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    Accents and Rebounds for Snare Drummer

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    G.L. Stone - Accents and Rebounds for Snare Drummer

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    Accents and Rebounds for Snare Drummer

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    415 views46 pages

    G.L. Stone - Accents and Rebounds For Snare Drummer

    Uploaded by

    Lincoln Ribeiro
    Accents and Rebounds for Snare Drummer

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 46
    215) BIS) Ga! ENS) ONS) ONS) SS) NS) ts! pe ACCENTS ‘ud REBOUNDS Be GE He BE Hie Ge Be me for the SNARE DRUMMER PREFACE EGA ANG! Wes ACCENTS AND REBOUNDS is an advanced textbook, designed to follow and reinforce the author's previous book STICK CONTROL, so widely known and used. It is presented at the solicitation of (1) the many leading instructors who, having used the former book with such gratifying results, ask for material to follow and (2) the many “name” drummers who consider their daily workout with STICK CONTROL a must and who like- wise suggest more of the same. Accents in varying degrees play an important part in music. Modern music calls more and more for an infinite variety of emphasis. ‘The drums from their very nature possess a poten- tial for accentuation far greater than any other musical instrument, Hence the drummer is looked to above all others for the utmost in dynamics. ‘The accent routines have been carefully selected from the author's private collection of hand- conditioners and will, with faithful practice, further two-handed dexterity and develop not only the control but the finesse to meet today’s most exacting requirements, ACCENTS AND REBOUNDS also. presents, for the first time, a progressive approach to control of the secondary beat of the roll, so important in the finished execution of this, the drummer's long tone. ‘The routines here are the result of years of study in roll production, and have been employed by the author in his private teaching most successfully. jutines in which accents and rebounds are combined are particularly adaptable to iment of FINGER BOUNCE EXECUTION, a style so effective in modern soloing, milated mainly by finger action. in which at speedy tempos sticks are a [A special chapter is included on THE BUZZ ROLL in which its relationship to the pure two- beat roll is spelled out and its use in modem drumming. justified. Study of STICK CONTROL is recommended first, with ACCENTS AND REBOUNDS to follow. Regular practice is of course a necessity and to the student, the author urges the serv- ices of a local expert instructor whenever available. Boston, Massachusetts GEORGE LAWRENCE STONE Accented Eighths is ending ted y voy fa= =! yvyeoyveoyy vey y Vv 4 ee ee hehe os 1 = Fab aaa aa aa aaa ae TERE WORT HURL WERE HOWE REAL RERUR vvov VY voy vy oy ee te 1 Fae ae fe a TRUE TRUTR URUR TREN LRLR THER DAERE vy ovovy vormv ov voy Ye ee ee ee | ae GRUL WALT WHUL WALL WRELARLL WALL RREL RRLER yvvovVo VY VO vv voy voy vy 4 5 TORRONE TORR LUNE LDERRTDRR LLAR LER LERRE vvoveovy vVovwy vi ory vor Seo ee 5 [pr we TURN TROL RURR TALS HURRURLE BUERRLREL RERRE vy iy vo vy vy ory yor y 4 === a5. ER Aaa ARRAS _, aaa ea TRUELWIRE DELT BURR DAE REAR LALERERE LRLER vy veovVvM vy yw ov v v yy Ye i eh ee ee ee 54 aaa rree rece: FURL URTR RENT UBER HURL URER BERL LRDR BERLE vy veovy vo ww ov v y rw y k Yt py Pe ee ee = aaa a aa THUR BURL DRDR BERL URTR RURL CHUA HERE LRLRR vv ove vv ov rey vay y 4 oe aaa af aa ae al THAR DEEL TE WAWRULDL RRRRE vvov Vv ovo vw ov ry vary 4 Me rero rere rere tres palataiaa aaa TULL WHER DUEL ® REN LUTE TRaRR TLtLR v yy ve vw vy vow pitta aaa 1 fee ee faa Zz SEED REND HET REED RRUH ARR RRR RAWH REAR KR v vv ove wy vv voory_iy 4 12 q et Repeat each exercise twenty times or more beforo final ending. Accented Highths 5 Vv v v Vv Vv e v vt — tt endin fioa veyed 13. WERE WERT REAL RLRL RLERE RERL RENE RLRL RLRUB Vovoyv ee | ee | 14 zi TEER TREN TRON DNDN CRERERLR ERER UBER URURE vov ov Yoyo voy ov py ov 15, PRUE RALL WHEL RAUL WREL RAIL ARLE REL RBLER voy vy yoy voy ov pe vp v4 ee ee er ee 16 taal TERW TEER TERR DEN DURA TERR TERR LORR LURRE an vv Voy ove vay 4 7 zi HORRTRUL ROR DALE WENN DEL REWRLRLL RURRE voy ov vv voy ov ew vay 4 18 TREE RDRR CALL AERA FALE NER LRLL ALR LRLLR yvovioyv Voveoyovo yew Vay 4 49 WORL DREN WOWL LRLR RURL LRLR RERELRER RURE TC yoy Vovoveov vey vey y 4 Vv 20 TROERRURL LRUN RERL CREA ALRL LRLR ALL LER R Woy ov yoy voy poy ove wy ce y eye ee ee ey Se aaa ee = 23 FE a vo v Vv Vo v Vv v Vv Vv Vv Vv — oS wn, : i (aisles sald sas aa pa TELL ULEL LLLL BELL BULLE LLEL tELEEELL LELb Accent heavily in practico— lighter in actual playing. Accented Bighths ending: ———imat as. $ y y yy vw y yl yy PERE BERL BERL BERL RURE RERL RERL WERE RUERER y vy y vv vy y vary ao See eo a _t 1 a a a aa a aa aa a] TREN DALE TREN ERER URER LAER LRERUERER ERUBE y vv y vv vw y vy vy te ee a Ee 97 FRe bbb a a BRUL PRUE WREL HRLL RHUL RAEE NWLL RREL BREE R vv. y y ¥ Vw py 4 28 TERR ULER LDRR ELAR TERR ELAR LERRLERR LERR eee ee 7 [aaa aa 29 3 BERR DRILL WERW LRLL RERB ERED RURREALE BERET vw y yy Vv Py yore v 7 80 TRIED ETRE RTT NUNR DOLD BER CREE RUWR TRE vo vy yoy yyy vy iv vy foo eee i at ee n iia sae are arab a afore sear paaae e Y TERT UREN ETRE ORD BERL ERER BURT URER HURL vy Vov vy vv py vy 32 TRER RDAL CRLA BERL LRER AURL LRURAERE LRURR v vv y vy vv poy vary 4 33 GRRE UIVIORR EW TOIO WERHCEEL RORR TELE RRRRE bee eh oy jhe ee es a Sarr TID BENE TULE RARE LEDER Vy Voy ey ee ey ety Cee ee sys wad faa ae faa aoa Be WRRRRRAR RHRRAR Gey ey 4 HRRE HHRA RRRH RRAR RRRH RRRR v vv y v ¥ vv 36 TEEE REEL TELE DEED BREE CELE LUGE OUEY aeee Accented Bighths ¥ ow vy yw a i ee el tae aaa oat Siena a HERE RERL RUERL REAL RUERL RERL BURL ALRL RLRL® vo vw yy v Wy Pov vy roy 4 TREN LAER LRERLRER DRUK LALR LRLRLRLR LAER E v vw vy v Wo Py wy 39 WED WHEE RAUL RREL RREL WRLL REL WRLL RAUL v wy. vy v VW oy vy roy 40 i a TWH ELA LUERREUERA TERR LEAR LERRLLRR LURB EL v, vw vy v Woo fovvy sp_vvy 4 ete i F = WERK CREEL RURRURLE RERA TALL RERRLRLL RLRRL v wy. vy y Woo roy y sry y 4 oF B = TREE RERR LRLE RERR FREE RURR LRLL RERR LALER v vv. vv v Woy vy sry 4 43 5 Z BURL ORUR BERL LAER RURL LAER BURL LAUR RUREL v wy. vv, v YW ry v ey Yo 44 TROR RERL LRLRRURL LAER ALAL LRLRALAL LBER® vw vy, y VW ey Wry y y 45 WRER LLLL WRRA LLLL RARRLLLE BARR L v vw vv, v, WW PV 4 TELE WARR DELL RRRR LULL RAR LELE RRAR LELL® v vw vy v Wo roy yyy 4 == WRAR WHAR HARK KRHA ROAR RAHA WRARR “RRRR RARE vv vy vw vy 4 [ddd dap daede faa eae TUGEEL Vbbb bibk bEbe bEEL OGbEE 48 “Teen ue 8 Accented Dotted Notes int vv oy vive ov Ve ing te ie | ee vd @eUNURERL RURURLAL AURLBERE RUERLRERL KURER VON Vv Vv Vv v V NV vo SSS. = soe! St = a, + CErereres aaa TELE REE EREEL EDS EADRDRD) TeERERDR Taree v Y Vy yy vy ivy WROELRALL WARLLRALL ROLLRREL RRELRALLE WRELR vv ov vv oy vv ov y v voy 4 SoS. Ve he Pars oS SS aaa eee ie ae ae | A z Et ‘EE i f vow Vv vw Vv vow Vv v V Vv ¥ SS ee ete ee te 4 5 [pt a =: ve ve YY YY VO ey yo TRUERERA ERLER LRA LRLLRERR URLERERR GREER vv yy ov yo ov ry voy iy 4 7 [Be TURTT ROR RUREUAUR HURTUTREN WERTORUR RENEE vy yo vy yo vy voy oy yoy Be ee Ge Tr a. a jabra terre] ES sf 1 TRURRUNT TRURRURE vy vy yy oy Bee eee Be ty _! A eee eee TRERLIDT ERPELUUL SRERTULT ERED OUT BARRE vvyovo yy yo vy vy ry) voy oy 4 as Se ae ee 10 2 TEDDRRAN LELURARA LELER AHR LEEER RRR Lote vow Vv vv v vo Vv v jan es Bg aTtsty 11 = ata aaa amt} TER NWERA RRA PERT WHRR RAR H HRERARHR WRHRE yy ov v y voy Be ee Se ee a , Fa aa awa a apa aa re j> Feta 4 TiuvauE ue TOG HGEE REEL boaG LLnEA © practic inthe legitimate dotted rhythm as shown above, als ip the modern (vos iterpeetation of onayviz= @ fy S49 Fea Ted 9 Accented Dotted Notes RURLHERL RURURERL KLRLRLRL RURLRERL RURER voy Voy voy vv 44 TREWLRER LRLRLRLH LRLRE ALR LRERLRER LRERL vVov ov Voy vv vp VY OT WREURRLL WAULRARLL HRELRALL RALERRLL RALER voy vow Voy ov vv vo ae eege ap et eee 16 [ T TOERRUUWR LUERRELRR LLRRUGRR LERALURR LOERRL og | ie | voy voy yy ov py 17 [feat s WLRRUENEL HERRERLL REWRLREEL RERRLREL LABEL vv wv vo yy vy 18 mes TRELRURR LALUREWR LRLERLRR LRLUERERR LRLLR vv voy voy voy vo peerrrerrersterere SS 9 aaa WURELAUR RURLLEALR RURLLRER RERLERER RERLL yoy YoY ev ve 2 [Eee Se paar : TAERELRE URLRRUNE LRUNHURL LNLMRURL LRERR Vv v v vo Vv ¥ Vv ¥ Ta ¥ Vif —, ¥ TT Be 1 [pea ao ofa ew ee lea wl HRULLE WARRELEL RARRL RRRRLGEL W voov Voy vy pov ev ee Be ee 5 faa waa] Voy oy voy vv vy py WARK WERE WRK WRHHRHAWK WHERE voy voy vVoveaoivvy 7 fala od daa aad adda pt TEERLGER DULLED ORE UELtL ORO CELEE LUE CURTE Avceat heavily in pructice—Lighter in actual playing. a Accented Dotted Notes poten 4, — 8 = yoy yey yd ° oS SS ee a ee ee Fi fo et WURLRURL HLRLDRERD RUERLRERL WERER y vv vv ty vir Y oT y vv 26 TRURDWEN ERUERERER TRERELREH GHENT OER URLRE v vow v vy vv fey vir y 27 WROEWREL RRLERRLL RHEL ARLL HRLUERKEL RREER y vy y viv Vv Ty vir__yy Gos es A oe 2 Faas peo aaa 2 fE 4 4 TURALERN LURRLERR LLRRLERR LURREERR LURE v vy y vy vv roi virvy 29 RERRE WOMRUREL REWRURLL RERWERLL v vow y vv vv y yay y ers ete ee er eg | ee I 30 [fEaewwenaiaeto Satta ae eee pa pas TRUEUTRLNNH CWUCUNERN UREL ALAR DREERLENR LRLER y, wy y vy vov Ty vire_evy 4 Vv vow Vv vy yv vw. v vr, vy T Anas ta v vow y v v7 1 ok RRRARELEL v yoy ars Py ees TULURRRA LLLEHHRR v vy y y » ee ee : eS THAW RRR WERRNHKAN WHNEHERH RHRHKARH HHRKE Vv vow v vv Vv Vv ees Ee we BELLULEEL LLULELEL ELLLELE LE, Practice also in the interpretation of jazz 3] 51251 RWHRULEL RHKRELEL RRERE Accented Dotted Notes " vv l Ist ending — vv. fina. 1 vw vy v vvy | 37 WUNLHURDL WEREMUWL KERURERE RERERERL RUKER yw vy v vy Pov vy as fF eee TRERERER URLRUERDR LRLRERLR LRERLRER LRURE Y ww yy y fay yy Y + 39 WRELRRLL WRLELKRLL RELL RR WRLLRRLEL RRLLR panes ene: Bel ee be ee Wy rrrerrresetrecer ree sree ereece reer ere TEWHLUNN CUNRTUNH DURMLURH LURALERR LURAL y yoy oy an BERAEALE RERRERLE RURAERLE RERRERLL RERRL - _ v TRELNERR FRLERERR PRLLRERR URLERURR LRLE® yy vy y yyy 4 rr at, 43 WORLERER RURLERER RURLLRLR RERLLRLR RURLL v yw vy v Wey yyy 44 Fee oe TRUEWRURL LRERRUAL LRLRRURL UREN BERL LRERR wy y Vy oy Wey v 45 WRN RLLLE WRRARLLEL KRRARLELL RRRRLLELE RRRAL Woe ry ay 46 TRARRR LELURRRR LLLER y ey ¥ FE 47 RRENNHHNH WWHRKNHEKR HRRRARHR RRRRR r aw i DEO bObh bt LEEELLEL CLUEEELE ELLULLEL Lube 42 —“WURLELRURERE WERLRLALRLAL RLBCRURLRURL ALB og vey £ Vv Accented Triplets sop FF? Fo 8 vey viv 2 aL $—sinile vovo ov voy ov Ty fa aa vn; i THURURURERLH ER RERORER LRURCRERERLR LRERERERERER L Vovo ov ¥ M. Vovo ov Fa vay a EELS to cee WHURRLOACARL RRURRLEWCRNL RRLARERRLARL KRLRRLERL ARE vove oy Vvov vy oy ory ve ry 7 PR ee ee et z = TERUUREEREEN CURCERECROLN TEREERGEROUR LUNELOLERUER T vivo vy Vv vw voy vy oy vary 7 Fa Faas ahahaha 3 HEURCUREL ALL RUERULRUEAEE NELRLENECREL WEDWECRULREL BR Vivo v v Vv, v Ty v 7 voy v Pe ee ee errr es TRECRRURACAR CERCARURALAR CRRURALARLAN LRRURWURHLAE vv WRECRALE WALL WRULRRDEAREL WRLLRALERALL WRLLERLLRALL vy moomoo v y Vow VoV wv Ty vv ® vive vivov ov vy TERREUERRULRR viv v WRUURALEAR LURRLCRALURA LURRLURRLERE 10 RRRELLRRWELL vv v foaminsBa=Bao a= Wao as Booka os oe -oeasBoe! aint aaa vy Toten vey RRARWRRRRRRR v TO ERWRELURAR vivo WRRRWRERERRE Voy veveoy Fa A TERUELEEEEULL DELETEEELEEL Repeat each exercise twenty 13 Accented Triplets pene pais a ao ee ee rT v viv Wve ve ty y v vfviy more Co. =I Ejeet dc as da un ene a svn S| TURURERDWERT RERURERURLAL RURLALALALAL RERLRERLRERL ~ ry vow 4 14 TREWERERT AEN URTRERTALRLR URLAERLAURUR URURERERE AER lv viovitv 7 Voovive vo ov vv vv 45) WHE WECWAL WAL AALARURRERAL ARLARLRRLRRL RRC ARLARL RRL yoy iv vow 71 16 Pe TLRLERULNEER TENLURLLE LURLER TLR TLR v voy v voy v viv fov vy viv 47 WUD RECREL ALL AUCRULAUL AOL RULRULRCLMLL RULALERLLREL OR v vov v vov v, voviotiyv voviv 48 TRETRRTRRURR URRUARCRRTAR CRRURWCARDRR CRRLRAURRLRR | L v vv v voy v vov_Toiv vi viv 1 10 f WHETRRTUWREL ANUERRUDR ALT RAL ERRELRNEL RRL URRLL v voy Vv voy v, vove Tv voviy 7 eof TERRED WEL ERR WR UORRULRRUURR CERBULRALURR Vv voy Vv voy v voveo Ty v VV 7 at HRRTLERRR TIT RWARLLDAARELL RARLLL ARALEG RARELE RARE ® v y voy oy TEL RANTLE RAR ELERARLLC RRA CEL RARELL RRR voovev ov vy vy anf Eee aad ddduddadd aaa} URRANHRERNE URRRRRHARHHR UERRAR HARKER WRRRRHKERARR B v voy vv, NOY Vv voy y ov iv TEVEUT GEE ONE VOCELE Vit Titdtrine UucetELtLtLt t Accent heavily in practico—lighter in actual playing. ” Accented Triplets tea ina ; a Fest ty! fyy rt elie ag Wy WOWURLALRUNL RERERLAURLAL WLNLRLRLRLRL RLWLRLRLWERL © 2.9) 8 a——sinile yo vy Fei es Bey ithe ew AY 7 Pa ee 2 em ma maa aT TRERURERURUA URLRURLATALR LRLRURLRURUR LADRUNLRL ALR Voy ov voy oy vv vv 7 ba 2n| RRL ARE WALARL RRLRRLARE RRL RALRRUARUARL RRLRRURRE RRL W Vovvovovivy Vovvy oy Tov vv vy 7 TERLERLEREER LERLEACURLGR CORLERLURLER LURLURELRTER LC Vow Vovvyy ov vevv vy ov vv vv 7 Po eek [abana aida aba alata fanaa eel — WOURUL REL RUCRULATEREL RUURLERUL REE REE RUERUL MUL vovy oy oy vy vy yyy vy oy voy 7 TRREURRURRUWR CARLWRCARLAR LRRURRERRURA LARURRURRTAR viv 7 vVowy Voeyvovyy oveovowy Vv a j RRLURACER ALE RALERRELRRLL RRELRRLLRRLE ARLLARLERRLL ® Vow ov vv oy vv vv 7 mF PR ee — a2 wba jada naa Aa ITD — vv vv voy iv 7 PS a vow Vovovwy Vo vo vy vow vv IV fda dade nse revav eve ied oaeeeeead eve wadaeaa TUE RRR ELE RRR LLC RMKEEL RMR ELL MRRLLERMR ELUWRREEL RRR Lb vow vVovwovy vVoveivy vor v voy iy ssbb ane dda fod oa RRR RRR RERRWN RRR RRKKERRKK KRKKARRRKRRR KAR RRRRARARR vovy VoV wy v v yoy TEL ELELEELED TELELLELOGEL LLLULL ELLE TEEELL ULE 45 Accented Triplets 3 a £57 Fh tne oy YW Sv vw fv vw Avy 1s end a a er voy Avy RUERLRERERERL RERERERERLEL WERENT REBT x of 8 9 simile S = Vow UvV VOW vv vow ov vy vifv 7 PO ee ee aimee Sj of TRERURUALRUR EALRURUAURUR UAL ALRLRLRUR LRLRLRLRL ALR OL VOW ovyv Vow vv vow vv Tov y viv 7 aS RRL ARL RAL RRL RRL ARL RRL ARL ARLAALRRLARL RAL ARE RRL RR ® vVovy ovv vVovY ovv oO Vow vy v vy viv 7 TORLURLURELR UERLERLUERLER LER LERLER LER LLRLERLERLER WoW vv fy vy VIrv 7 aa RUURUUALUREL WLURLERLERLE RLURLERLLRLE RLURLLALEMLL ® VOW UVV) Vow vv vovy vv fo ov vO 4 TRRURWURRURR URRIRRURRURN LRRURRLRRLRR URRURRURRLRR L VOW ovY vVovw vw vow vy fo ov v oviry 7 WRUURHUONEEL WAUUNRULWADL WALLRRLURRIL WOLLARTERELT VW ovo vow vw vow vw vy wry 4 Vv Fo oo faldbataabaabad juweweeaed eee af TURRLLWRULRR LURRLURALURR LERRLURRLLRR LURRULRRELAR VOW vv) Vow vv) Vow ovv fF _oy vy ivitv 7 45 feat aan WRRCUCRRMELL RRR LEURRRELL BRRULLAMALEL RARELERRRELL VovW vv) vow ovv) vwovw vv fo ov viv itv 7 46 vv VV VoVWY VY) VoWY ovV fy vVovirv ~T 4 [nsec depleted atadad nd fete pa vow ovvV) ¥owW ovv_ viv vv [ov vivitv 1 16 REBOUND CONTROL (For the Two-beat Roll) ‘That ago-old cliché chain is only as strong as its weakest tink could bo paraphrased thus: The drummers roll is only as smouth as its secondary beat. Il is impossible to produce a‘perfeet”roll on a drum beeause,while the initial roll-beat of either stick is struck by hand (or finger) action, the following (the secondary) beat must be produced by re- 1g by bounce. boun ‘The bouncing of a drumstick may be compared with that of a rubber ball. In bouncing the ball to the floor, its initial impact produces a blow of given powers but the rebounds which follow strike with correspondingly less power, one by one, until the ball finally comes to rest. The wo could make rebounds (one or more) as strong in power bound to perfection, the ball would bounce forover,and we would have discovered the secret of per- petual motion. ime principle applies to the rebounding of the sticks. Indvod,if with either sticks or ball the initial impact,the sticks would re- Hence we find there must ever be a certain degree of irregularity in power betweon our initial roll-beat and its rebound ‘The following routines, in which rebounds often appear and are aceented on the deat,are designed to develop maximum control of rebounds to the extent that our rolls willy at least to the ear, most closely approximate'‘perfection.”” too ee eo ee ieeweeee eee ewes ee ee eee ee TRALERWLER RLEREWERL ALLELE RULARCE WURLRLAL RLUNR Soo ee oo. et afi faa aia ware awe TEUELELE THAETERULERDURRL TRCRDEU® 3 SU RLRLWIOREUOREUREETOREE® HURDRURE BLUNREL BEEHREE vvyvyy Y voy vo vv yy Yoyo yy foo eo Be ee 4 [Es aaa wena weer TRURERER ERRELRRELRRELRRE LRLRERER LRRUERR TRRLLUR vvvvvvvy VV VVV¥Vyy vvvWivyY Vv vv yy vy PinneBasnle_o=2-8=8-8-2-2-se=E a 5 a faba aaa e ea pe 7 STALEL WI RUDAELLEMLUNERER' WE BD EO RU MUUERLT ELT RHEE vVvvVV¥VVVY Vv VvVv VV VVVVVVVV VV VV Vv Vv V . "i TRURELNLR ERRLERME TURKEL ERE RURLH LRRLERN LRWELUW Slow, even tempos first, striing both roll-beats by individual hand action, Fuster speeds later, now rebounding, up te eapacity. 7 REBOUND CONTROL (For the Two-beat Roll) RUERLALURRULA RURLALLARLLER RLERLRLLRRLL HURL RLLBRLL or See ee ee ee) oo ee. rE [ant awe A eee errr F T WER URRELRRE DRE RURRECRRE UREA URRLURR LREAURAELER Vv viv vv vv WERE RELARLL RURLRULRRLUR HERE RELRRLER vv viv yy yoy YVveyvove vvvioy Co SSS See Oe ee pea anne woe ede eed 4o| TRURURRLERRL LRLRERRLLRRLE LRURURRLLRR LR LA LRALLRR VWVVVV VV VVVV¥VV VV VY¥VYYY VV vVy¥Vv VV vy Ses Oo SSeS. WL RLARLURRLER RLRL RULRRLLR RUURRLL RLRLRULARLL YYVVVV VV VY¥VVVVVV V¥V¥VYVVV vyVY VV VV oo See bee GH ee 42) [nea ony TRURERREGRAL CRLRLRRLURRL LRLRERRLURB LRLR®LRALURR oo Se ee ee ee tee sf pEEerrceeees ims WOERLASLURREDR RURURELRREL WURLLRRURLER RERLURE BLL Co eS Se 14 [aaa] elo mana TRURURRULARL URLRURRLLRR TREARULRURRL LRURALRLBR vv yo ov oy vy oy vovyvi y wy fae foam Eas asf fanbase ahor] WERURLURRLER HERLREDARLL WURLLWRURLER REARLURL REL vow vv vovv vv vv Vv viv of =]. d TRURURRLLRAL LRURLURRLLRE TRUERRULHURRL URLRRENERR WVV¥VV vv vyvy¥V Vv Vy vv Vv VVV Vv vvVV VvV Vv 47 fee va i [Ephnnle Z WERERELRREUR HERE RLURRLE WERLUNRERUUR RERLERU REL VwWVVVyvv vvVvVvV vv vvvv Vv 18 fF 24 TRU WENRLEANE URERURRLLRR TRURRLLRURRL LU RLRRLE BLED Accent heavily in practice. Do not buss in these exercises. . REBOUND CONTROL (For the Two-beat Roll) Pollow the numbers. 1 oe eee Ca carers. Soe =o = Gb] 7 fe is FE 4 TORR LARLWRUR WRETURR AGL ED ET REE REL REE pay «py, TREC RTE WLU AE TUNE EIU OND BE THR TRE DAR URE vy vv = Sa 3 5 UL WEL REE RUE yy ov _v c = = = é ; TRE TRH DAR LAR TALL WEL REL RL TUNR REL ERR RL Wwe VY VW VY vv vv VY VY VY Vv wy Wy TEL WE WEE REE vy Ly WY wy = == ee TRE URR ERR LER mae ER EL TRRLRRERRUENE TEWREWRORR IO TRUTUNEREE OO TEURTUNULED yyy vv vv ac ade e R FFF op [eae | fae A, Paws TRULRLUNTE EI TERR RETRO RR AT TERR UNETWE Wwe vw WY. Wwe VW VW VW VV_VV_VV_V Ca EF 2a a = Pa é TUREERSURRUN TRTTURNN ELE TRTURUEOET vive VV WY VV VL VV VoVVVV_VY_¥ EL FF - aofE : z as TRUE EEEETI AD Tena GOREN TENEERUAWEER © Practice also in the jatz rhythm: © [FT RTA 19 REBOUND CONTROL (in 6) WOW L RL RELRRLULARLUR RL RL WL RULRR TERED TRL WLR LARLLARLLARL CLR RH UWALL ELBE v Vv v v Vv v v Vv RL RL RG ROLRRELAALER RL® EAL RLERR LRROL v, v v, v Vv v v Vv TRL ®t ® URWLERHLERRL LF WLR LN UNREL RLLRR vvvVvvvY Vv vyvvv vyvvVVyY vv vv vv BRL RL RLERRULARALLA RL AL AL RLURR LRRLL Vv¥VVVVY V¥ VY VV Vv vVY¥V¥VVY VV VV Vv TR OW LR LRRELRRLERRE LR LR LR URBLL RLER® EB GWRLLH HL WLRRUELR RLRURRLL RLRLRREL TRL RUEURRL TRL RLLRRE LR LRLERR HLEORLURR v v v Vv v v v Vv, RER URRLER RL RURALER RERURALE WLR URREL v v v y v v v v TRL RECRRE DWT RULRRL LWLWLLRR LOWE vvv vv vvvv HL OR URREL vv VV voy = LOL RL LEME URE RELRH DRE RLERD REBOUND CONTROL ( In 5g) y Vv. Vv v, ® DR RW DR RLLERELUR REA LR URRLUR BLE v v v v v y v Vv TOR DOR L RLURRELRRL FB ER L RULHRLEURR y v v v vy Vv v HL WL oR DARLLRALLIR RFR TR LRREERREL v y v y YY v v TOR t RL RGLRREORREL DRE RL RLLRRLERR VvVVVY Vv vivevy vv yyy Voy ovovioy RoLOR LR DRRLERRLLA HER LOR LRRDERRLL vVvuvvVyY Vy vv vy Vv vv Vv ovovioy TOR EO RL RLGEWARLLRRL RE RL RLERRUELER (In 7%), WERLRON LRRELRALLRALER RLERURER LWRLERRLLRREL v, Vv v v, v v Vv v TR ERLRL RULRRLERRELRRL LR URUAL RUCRRULRALLON wey v v v v v v Poo Ee Ee ee ss aaa aa a oa | RERLROR LRRELERELRRELR RE HURL H LRRELRRLERRLL Vv v y v Pa ma a eee ee ee 7 4 7 LRERLEL RULRELLERRELRRE LRERL RLLRRLLRRELRR VVVVVVY VV Vv vyvv vyyvyvyvVY Vy vy vvovy RLERLRLR vVvVvVVVY Vv vv vv vyyvvVY TRRLURRULWRLER RERERUR [ala a waa a a wt F 3 TRURLNL WLLAALERRLURRE CHLREKL RLERRLERKELEN at REBOUND CONTROL (In the Four-stroke Ruff) TRER vee term ray TaER TRER eaL wiaL weat wiee wuae mie cra ware war eaeR AUR REE TENT Tome TERE Toab test TERE BUER RLLR wie my aren mER vant Teet TARE hel tant Tee Tune Tere ieee Toe Tome ToRR REL REDE ware RRL nae corms Teen Tien Thee Ton Tore Tene naRE ery Rae meee mae aan wan ware Hen naan wee aERR it vee h tree Teed Thee Then toot ‘The geace-aotes here are mont effectively executed by finger bounce action ” REBOUND CONTROL-A (In Triplets and Dots) 2 ZY vey RREL RRLL WROD RREL yoy voy sinite é TORR TORR TERR TERR RRUL ORE WRELRRL WRUEURAL WREURRL voviv vovoy TERRLLR TERRLUR TERRLER TERRLER Voveivev voiveiviy RRULARLLURR RALURALLRA BRLLBRLLAR RRLLRRLLAR Vevey vy voy vy TORRLUERRLL LURRELERRLL LLRRLLARLL LERRLERRLE vs va va ve fr mr a @e RL UR WL L WRULRWRLURRLL R RL CR WL & RRLERBLERBLL sinite—— VV Voy yoy vy FS ee a SS ee ee ee at TUR RE OW B® CLRRLLRRLERR L LR RL UR BW LERRLERRLLER vVioviviy eS ee ee ee eee a eo RRL URALURR L LR WLLRWLE BR WL LRALERR L UR WELRRLL VV yVy vv voy See SS See See = FE fated aa a aaa 40 T RUURR Lone Vevivivevvyvwiy Dem SO em eee aoe Lo GRRLE RRLL R RLERR DOERR L LRRLLE RRLL R RLLRR a © to Jaze tion more often played © 259 FF HRLL ® RLERH LLRR L URRLL WALL REBOUND CONTROL-B (In Triplets and Dots) ay RLE® WEEE RLER BLUR TERE TREL TREL TREE ROLRREL RLURRLL BOLRRLE RELRREL vVoviy Vovoy TRRLURR® TRRLURR ERRULAR TRRLLRR REEWNHEUNRL RLELRRELHRL RELARELRRL RLURRLURRE VoVovVo¥vY VivVovoy TENTURETIN TERTURETIN URELEREDON UNETUNEEER 3 3 sv v vy Va Vv v Va Seees that eeeh Seah HLL RR LL W REURRLURRLLA HLL RR LL R RULRRULWRLLR 7 ve Vv vy ey yy Sees Seo See see oom seo a a ee TORR UL WR L UMRULRALUABL RR UL RR L ERRLERRELRRL v Vv Vv Vv Vv Vv Vv v Ss mom Seem Seam aes Aizeere fee! z sabe TLD RRLEREL DP UERRLEN WH LD WRLLDRD EWE DGRRELR vVovyevyvey v rare Pe re mS Se ee = [ial tea aa TORR LERREER B LE WRELARE L WR LLARULR BLL RBLUARE Vovev ve vv VY fr Pa Ss ee oo ee i pe a rs a a aa area Bae H LURRE URRL F RRULR REDR ® PLURAL LRRLE L RALER RLUR RRLELR RLUR NH LERRL CARL LF RRLLR RLUR R LERRL URRL TWO-BEAT ROLL versus THE BUZZ THE TWO-BEAT ROLL is the pure roll of two boats of oithor stick; the firet beat struck, the second beat rebounded (bounced). A BEAT AND REBOUND OF EITHER STICK THE BUZZ ROLL is the roll of more than two beats of either stick. A BUZZ OF BITHER STICK eee 7 oR bOR OL £ 1 f é i a { é AMAA". * WHEREAS A SLIGHT DOWNWARD PRESSURE OF HANDS AND FINGERS as a stick strikes tial beat produces the single robound of the TWO-BEAT ROLL, a further downward pressure will give two, three or more rebounds, thus producing the BUZZ. [Reprinted by permiision from the eushor's TI TWO-REAT ROLL VERSUS THE BUZZ The bua roll has ever been a controversial subject among drummers, mainly heeavse its character, ses find linitations have not fully been wnderstood Prejudice against it apparently started in early war times with the inception of aulitay duummning, in whieh the drummer's duties were confined to outdoor drumming for marehing soldiers, The rolls then cinployed, on a giant parade drum ‘eth ‘eaey ‘drums, were perforce’ powerful in nature ane buzatig was deftly ou of plac. Hence; our drauner of this era was warned buzzing. and he in turn tramanived this waa those wh followed THEN AND NOW ing years new: develogme foe by one.” New and diferent inwrimens have been introduced into nat perewnsion wection. Thee in themselves have called for innevatons, new te tiquest and one ofthe liter has hee the Tazing of te ol Throvgh the inter music and in. dr ny yeats the author in bis teaching, magavine miphaee For s aatiles and in clinies, has endeavored 10 the importance of the Ize (sernetines forerush) voll an jsify is use i ot dea of today. Why? Bee four taditional twonbeat soll. eau it fan additional foo! of the drumming tad, wot race a good enough or get by device to replace the tw heat ROLIS VERSUS SANDPAPER ‘Today the all vsind drummer finds use for as many degrees of coarsevess and fineness i his rolls as there fre in sandpaper, each degece dedicated to its par CHNIQUE OF PERCUSSION in International Musician ) ticular purpose and type af drum. While i i agreed that the pure tosbeat roll comes frst in rudiments] importance and sll the prefered roll of the stylist rwexlerdruroming, especially on a stall wite-snared nun played sith fightoceight sticks, more often ea! for a Ber, smoother roll, aptly said to resemble “ve ‘of faindiops on a tin r00l” or "the tearing

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