Autor : cdya Pedidos : cdya@fibertel.com.ar Songbooks , Metodos, Clinicas, Mp3’s , Videos y Softwares Musicales. Todos los Instrumentos. Solicita el listado completoa cdya@fibertel.com.ar Envios a Todo el Pais por Contrareembolso|| Progressive: Moving forward Advancing: Proceeding in steps By Bob Burgett Includes beats, fills and solos. Practice hundreds of variations to improve your double bass drumming technique. Special Thanks to: Audrey Krugmmire-Design, Tim Sherman-Cover Art, Andy Salas-Musical ‘Typist VA HAL*LEONARD* ma CORPORATION ‘Copyright © 1990, 194 D.C, Publications 2208 Jerusalem Avene, North Merrick, NY 11566 International Copyright Secured All Rights FlesorvedSECTION I Foor ConTRoL: BALANCE & COORDINATION 2 Bass Drums/sighth note patierns 2 Base Dromsdoighth & sixtecnth note patterns 2 Bass Drumefighth & sixteenth note patterns 2 Bass Drumsfeighth & sixteenth note patterns ‘2.Base Drumseighth nate triplet pattems, 2 Bass Drumsfeighth note triplet paterns 2 Bass Drumeleighth & sixteenth note triptet pasterns ‘2 Bass Drum/cighth & sixteenth nove triplet patterns ‘2 Bass Drums/oighth & sixteenth nove triplet patterns SECTION II ENDURANCE: RIDE CONTROUSNARE CONTROL, INDEPENDENCE & CREATIVITY ‘2 Bass Drums with ride cymbal variations ‘2.Bass Drums with triplet ride cymbal variations ‘2.Bass Drums with snare drum variations ‘2 Bass Drums with tiple snare drum variations 18 2 4 2 354 ) SECTION UI ' Bear VARIATIONS 2 Bass Drums/cighth & sixteenth note beat pattems 39 2 Mensure patterns a _ ‘2 Tass Drums/eighth note triplet beat paterns “4 2 Measure patterns . a | 2 Bass Drumsighth & sixteenth note triplet beat pattems 6 2 Measure paerns 5s SECTION IV Hano & Foor ConTnou: Fits & SoLos 2 Bass Drums with cighth note sticking variations oO -] 2 Bass Drums with eighth note triple sticking variations a pinay RL see a sean a LJ] | sacar tr arin stn sneha a 2 Bass Drums/one measure sixteenth note fills. 6 i 2 Bass Drums/two measure sixteenth note fills. 7” *} Primary RRL, pet akerations 1 2 Bass Drunuvhand & foot variations with eighth note triplets n = ( 2 Bass Drumsonc measure eighth note triplet fills . 1% Bass Droms/w measure eighth not pe ls * Salo exercise £ %0 polo cxercise 2 aL Solo exercise 3 Solo exercise 4 33 Solo exercise 5 84 Solo exorcise 6 85f Foot Control Balance & Coordination This section is intended strictly for foot development and is not meant to be interpreted as beat variations, (Refer to Section Three for variations.) How to practice: 1) Use the ride pattern with all variations 2) Always practice at a comfortable speed 3) Use a metronome to ensure steadiness2 BASS DRUMS EIGHTH NOTE PATTERNS, repeat cach exercise 16 times xercise A +2 +3 eae Tide cymbal snare TT ry aaa RLRLRLRL = RLRLRLRL LRLRLRLR LRLRLRLR 3) 1 i 4) M i STR tert tr RRLLRRLL RRLLRRLL LLRRLLRR LLRRLLRR { RERRLRLL RLRRLRLL RLLRLRRL RLLRLRRL 7) (8) ) RRLRLLRL = RRLRLLRL RLRLLRLR RLRLLRLR 9) RRRLRRRL RRRLRRRL LLLRLLLR LLELRLLLR 12 RRRRLLLL = RRRRLLLL RRRRRRRR = RRRRRRRR 13) 1 } + 4 14) 3! Sra ia ne LELELLLL = LLLLLULL RLRLRRLL = RLRLRRLL 1 LRLRLLRR- LRLRLLRR2 BASS DRUMS EIGHTH & SIXTEENTH NOTE PATTERNS repeat exch exercise Exercise B L#2+344+ ride cymbal shure RLRLRLRLREL RURLRLRLRE RLRLRL RLRLRL RLRLRL R LRLRL RLRLRLERL RL RL RL RLRLRLRLRL RLRL RLRLRLRL RURLRLRLRLRLR L R LURLRERLRLRERL2 BASS DRUMS EIGHTH & SIXTEENTH NOTE PATTERNS repeat each exercise 16 times horeise c L+24*3 444 ride cymbal snare (note that 1-4 & 11-14 are two bar examples) RLRLRLRLR LRLRLRLRL RLRLRLRLR LRURLRLRL & { i 6) | { [= SS RLRLRLRLRL RLRURLRURL 8) LRERLRLULRL RLRURLRULRLRURL RULRLRLRLRLR RL RLRL RL RULERERURL ' LR LRL RELRLRL RL RL RLRLRLR LR LR LERL RLRL ss | RL RLRLRL RLRL RL RLRLRLRLR LRLRL RL RULRL2 BASS DRUMS EIGHTH & SIXTEENTH NOTE PATTERNS epeat each exercise {6 times Exercise D beaeagaeage tide cymbal snare {note that 1-4 & 11-14 are two bar examples) | { eo RLRLRLRLR LRLRLRLREL w Ll RLRLRLRLR LRLRURERL a RLRLRLRLR LRLRLRUERL RLRLRLRLR LRLRLRLRL | © { RLRLRLRLRL RLRERLRULRL RLRERLRLRL RLRLRLRLRLa RLRURLRE RL RLRLRLRLRL (1) RLRLRLRLRLR LRERURE RERL 12), Le RLRLRLRLRLR LRLRERLRL RL RERLRLRLERLR LRERELRERL RL ——— RLRLRLRLRLRL2 BASS DRUMS EIGHTH NOTE TRIPLET PATTERNS repeat each exercise sixteen times ercise E 1 2 3 4 ride cymbal = =— cy RLRLRL RLRLRL RERLRL RLRLRL 5), cy TH ey oy RLRUERUERL RLRLECRUERL @ ea ee RLRURLERL RLRURLRL (10) = c= : RURRL EER | (12), Cpoe oy RLR LRL RLRL RLRL RLR LRL(a4) ! == = FI eis Sees RLR L RLR LRL RLR LRL RLRL (15) LL eee ee a a RLR LRL RLR LRL NOTES2. BASS DRUMS/EIGHTH & SIXTEENTH NOTE TRIPLET PATTERNS repeat each excercise 16 times ercise ¢ a ride cymbal 2 @, t L SSA oe RLRLRLRERLRL a6 RLRLRLRURURL 3) @) | i | oe RLRULRLE RURLRL ms RURLRLRLRL RL @) a5 ee" — RLRLRL RL RLRLRL RL 6) aT RL RLRLRL RL RLRLRL a me ea oe 6 RLRLRL RLRLRLRLRL eo RL RLRLRL RLRLRL RL | :2 BASS DRUMS EIGHTH NOTE TRIPLET PATTERNS repeat each exercise sixteen times Exercise F 1 2 3 4 — ride cymbal =p snare (note that 1-4 & 11-14 are ti. bar examples) pepo Pes Spo oly L RL RL R LRER ER URE Cperprp ip cpoyprypey R LRLRL RL R LE RLRLER LER LE Cpopepop cpepoyp cy R LR LRLRL R L RL RLRLER L @ . Cpopep op sper ty R LR LR LURLR LE RU RL RLRL (6) cpopeypoy cpoReopey RLRL RLRLR L R LRLRL RLRL a (8) pop oye oy Tpopopey RLRLRLR LR L R LRLRERLR Lmete RL RL RLRLRL RLRLRL RL RULRLRL RLRLRL RLRLRL 13), os rn RLRLRL RL RLRLRL RLRLRL (14) eet ea RLRLRL RURLRL RL RURLRL (15) i ar aren) RLRLRL RLRURL RLRLRL RLRURL| 2 BASS DRUMS EIGHTH & SIXTEENTH NOTE TRIPLET PATTERNS repeat each exercise 16 times 1+2+ 3 + 4 + oy RLRLRLRLRL 4 (6) | coy oe coy LRLERLRL RLRLRLRLRLRL (8) ey oy oS ey RLRLRERLRLRL RURLRLRLERLRL (10), I ¢ oS Ce RLRLRLRLRLRL RLRLURERLURLRL ap i ! = [a = cy Cp oy cP oy} Ly RLR LRLR LRLR LRL R LRLR LRLR LRLRL| | = = 14) CT LC Cy RLR LER LRLR LRLRL = SS oy oy eC RER LRLRLRLRLRL cy RERL RLRLRLRLRLURL oo NOTES2 BASS DRUMS EIGHTH & SIXTEENTH NOTE TRIPLET PATTERNS fepeat each exercise 16 times Exercise I L+2+3 44+ Ce ea RLRLRLRL RLRL a RLRL RLRL Ras et ee RERL RLRLRLRL RLRLRide ControVSnare Control Independence & Creativity ne very important aspect of double bass drumming is simple endurance. However somelimes acticing endurance can be monotonous and boring, By adding the tide cymbal and snare drum friations to your practicing, you will make this experience more enjoyable and gain coordina- fon and new ideas at the same time. How to practice: 4) Use the bass drum pattems with all variations 2) Practice at a comfortable tempo 3) Use a metronome to ensure steadiness2 BASS DRUMS WITH RIDE CYMBAL VARIATIONS cercise A repeat each exercise 16 timesnn ares | oe a eet tote pe FFF. 30) 4 Jf) +1 SSS SSS an dd nu ee vf] 2/2 i, er ee ee ee ee ee |=F (44) =x = = = = — = diddte sticking > > > > LRRERLL RLRRLRLL RLLRLRRL RLLRLRRL a 46) t (play soft) > > RRLRLLRL RRLRLLRL2 BASS DRUMS WITH TRIELET RIDE CYMBAL VARIATIONS ercise B.A snare drum bass drum Sate aso RLRLRL RLR TRL t oe mI 4 a> 35 = 4 6) ¥ [S[S== aan r35 34 pa, i ; - 2a 3s 10) 34 3s mee ‘ 12) TS wesseo ok SS oe oye, 16) J 4 a dy ” TS => 3 ee 18) =] mo oh 3, Tt oc, 20) Jy Y S35 3 eH, Tot 34 3 Hy + 4 ~— 39 se5 ee, ss - 34 ey (24) 3 te 3 35 Sy ody eH, 26) 7 ¢ "3m 3 — 34 p34 (28) ¥ ¥ ~ 3 m3 =I 3S 30) = -~ 3s — 3 eH, (32)double paradiddle silcking RLR LRRLRL RLLi 2 BASS DRUMS WITH SNARE DRUM VARIATIONS repeat each example 16 times Loa2 + 3 + 4 + ercise ride cymbal snare oe ee ee ee ee ee ee ee ee ee ee oe || 4, 35) 36)op —=# stkg ee oso VARIATIONS Cc 12) 14) 16) ow Tepeat each exercise 16 times z ag ai 2 BASS:DRUMS WITH TRIPLET. SNARE DRUM oy cise D 13) 5) in I 1}20) (22) (24) (26) Se eee oy I (28) == f | Le Ly 9) (30) oy Law 31 (32) = a Log 3) (34) aa a Lao35) a6 i (38) i _ . (40) SSS = Se 41 o po rwoy — 44) =) LHe Seepe (45) SSS rep DS LRLRLRLRBeat Variations ‘All beat variations in Section Thee are based primarily on R, .L alternation, This method is Commonly used when developing double bass drum beats. Play each variation accurately and in time. Start slowly and work them up to speed, How to practice: 1) Use the ride pattern with all variations 2) Practice at a comfortable tempo 3) Use a metronome to ensure steadiness.2 BASS DRUMS/EIGHTH & SIXTEENTH NOTE BEAT PATTERNS i repeat each exercise 16 times Exercise a 4 ride cymbal2 MEASURE PATTERNSPlay alll beat pattems- using these ride patterns, 7 A2 BASS DRUMS/EIGHTH NOTE TRIPLET BEAT PATTERNS Tepeat cach exercise 16 times Exercise B A ride eymbal(36) 38) egy (40) 39) “34 oe (42) [41 er 44) 43) 46) NOTES3 L345 r J 3 3 3 i 3 3 3 3 3 I 3 3 3 j 3 3 | | 3 34 3 I ——t 3 3 Lay { STE 3 3 w3a4 2 MEASURE PATTERNS = a) . a 3° 3 2) i : + ina 1 Lan 3 wae 6) \ 3 3 L34 @ | 3 Laas Ug 3 4 ( 3 3 3 | | 6349 3 ) 3 3 3 ) L | = == 3 3 u3n 7 i3 = == 3 3 3 3 = LLICL 3 i —— LIC 3 3 ates. 3 3 8) L34 \ == 3 Lj 3 Cc) 3 3 Play all beat patterns using these ride 3 3 t == J 3 j = p Las 1 —=—— Cl 3 \ =— 6 L345 Ci 3 PL LI ‘ a LJ 3 Lao LJ 3 ! — LJ 3 LJ 3 (A)2 BASS DRUMS EIGHTH & SIXTEENTH NOTE TRIPLET BEAT PATTERNS: Fepeat each exercise 16 times> i ‘ i fe 5 & : (A),Hand & Foot Control Fills & Sotos Coordinating the hands and the feet together is essier said than done, However, for creative and J°*° interesting fils and solo, this type of approach will bring excellent results, How to practice: 1) Practice at a comfortable tempo 2) Use a metronome to ensure steadiness 3) Once you can play each exercise as written, lay snare drum ‘rotation on all other surfaces (tom-tora, cymbals, cowbells, ete.)2 BASS DRUMS WITH EIGHTH NOTE STICKING VARIATIONS . repeat each exercise 16 times ise Ak bass drum pattem RELRLRLRL LRLRLRLR RRULRRLL LLURRLLRR 4 RLRRLRLL RLLRURRL RRLRLLRL RLRLLRLR 8 . LRURRLUL LRLRLLRR 10) LRRULURL “ RLURLRLL 12) . LRLULRLL RRLRRLRL 14) RRLRLRLL “repeat each exercise double time for sixieenth notes i2 BASS DRUMS/ EIGHTH NOTE TRIPLET STICKING VARIATIONS repeat each exercise 16 times ise B LjIL BIL 35L BU RLR LRL RLR LRL far) bass drum pattem LRL RLR LRL RLR (2) RRL RRL RRL RRL fr} LER LLR LLR LLR RLL RLL RLL RLL {T eH IRLR RLR RLR RLR fr. LRL LRL LRL LRL (8) RRL RLR LLR LRL 10) rr " RLR RLR LRL LRL 32) FT LL RRL RLL RRL rm m RRL RLL RRL RLL 14 ro RRL LRR LLR RLL 15)(9) cpopepopr R LR LRER ERE ap CoP OPoOP RLRLRLRLRL R (12) TROP ceo R L RER LRL RLR (3) Spopopep RLRL RLRL RLR opeopoyeoy RLRLRLR LE RLR (15) (19) cpopopoe RLRL RL RUEURL Cpeopopoy LRL RLRLRLR L CPopoyeoy L RUERL RLRERL epopoyecoy LRL R L RURLRL cpopoyeey LRL RLRL RLRL cpoyoypey RLRULERELRL NOTES} PRIMARY R,L,R,L SIXTEENTH NOTE ALTERNATIONS L R R RR Li urépu ov R 2) R RR RRRR LL UL LLEUe RL RL RL RL RL RL RL RL Fa ASS FS LORE ORL RL RL RL RL ORL RLRL RLRL RLRL RLRL LRL RLRL RLRL RLRL a 2 BASS DRUMS HAND é: FOOT VARIATIONS WITH SIXTEENTH NOTES LbL UL LELu uty RR RR RR RR FS. 2) =e = Sl R RR RRRR LL LL ELEL LRL LRL LRE URL RURL RRL RRL R_RL a = Eee R R R L L L L LLRLLRL L RL OL ER R RLR R (6) R R R R L L L L LURLRL | LE RLRL RLRL RLRL 3 + RR LL LL LL LRERL LE LRL RLR R RLRLR- R RL 10)‘ RLRL CL’ RLRL LL FES RLRL RR L RR RURL L R 3 ROR OR RRR LLL L REL LOLRLL LE LR R R ‘ 18) ws R RR RRR LL L LRL LL LRE LU R_RL (19) 2¢ Pipe = =z R RRR RR L Lio R_R RLR RR LURE L LLREL ) 2 PRS Sy RR R RR R LL Loeb RL RL RL RL RL RLERL RL RLRL 3 aS. FFA _ os RL RL RL RL RL RL RURL RL RLRL RL RE RE RLRL RLRL RL RL RL RLRLRL +; RES _ RL RLRL ‘meal FFA FFF RL RL RL RLRL RLRL RL RL RL RLRL RL RL RL RL RL RL RL RL RURL tH RL RL RL RL RLRL RL RULRL Pre RL RL RL RL RLRL RLRL Bes See = ee RL RL RERL RLRL RL RL RL RL RL RL RL RLRL RL RL RL49) RLRL RL RL RL RL RLRL RL L (44) RL RL RL RL RL RL RLRL RLRL RLRL RLRL RLRL RLRL FS. (46) FE, LRL RLRL LRL RLRL RLRL —- RLRL RLRL RLRL (48 RLURL RLRL RLRL RLRL RLRL 52 1 RURL RERL RLRL RLRL RLRL RLRL RLRL RLRL $4) RLRL RERL RLRL RLRL RLRL RLRL 56 RLRL RLRL RLRL RLRL RLRL RERL RLRL ‘i RERL 58 RLLR RLRL RLRL RLRL RLRL RLRLRL RLRL RLRL RERL RL RLRL RL RL RL RL RERL RLRL RL RL RLRERL RLRL RL '(62) ae aa i RL-RL RL RL RL RL RL RL RL | RLERE RL il 64 ] i HR RLRL RL RL RL RL RL \ R RL RLRL RLRL RL RL | 66) : =a! | RL RLRL RL RL RLRL RL | RL RLRL RL RL RLRL RL f 68) }| R RL RLRL RLRL RL RL I R RL RL RL { 0) : RL RLRL RLRL RL RL * RL RLRL RLRL- RL RL RL RL RL RL RL RLRL RERL RLRL RL RLRE SIXTEENTH NOTE FILLS & 2 BASS DRUMS ONE MEASU! cefcise D k feel i time iaa _—____ ~~ athise g 7 PASS DRUMS TWO MEASURE SIXTEENTH NOTE FILLS cise feel time.PRIMARY R,L,R,L TRIPLET ALTERNATIONS rare cia frm RLR LRL RLR LRL nao rr eh hs cr RL RLR LRL RLR LRL RLR LRL a Toa em RLR LRLRLR LRL*2 BASS DRUMS HAND & FOOT VARIATIONS WITH EIGHTH NOTE TRIPLETS Exercise a rear aaea Parsee PR RLR LRL RLR LRL~- RLR LRL RLR LRL mega rm ea oars Fry RLR LRL RLR LRL LR LRL RLR LRL mo rao qa rao oe 9TH. mH _« al a ‘ RLURLRL RLR LRL RLR LRL RLR LRL no rhbre eh noah ehh 1) [T) Mm fe 8) RLR LRL RLR LRL re east ro ae ==: — RLR LRL RLR LRL Bars ms uy’ SS OS 12 RLR LRL RLR LRL cpr rah 13) a gE G ie RLR LRL RLR-LRL TS ryrh red 18) FT) or 16) a ea — RLR LRL RLR LRL RLR LRL RLR LRL Bae ThE 1 pao eaaaa ae a RLR UR LRL TLE LRL RLR LRL RER LRLSrey Came Oa ee a 21 RLR LRL RLR LRL ea rary, fr RLR.LRL RLR LRL PS eh en ey RLR LRL RLR LRL Ce eae eH 24 RLR LRL RLR LRL lo lo ————; RLR LRL RLR LRL Sosa rae RLR LRL RLRLRL TS ma eso rr = RLR LRL RLR LRL caesar to RLR LRL RLR ERL 5 AN? =f RLR LRL RLR LRL PR ry ra eH Ps RLR LRL RLR LRL ra Se ed RLR LRL RLR ERL oy nay The (32) RLR LRL RLR LRL Gerd ry RLR LRL RLR LRL woes 34 RLR LRL RLR LRL nh en DS RLR LRL RLR LRL 35 Then Ben RLR LRL RLR LRL (36) RLR LRL RLR LRL coen Des RLR LRL RLR LRLmah mah Ce (37) m3 m3 (38) 3s RLR URL RLR LRL RLR:LRL RLR LRL En) a9 eo ER ee 0) rsraesa S RLR LRL RLR LRL RLR LRL RLR LRL ma ra a1 cp rae 42) 34 ie Ss: = RLR LRL RLR LRL RLR LRL RLR LRL amen Wen Cy ra ah eke x 43) FS a (44) fr tad RLR LRL RLR LRL RLR LRL RER LRL Bae rh Pacey rhe te ao pb SSS RLR LRL RLR LRL RLR LRL RLR LRL las a al rears ehh 47) FT} 48) fr ina ium os ae =i RLR LRL RLR LRL RLR LRL RLR LRL PAH Pie Rr oh 49) mm. rw RLR LRL RLR LRL RLR LRL RLR LRL rhe ca mo my rh 51) ma ort 62) PS 30 SS RLR LRL RLR LRL RLR LRL RLR LRL mod ah rh rye (53) fe ae 54) 3 eT] RLR LRL RLR LRL RLR LRL RLR LRLLRL RLR LRL cA ahr SS (60) RLR LRL mare iP =H LRL RLR LRL NOTES RLR LRL RLR LRL2 BASS DRUMS ONE MEASURE EIGHTH NOTE TRIPLET FILLS Exercise G shuffle feel. timemarshes rhe 3s Lk oa myer - = rae edeCR a the a 2 BASS DRUMS TWO MEASURE EIGHTH NOTE TRIPLET FILLS clpe wflle feel the Thea ee ae re se nae eRSOLO EXERCISE 1SOLO EXERCISE 2 a Gaon br Ror do er 3 2 ono ee] are, ate Wo meter rete ey,SOLO EXERCISE 3 4 cerry -SOLO EXERCISE 5 i ee — any Be Pes ETL Oe Hl i