CREDITS INSIDE THIS BOOK

ABOUT THE DISC __________________________________________4

Realistic Drum Fills: Replacements BIOGRAPHY ______________________________________________5
INTRODUCTION____________________________________________6
By Carmine Appice
DIFFERENT PRACTICE METHOD ________________________________7
KEY ____________________________________________________7
Edited by Joe Bergamini
Book Design, Layout, and Music Engraving by Rick Gratton SECTION 1: EIGHTH NOTES
Executive Producers: Rob Wallis and Paul Siegel Eighth-Note Combinations ......................................................................................................................................8
8-Bar Exercise..................................................................................................................................................................10
Audio tracks performed by Joe Bergamini Play on Drums ................................................................................................................................................................10
Recorded at Joe Bergamini Drum Studio, Whippany NJ
SECTION 2: TRIPLETS
Engineered, Mixed, and Mastered by Zak Rizvi (info@zakrizvimusic.com) Triplets ..............................................................................................................................................................................11
Front Cover Design by Rick Gratton Triplet Exercises..............................................................................................................................................................11
6-Bar Exercise..................................................................................................................................................................12
Cover Spread Design by Mike Hoff 12-Bar Exercise ..............................................................................................................................................................14
Replacements on Last Note ......................................................................................................................................14
Cover Photo by Charles Stewart
Replacements on Middle Note ................................................................................................................................15
Video clip included on the disc is taken from the Hudson Music DVD Classic Rock Drum Solos. Mixed Hand and Foot Combinations with Accents ........................................................................................18
Copyright 2006 Hudson Music LLC 16-Bar Exercise ..............................................................................................................................................................20
All Rights Reserved More Hand and Foot Combinations ......................................................................................................................21
16-Bar Exercise ..............................................................................................................................................................23
Catalog HDBK29/HL321208 Triplets with Accents Using Mixed Stickings ......................................................................................................24
CD
ISBN# 1458400174 16-Bar Exercise ..............................................................................................................................................................27
Review of Triplets ..........................................................................................................................................................28
PLAY-ALONG TRACKS Play on Drums ................................................................................................................................................................32
All the examples in this book are in MP3 format and were There are 13 play-along tracks based on the many different Eighth-Note and Triplet Combinations ................................................................................................................33
ACKNOWLEDGMENTS
recorded live with no Pro Tools editing involved. What you
hear is what was playedno moving notes around or
triplet grooves and styles that are introduced in the begin-
ning of the book. They are all approximately 2 minutes
12-Bar Exercise ..............................................................................................................................................................35
Play on Drums ................................................................................................................................................................36
adjusting tempos. I used my Roland TD-12 module with long. These are just exercises for you to try the many differ-
Cakewalk Sonar software. For each of the chapters I used a ent ideas in the book to help develop your swing playing.
different drumThanks
set settingto Rick
from theGratton,
TD-12. Rob Wallis and Paul
Jam out andSiegel and all at Hudson
have fun! SECTION 3: SIXTEENTH NOTES
Music and Hal Leonard Corp., Joe Bergamini, Zak Rizvi, Leslie, Nick, Sixteenth Notes ............................................................................................................................................................37
All the tracks were recorded to a click at various tempos Listed below are the play-along examples and track num- 12-Bar Exercise ..............................................................................................................................................................39
and Bianca.
with a one-bar count off on the hi-hat. The track number bers from the CD.
on the CD is written beside each example in the book. 12-Bar Exercise ..............................................................................................................................................................43
Carmine
Some tracks contain uses
multiple ddrum drums, SabianTrack
examples. 165: Slow
cymbals, VicBlues
Firth12/8sticks, Evans
- 74 BPM. (Beats Per Minute) More Sixteenth Notes..................................................................................................................................................43
Track 166: Blues
drumheads, Shure micropohones, Roland products, Calzone cases, Shuffle - 100 BPM. 16-Bar Exercise ..............................................................................................................................................................47
For the drum fills, I recorded one of the following arrange- Track 167: Beach Shuffle - 125 BPM. Mixed Combinations of Sixteenth Notes ............................................................................................................48
ments:
Korg Wavedrum, Zoom products, Protechtor cases, and DW pedals.
Track 168: Funk Shuffle - 140 BPM. 16-Bar Exercise ..............................................................................................................................................................52
1 One bar fill/one bar time Track 169: Medium Swing - 140 BPM.
2 Two bars fill/twovisit:
bars time
Hand and Foot Accents: Sixteenth Notes ..........................................................................................................53
Please Track 170: Medium/Up Swing -160 BPM.
3 One barwww.carmineappice.com
fill/three bars time 16-Bar Exercise ..............................................................................................................................................................55
Track 171: Jump Swing - 180 BPM.
4 Four bars fill Track 172: Up Swing - 200 BPM.
Play on Drums ................................................................................................................................................................59
www.slammusa.com
Track 173: Hip-Hop - 190 BPM.
I supported most of the fills with the various foot ostinatos
Track 174: Afro-Cuban - 110 BPM. SECTION 4: PUTTING IT ALL TOGETHER
shown on pages 27 and 60. to the memory of my parents, Mary and Charlie Appice.
Dedicated Track 175: Afro-Cuban - 190 BPM. in 6/8 time
Track 176: Reggae - 130 BPM.
Replacements with Eighth & Sixteenth Notes ..................................................................................................60
To support the fills, I used many grooves from the various 12-Bar Exercise ..............................................................................................................................................................62
This book Track 177: and
Reggae - 160 BPM.
styles I demonstrated in the is also dedicated
Triplet-Based Grooves to my good
section friend fellow drummer Joe
Play on Drums ................................................................................................................................................................63
as well as ideasMorello, whose
from the Grooves andinspiration was so great to me growing up; then we
Applications chapter.
Tracks 165,166, 167,168,169,170,171,172,175, Eighth-Note Triplet and Sixteenth Combinations ............................................................................................64
became friends. He was one of the best! and177RIPwritten and performed by Richi Vetro
For all of the grooves I recorded four bars of each example. 12-Bar Exercise ..............................................................................................................................................................66
Play on Drums ................................................................................................................................................................67
Tracks 173,174, and 176 written and performed by
Casey Manierka-Quaile Replacement Drum Fills ............................................................................................................................................68
More Drum Fills..............................................................................................................................................................70
Shuffle Patterns..............................................................................................................................................................71
Conclusion ......................................................................................................................................................................72
REALISTIC DRUM FILLS REPLACEMENTS PRACTICE METHODS/KEY TO BOOK

This book will develop your ability to play cool drum fills and solo ideas. I call this technique replacements. Ive been using
these concepts for many years and have seen many of my idols using them before me. Greats like Buddy Rich, Gene Krupa,
DIFFERENT PRACTICE METHODS
Max Roach, Louis Bellson, and Billy Cobham (as well as many modern players) all use these kinds of replacements in
You can play all these patterns 3 different ways and then reverse the sticking.
their playing.
1 - as written.
This book puts these concepts into a learning program that keeps progressing to the next (more difficult) level. We will
move from eighth notes to triplets and sixteenths, which gets you playing different pulsations of these concepts. Once you 2 - alternate feet (for right-handed players, play bar 1 with right foot, then play bar 2 with left foot; left-handed
understand the idea of what is happening with these, then youll see that you can use them in any playing situation. (Thats players reverse this footing).
playing in a band!)
3 - Play with the left foot only (left-handed players play with right foot only).
As in my other books, Ill always present 10-12 individual exercises, and then I will present a 6-, 8-, 12-, or 16-bar exercise
putting all the patterns together side by side. This demonstrates how these patterns work together to develop solo ideas Also play quarter notes on your ride cymbal (RC) while playing the patterns between your left hand and bass
and create melodic drum patterns. These replacements can be used in rock, jazz, Latin, or just about any other kind of music. drum foot. Then reverse it: quarters with left hand and pattens between right hand and bass drum.

The beginning of the book starts with eighth notes to introduce you to the concept and give you exercises to get started. The alternating feet method works especially well playing double bass drums because you will have different
Once the triplet section starts, things get more detailed and fun. Triplets are always more fun! After the triplets, well move tones on each drum. A double pedal also works well, but you will have the same tone. When you have two notes
to sixteenth-note patterns. Some of these examples can be put to use immediately by picking out 2 or 4 bars of a pattern in a row (in some of the later replacement patterns), having double bass drums or a double pedal makes it sound
and playing them with your band. At the end of each section, we move to a series of exercises called Play on Drums. This really coolespecially when the pattern gets fast.
puts the different patterns on the full kit played between the snare, toms and bass drum. This stuff is really great for you So it looks like we are ready to go. Have fun. LETS ROCK !!
to use in your playing.
Like all things in learning, practice is the key. The more you practice these, the better you will sound, and the more able
youll be to use them in a musical setting. Always practice the exercises slowly at first, then build up speed in order to get oo KEY TO THE BOOK
the patterns really solid.
At the end of the book there is a section called Replacement Drum Fills in which there are 2 or 3 bars of time followed by a Signs in the book:
1- or 2-bar replacement fill. In addition to straight-time grooves, Ive also included shuffle grooves with shuffle replacement
fills. This Replacement Drum Fills section is just to open up your mind into what can be done with these concepts and > = Accents: I like to use rim shots for accents on the drums and pad.

o
patterns. Remember to change some of the sticking to your own sticking and see what happens.
F = Bass Drum
Most of all HAVE FUN with this book! I love using these kind of patterns while playing at my concerts, sessions, and clinics.
I hope you do too! R or L = the strokes being replaced.
HH = Hi-Hat
RC = Ride Cymbal
SD = Snare Drum
TT = Small Tom
FT = Floor Tom

EXAMPLE

o o
Whenever you see an F in the sticking, this indicates that you should leave out the hand stroke and replace it

o
with a note on the bass drum. Play the note with the F under it on the bass drum while playing the original
sticking. The F replaces the right hand on beat 1.

So on beat 1, instead of playing the right hand, you will play the bass drum instead. Then the sticking continues
and plays the L R L on the counts of 2, 3, and 4. This repeats 3 times to make it a 4-bar phrase.
Many exercises have 2 or more stickings to practice. Be sure to practice all of them carefully.

6 REPLACEMENTS REPLACEMENTS 7
 SECTION 1 REPLACEMENT TRIPLETS
11

6 SECTION 2 o
Here we continue our studies with the replacement concept. On these exercises we are just using the F on the
count that is being replaced.
So, in a triplet pattern it looks like this:
Example:
12

The foot is on the count of 1 while the hands play the triplet with alternate sticking. These triplets sound great.
Watch for the patterns with the accents (>); they are really cool and very melodic.
Have fun. Play slow at first and build speed.
EIGHT-BAR EXERCISE
7 TRIPLET EXERCISES
1

10

11
PLAY ON DRUMS
This section takes the exercise concepts from the previous pages and puts them together with different 3
combinations on the drumset. Notice that the key has changed to TT=Tom, SD Snare Drum, FT=Floor Tom and
BD=Bass Drum.
This section really gets you ready to play these in a performance situation.
Here is where you get to play some cool replacement patterns that can be used as drum fills.

1
4
TT
8 SD
FT
BD

2
5
TT
9 SD
FT
BD

10 REPLACEMENTS REPLACEMENTS 11
 PLAY ON DRUMS COMBINATIONS

PLAY ON DRUMS EIGHTH NOTES AND TRIPLET COMBINATIONS

Here we start mixing different pulsations with eighth notes and triplets. Be sure to practice both written
Play these around the kit to have fun and start developing melodic ideas. stickings. Once you are comfortable, make up your own mixed replacement patterns. As always, start slow and
gradually build up speed. Watch the triplets for changes in the replacement pattern. These combinations will
1
give you a taste of a different feel.
As mentioned in the key, the strokes shown in boxes are the ones being replaced. An alternative way to play the
replacements is to take the replaced R or L stroke (shown in the box) and play the stroke on the bass drum but
TT
SD
with the replaced hand stroke on a china or other short-sounding cymbal at the same time. This will give you a
47 real workout moving your hands up to the china cymbals and creating some cool sounding (and looking) licks
FT
BD using the china and bass drum sound together. You can try this technique throughout the book.
Note: Once comfortable, apply your own sticking combinations at various tempos.

2
1

TT

48 SD
FT
BD

2
3

TT
49 SD
FT
BD
3

50

51

32 REPLACEMENTS REPLACEMENTS 33
 COMBINATIONS PLAY ON DRUMS

SIXTEENTH
SIXTEENTHAND
ANDEIGHTH
EIGHTHNOTE TRIPLETS--TWELVE-BAR
NOTE TRIPLETS TWELVE-BAR EXERCISE
EXERCISE PLAY ON DRUMS
Here we will put together a melodic twelve-bar exercise using replacement sixteenth notes and triplets. .
Put these together and use as a solo. Play slowly and build up speed.
1

TT
SD
86
FT
BD

TT
SD
87 FT
BD

TT
88 SD
FT
BD

66 REPLACEMENTS REPLACEMENTS 67