 6ty1e pfayers nake rouch use of '"is in Fianv of the l ttraditional interpretation and sixteenth notes."-io" -qii"i'-trrif ii-h"pE"as on re"sivie . tl7 ) 77.s the cor'ect figure or ri"a" u. J-Je-r l.l -t.. r-ia!"0 on"this puLse even though the rhyrhm'1s.bar i6 prevalenl t on the 2nd and 4th beats or altered triplet based 6 r n c e t h e s t y l e 6 a r d r h y t h m i c i n t e r p r e t a ! 1 o n o r the ouslc is ie.de rhythn: J.1 r I I t . c_ the triplet.Bxi':"'*{tl"*i":'gli:r:: -'j" .Ride RhythB in Jazz 3i'liln"o. r:) .For" .r J-.t b e t l eJ = l e r ' yt L r w J ieelj-ng .f h i s r n v t h n i s a l s o v e r y e l f e c t i v e f o r S e l t i n g a double-llme roainr e n p l .r J-7J l.r"i j.h y t h d f i t s 3-r.. iritteD: * PIaYed: Jl ." been liuch controversy over which I woufd like to clarify thi6 by pl-aying a ri.

the word Brushes' Br' or lt. circle neans that Dark filled i6 tapped (tick sound).P Malki.B. gulde I woulct suggeEt that you vj-11 be safe .s druroroeii use brushes in various muslcal seitlngs. In no6t case6 it i6 up to the drun!0er to decide when the brushes will provlde the best effect. different your own tasle.ng rigilt.i4 using lhem when.ngs * There i"-. ^n feft hand s*--------7 I \------- side of drum head and sweep !o rj"ght pass the "2rr or vjhichever count is rnarked.r cnl)-: .An arrcw pointing lefl' b r u s h s \ y e e ps c a r t s r n t h e r i g h L n a n u s i : e of drwo head and sweeps lo the left '-=? i.e. Li ft a n d Tap Slgns The dark shadow represents the general a r e a t o be played on the drun head. . t t p i a n o ' r p i a .a''. ^r "lat.r\oLaLIUIIr.. nlet 1". _ As a i h e B u s i c c a l l s i o r s o f t p l a y i n B . is generally. ever r I'forietr There are tj-me6. brush sweep starts on ihe leit hand side of drum and sweeps to the ri8ht. n i s s i m o r r re t c . however' when they -in be very effective in a (loud) dynanis iange.n "tFf" c-rrnf.uog"t"n!' the b6ginniirg of the section 6f the amangement in which lheir d es i r e d . will help you to ievelop Sweep. Thj-s ie because of the sounc of the brush . means thal the An amovr polntj. writlen i.playlng a strong ride rhythm." in at use is When brushes are desired is no standard lrotation for brushes.nd bru6h back pass 't4" or whichever count is +^ h6v+ -^rln+ bru6h to next Brokeu line means to !!!l beat or count roark in the direction of the arrorv. It is further suggested that you listen io recordlng6 j-n v/hlch. the beat . i. to the next count. neans ihat lhe . Thj. to left n-FLa.!vcepr rrrL arq '4.n ".

.AiiE. = l ! t r E .flst .i EHI€es _.: ..-'tl s:. i.q.. q r.q .$ '!. n .rr rr .i . P8! 'o orr-l d rl'< o 35. E. 'r ol k <) = 60d c. " 1 " 'ni.-'. 3S6 :i-*.r o o 6|r rr.q tr E qr . qo!E ol .i . ' e: irt:". H l i i& : : I egE L a . B [ " * o'' t€ i.ai i i I 3a? . ia l ! ."l :i*s:.ft '-i Ee. i 5 f f f .:r .l : i ! .l o.) lo .rl -g o o I. qr oo€a) @ o o : d fr € O orr j . f ' ::Ef s iai :. it E$nsF'lfiii ! ! d t X k .q o^ .' | . :3 1 ! .op c1r q ql d.d o. .. D co E1 5 E l t f E r 9 h : " . : . ! €: .::. e i i . r l a H i3 * .H: ei .ql'rl o J gli o :g -i >t :E!i. uE o ! ." "s{l[! :*$i :::1fi3t. I iE s" E e .O . Cr{ o . rs *i:P I$ JO 63 F.B fi Oi xl t4l a I + +( o o1 . * l it ..!i .| +il 8lfr 8H :ii fi$ef.i E1r :+. ir -i E l E i5 : *r s 'oi!:?!?:t ss*:.d E S E o 'rl .f+ 9 5 ' : eFl is ig !i . isl E.f tI .o o ( 0 €a r iHi lElSli-t. E 3t t t Xi l H i . 3i $ .rl @ L.?.E lil.e$i: fr31::" B.< 5 o (4! lr+ q E Orr O tr o ri d 3 (!P t . n : . : 3 ! * t : E i f ...5 ir aH ?Fi ?ra$ ol >6 E 1 E : .l !. .". .s i a . 3 E : . : 'i 3 3 ' 3 B t E : i E. ' .f.

1 {r 1r.{ .\ * -.rJ +) 5l r qi o .l (!qr o-C O!.-l llltlt -W r..=a t' i E I rr-r -.-l Ct .-lF ti.q tr..ufi o l .! tp Fl ! t. l q .l o 5 +.l .1: rJ ..-Cri o P Eql tr Ql c ( [ 0 ) 6 0 ) tl E J tr.!.q ri ti O o!vo..rr o c b0E ir li o:r3 Obo 0) . o E t O li t{ = o -O orj o a\t ct l +r{r€^< oN I o ?.r o .o o -. .t4 (0l ool ]I i g {A+) O @ .! o-l ! o ocr o c) o o Srr.q o..q r €! ([ O.e rJ ocr.._l rr.q-. .4 0)l o(i)l EI l E E O rr ]J A | -1 c) . $ .1 C l o >. . t o rr "o r.\ rr +r rl . o q 6 0 i c p 6!..- .i t>-:+ po .rrr d 6p E rr 6{r (o SHI .r ol {4: 6r-r I o c 6l E 0.l bolr O 5 O O 0) ..r. oJr3 o 1r (6 ^r! cu 6 .l (! l I l o 14 tr.rl 3 .r'i b ct I * \ \ nf E . E cd o !l li-itrP p t i o o o r ! bo+Jl F< EI d . $Hl 7 .rl. .l I OJ EI p o o : ('p o! o x< q +r >' ot r.q : i..

rl 5 0')li (oo rl gP |J ul 6 i-l o rJo.rl E o =rl ro.lJ I F' o {0 (!r!k I tt Nq(!(0 k -i.i.I qt c+ .-l I F o 6 F = o o.!E I FI IA o tapd t t tr.pft &- .c a a 6 E O q I 6 ( 6 E-I rd i!0 lJCrrC (| .r{ 6 .a 0 l o .

-l a 6 ! O ]J EiI l!! ol I Err t a EA *' ! E o (a r-rl 9 .r r! lrl : g t .rl I I I I I I I I I .I r. a)l pl t 6 o o l ..-l I t !4 I o a c c|EC) FI I I ft \y :l I .7 E 6 C ) ..rl 5l ([I 5l 9l ( ! 0 :l :l al =l ..

I r r l 60 ql .rl ol I t:a I t dq) lr or 6l IO .

l '.a - I l .1 ol rrl E €r 6l 9l o !1 4 : ll : 6l l A I 11 .

r4l OI g rll 6pl -. i a 6 FI e AI . {l 6+rr oql o 69^ . ' E ( ) q o l .li q o x ol ol zl 6rJ .pI {r ol o O rll crr:l 4600.. dF>. q ({o.o @ oo 6 o (.+t4 n E g N.{.l I 6 6 : l t o .l .u (.:..r{ rd E *!t' .. .3 tolrll * t:l . yila f l l x= o o ro.c rrt{o . o t E o.rr l e.q F. l2 AL . tD.l 6 ".

Fi @ +{ 6 'otln !-. I I Fl $ l A IE t I o) I t I* ' l. l t 5 tg t5 t!) cl o r .gEI A 6 Fl t{ I I d o c0 o @ ' .dl ct o rst kt :El -l o ol +ri c0g F (u-1 g <E .

ql r_l d o a @ @ (d t u! t L {rl o l o f{ ot zl .q E4 tk .q.

.-l c op o o to tio E 3 L ('q o or0) E E-l qoo'rl J B o @ (0 c o o -e a-{ Fl.i OF @ o ri P € P r ! t D ^ l a BN 01-{ fl 6 (I (! @ 'fl O OS (n rl O k OF{ drr F{ O .to l0 ta I 'lt t E o H a r.'\ al a (06 Hql ll tr iql o d o 4 l .L 60 orl oo ..tJ q.l E 6 Fi r{ o t I a o ! F !o k6 o o rr El q. (! 6P t h o j o t\ o t r @ f 5 ID { ( 0 o r i o o rD q.l qt.{ oE c Q o o Ot O .+ g F 6 | orl . o h a6t) "qtr E o s 0.t 5 .( p r-l o o d 6 oF g.

L' /'o .

P d rl ..o ...d @ .t ) e o "i o-r allJ |{& .q x{r ta ri ti PA aqt p ?{t{ drr dO z FI tOQ ql o .PA O rD > rio 6 qr -o o O o€ E.rl O> F { o '. q . @ ! i j 6d.q qr Md d L-C @ o j -CA .-| Er Eorr o op & l o@ O oli {r o.\ H< 17 ..C J .C tr o .q +r llo O = c -rl Fl 6.{ -{ .{ oo lo oqr k rro A.q h O..PE sr.c 0 (06 .ld i6o Oli >ft .q> .q 'P@ P ${ q{ .qk FO .-l > t oo i:{r i.q a _+ ) + ) l o.o N &- o> qi c6 o > .q *' ri orl[ A Or q O Etr oo @ .ri 6 tr! .{ O .1 .p qr F{lr a dO . g(0 r{q +.tO |]rllr o Sod rr. E t. p .at o a > : d .P(\l ${o olr +' lr 6 @ @.q.ik o t ci ( l . a@ O '-l . p .uP lio o. @lr &ql rlo cr.t id qi F o . 32 .ct ft (Dt 4 0 P> -CC +J r.c-f F r r6 0 '.-{ .P >' cl o-{ l4p1 i r-t .ri (0 o.pf.. t{ 60 t{F {g F-r.J o io 6 C .p -E! trP d .u (0 @ >q o"i -l U) E 0 ) rt.-l q .D .lr o o @.t k€ p6 'Ul Ot{ }ro .! O O tt .q *q 1r ED 0 ( ).1r t Ebo ot .lr i{ bok a-{ Pi .t ltr -P"o o otr eo . ( + |rE ${.o O! Eq .rr k6 'PO Ap a.C = (d Er.P >) Fe{. r_l F e{O t{ oq .{ cto l-{ bo oF+ ldO oo Atr ..r. t{ l4 r{O da P .1o @>> o tr .d Cll.q +t t o o q-ro ot{ a1 lr! ct C.P.tt d qt E cl A { ct il 6 .F| o co([ >.f.P t o b I .! d=@ i.P O tO dF d r-.1 P .!l + tr r.1 -E 4J trJ oo (0> {o= flo -C oo 06 @"q rl rr EJ P d 'lq .{) raa 6 I! Fl ftt .qo .t s 6 Et d a o c k t 6 o t { O > Floo O\ orj E i.p. ii E F o r{ .1 rro FI+) CrJ +) 6 o o > 5 .

I !l I I E .t I 1 o fll lr 1e cla tl.6 =t -o AA e1* . o Et !0 O 'Fl E Fl o ={! F N Atl .

1 € 6 6 Eqr { a . o e oE A E u 9 a |{rD o: Nv o @ tr to E-l .n d qt o o 'ta .9l k t a^ goo) J 4 6 { r o 6 o a @ E Yo @ I t0& t Ep L' r Frro ta o I I N .o '.

Both hand6 Dake circl€ 1n couuter notlon \-a'' 't-.1 \-.'" Note: One cEll also ac cent i! the ci. LO .ttle press[re ard slithtly acc€lerate the noverert on these couDts.lcle on the 2 aad 4 courts by adal1!g a Ll.

: .:. .9(! '=@ ! E ( o (!0)F rs. ' t/ !-b J I O E u.(m.pE . (9 N tr.. \ l \ . I t \ I \ " .5 (! C) OA trE E d il I /\ / tr l :t I o .

.1 E O F :l F ..!l (!/ /.- 6 '. 1 : l a o d T u) .4 P I ) I g -o Il -.\ 'l 6l "c .2 LL .

J 4/4 ) t J J ))) -t- I t--t-t r) c o u n tri. Start the g4 ccunt rith ti'.e of left hanc.p -3.ir-e that it cones . Reriember altered triplet ttantr. to be precise.n the c'-ur-: for puirctuation. I l I 4/4 I I I .:lt .Sixteenth Note Tri-plet Punctuation The Sixteenth Note Triplet is used quite often as a variation t'.an-trlp--1el. . :': . -c' .

l F @ 3l a 2 H 1A .|J r-rc -6 -.' € -.-t at 6 (t s @ ti o o t{ a .-J -1l.{o (0 qt r-.-l (0 I (tl r.

-l r{ olq . i. : lr ! I 'g tx6ll) o .l .Tt r.B ztH .rl trrc pE @ o.f I .+r o-f F o .-l C . t = ) ! 6 'I 10 t { o ao c . 60 \rr F+'i F.$ O . 60 qr (6 6 o) al E ri rr. (|.rl x {r F.q ti P O r-l o OIJ v t { ( D -.1.d Fl .1 o o(0 -o (.-l .. rd C O(s -to-o (D (! .ql i t N EN 6lfi o.q FI 9r .r ! &qn . .p o $lo q) .c or-].{ ol >.r-. o (om-4< .{..rr () 6 r! {.o 5 tr -.r.P .t o t{t Jrl o c o = p..\JI ..i E :l 6 l v i l I EI a 6 P) a 4D.

l I ' eo i 2' .

$.ght Shuffle Sweep.:'"ff "*TurJffi Left Hand 1 4 1.aht Hand 2'7 . 1 aocet!{' 1e' Rj. .

_3 .: @ 6 L .)..to@ at6.: ! >r. l.|oo 50(l) (D F l--r o o t0 E !ol \.

or j. 29 .-"Struludng" (cuitar Stroke ) When rvorking wl"th a rhythm glitar phying a atrai-ght four beats to the bar.o I 1 \ I I / rap @ of first bar o \ l Left hald full cicle l l &!"e The count ? bru6h area becoEes the count nl( area on alternate neasu!es.f you have no ggj-tar and vlsh to 8et a LIghl 4/4 rhyttu0 guitar feeling' thls stroke 16 very effective conbined u"ith the left herd full circle. Sluo .

t '1\ I I ! E4v I / sl I ir gl *"1 I \ \ \ i\ (.a = .\ .'') ({ \ \ *. i\ I v \ \ = l0 30 .

L L L t )i. .t ' .[--r l--' d L.o .!- rfu EIE' n n'---lll L] -\ Flt=) '{l^l-'-n 'il^l---o F' Tl l Ll fr L A-r tl ^[.

Follorving are a fev exercises to r i"r'itt rhythmic sound e f fects.r. lxa."lni3" 1"1:l:'#f.1"'l?1"il:'.:. -llii.:!:i::iii ii:iiiili*iii :t"*##ii-.iltr:.3.3%1"'l.:':l'1i*:::"nli*""' u:.iFa. ..iig:q'i!!.i*1" "i'""n.:.. your fj-nger tips slowly at first.:llr*-. tn" group.3.hil"riill:l"i'*"1"i.::*l*lF"liii" ol one can also sinulate the souoci the scraller "t qill:"":Ltt:l* .er' As nentioned "":?"..":if.:::.the snare drun..n: :ti::'l.nple: :$:ii"l. e" Brush Si'/eep[xerc i6e s for Sa.1*r:.rll"lo:.i:. :".nbaor Bossa ltrova /:\ accent "onerr accent 3 a cc e n t 'l) .i}.. I Frn^rrn f^f I tW r I fft a ? o3'iflt3"'xiln .Adalting Brushes to Laiin-Anerican l"lusic earri.r' "":::.i.

l t r d t t . l z/4 t-t-t-t t-t-t-l >'--'---a a t a -. ll. = o ) J. t .rn 4/4 Notated Brush sweePPatterns o )ln d ] . J -. f 7 ) )r! a.+ t/ S- o ).l> o l l . j : J .J--J-J ) J)111 t _ J 33 .

Jlex anc l:ultiple Bounce Slrokes i.f the wri_st. and 4th beats of each neasure. the idea of the up-slroke r. Try the salle exerciEes u6ing the hl-hat on each pulse beat. t h e n t h e l l E or vibration of the vire brush ls very useful. +f.-: 6 d6r'61-hirr Lehi + nF. c^rrrn h6. that is three or m o r e b c u n c e G( b e a t s ) v i t h e a c h h a r 1 d .rdinorrc c -a o + . + r ' F . It is basically a good rf rh6 c..ti.F hr^.n ge c c e n t s o r S e t t l n g 6 and ncre ccl'rn into ov.his ? ' ' 1+ .4ren playing fa6t Couble strokes or multlple bounces. This is obtaj"ned by rnakin8 n'i v^+ n^ih+ f^F the hand or hands.downmotion.inr ^i +^ +haea FYr^r6 ercises lvith their related stickings should help rhan aoequate technlque.vi hd F] v+L' SlaD Sound a heavier ! L rq cl rb i e 6ht. l The result should the hand.^! '^ 'f ir . ard crouble strokes.ll inciicate The u6e of the open square aJld the dot or filled \rhich hand 1s to be useci respectively. r.lz quick do$..hm a k j .i uJ !raJrrr6 s o u n d i s m c s t o i t e n u s e c r f o r . c^ +^ cn6. This is conmanly knorc as wrist a c t i o n . using the !rr16t as the h . The stroke is executed wlth a quick dot!'nwardwrist action witbout the What happens 1s that instead of up-iurn as wiih the single strdkes.i brush flat Tro f^l the drum-head. Flat . r-.n-up motions with io!'m into it.ho . turning the wrist up after the lnitial.+ha.h Cne should try to play olf the drum head. 34 \r( . It i6 al5o advj"€able for the druro-set player to practice all exercises a steady 4/4 pulse lvith the bass-drum adding the hl-hat while naintaining on the znd. W i t h p r a c t i c e o n e c a n b e g i n t o c o n t r o l t h e .a r'^)r ir l.-.a r'l l ihat you normalfy prac- tice with siicks. hrci.Si-ngle and Double Strokes For practicing single is quite applicable. T h e o p e n square cl for the ri8ht hand and the dot a or fllled circle for the left hand. h^r'ov.i nc. be a clear crisp tick sound from the drum.+i. you tighten or squeeze mole on the brush handle and follow the vibrations of the wiles d o w n } r a r dw i t h t h e h a n d . circle wi.

p -j- .Flex and Multiple Bouace strokes bounce strokes (three or nore hen playinA fast double or nuftiple ha:rd).lzL t = z ftA' a = i . four or nore bounce€ with each single novenent of the hand' MuLtiple Bounce Exercise s I Z o. naking use of the natural flex or vl"bratj-ons beats'wiih 6ach ^f the w-ire brush is necessary.r the vibrations 'ith practice you car control the anoult o-f bounces. iollo!.tr c l a E : o 4 O 1 art ' a a an L a ^ a o ! a a.a o 4 a atL I (t. getting twot -ohree'.'rith the sin8le and double 6t!okes' roent w'ithout the up-turn' hat happens is that instead of-turning lhe wrist u! again after-the novenent r you tiShten or squeeze nore on the brush handle and owowar-dof the wires domward with the hand. =he 'rFlex Stroke" is executed w'ith a quick downward wrist action ldoveas is' '.LLt a -t- I \4 o 4 a t:*r-)'! a 37 .