THE STAFF consists of five lines and four spaces All music is usually written upon a staff. ELEMENTS OF MUSIC NOTATION The Treble Clef ‘The Bass Clef The Neutral Clef THE CLEF SIGN Z is placed at the beginning of the music. = ‘Music for the drums is usually written in the bass or neutral clef. Bar Line Bar Line Line Bar BAR LINES separate the staff into measures. NOTES AND THEIR EQUIVALENT RESTS measure Whole Note Half Note Quater Note Eighth Nowe 16th Note 32nd Note Whole Rest Halt Rest Quarter Rest Eighth Rest 16th Rest 32nd Rest ee THE TIME SIGNATURES The Time Signatures are figures given in fractional form SS at the beginning of a piece of music. The numerator tells the number of beats to a measure; the denominator tells, the kind of note receiving one beat. or “Common Time" is the time signature Most often used in popular music. GLOSSARY TEMPO MARKS indicate the speed at which the music should be played. The most common markings are Slow Tempos Moderate to Fast Tempos Grave ---—-— Slowly, sadly Moderato ———— Ata moderate speed Largo — Slowly, broadly Allegro. ———— Quickly Lento ———— Very slowly, very sadly Allegretto — More quickly than Allegro Adagio -—-— Slowly Presto ——— Fast Andante —— Ata leisurely pace Vivace — very fast Andantino ~~ Somewhat faster than Andante Common terms that indicate tempo changes are: A tempo — means a return to the original speed after there was a change in tempo. ‘Accelerando — (abb. accel.) — means a gradual speeding up of the tempo. Ritardando — (ab. rit.) — means a gradual slowing down in the tempo of the music. Ad Libitum — labb, ad lib) — means at the performer's pleasure, DYNAMIC MARKS indicate the degree of loudness or softness of the music. The most common terms are: yp pianissimo —— Very soft Extra Terms p piano ———— Soft Da Capo (0.C.) —— From the beginning mp mezzo piano — Medium soft Dal Segno (D.S.)— From the sign (%) mf mezzo forte — Medium loud Coda - — A closing section added at the ene S forte — Loud of a piece, shown by the sign @® Sf ortissimo —— Very toud Fine — The end sfz_ sforzando A short, strong accent Poco a poco -—-- Little by little ——— crescendo (abb. cresc.) Staccato —-—— Short, detached ‘A gradual increase in the volume. Tutti —— All, everybody, ensemble === decrescendo (abb. decresc.) > Fermata Pause before proceeding Indicates a gradual decrease in the volume of the music. ; © Copyright 1963 by Joe! Rothman TORE Pemeant Pee PO Bes 1017 Vecrhee: Mew kercey (4?PREFACE For the past several years, teachers have requested that | write an “all-in-one” drum method for beginnin to intermediate students, BAS/C ORUMMING iis just such a book. Obviously, no one study can possibly contai the total requirements of every private instructor saddled with the responsibility of tailoring a course of instructior to meet the individual needs of each student. Still, this book presents a wealth of highly organized material of 2 broad range of topics essential to the initial development of a well-rounded set player. Teachers will fin sufficient exercises on most areas of drumming which they find necessary to teach. The one topic not coveret in this book deals with the reading of drum charts. There simply wasn’t enough room to explore the topi adequately. However, if this is an area of particular interest, | suggest the following books: CUT TIME PARTS DRUM ARRANGEMENTS, SHOW DRUMMING, and BIG BAND CHARTS. This edition has been revised and extended to include duets, mixed meters, additional roll studies and techniqu studies, 2s well as a mini dictionary of commonly used terms. In all there are over thirty pages of new material, TABLE OF CONTENTS SECTION ONE — READING BASIC RHYTHMS. Reading in "Quarter" Time Pgs, 3-45 Reading in “Eighth” Time 46-52 SECTION TWO — READING ROLLS Rolling in “Quarter Time... . . oo : Boe 54-65 Rolling in “Eighth” Time 2. —— 66-67 SECTION THREE — BASIC DRUM TECHNIQUE Basic Sticking Patterns Featuring The Right Hand . 69.81 Left Hand Control ee 82-86 Accent Studies... . eee 87-91 Rudimental-Type Exercises... . . . : 92.119 The 40 International Rudiments... 2... 120-121 Sticking Patterns with Quintuplets and Septuplets 122 SECTION FOUR — BASIC ROCK DRUMMING Rock Beats with 1/8 Notes... ... . 124-127 Rock Beats with 1/16 Notes... . 128-138 Rock Beats with 1/16 Note Triplets. 139-140, Rock Coordination Phrased 3/8, 3/8, 2/8... 141 Rock Beats with a 6/8 or 12/8 Feel . : 142-145 Shuffle Rock Beats... 62.0... 002s aoa 146 t/16|Nots Cymbal Beatsy etree eee oe 147-149 Rock Beats in 3/4, 5/4, & 7/4. : vee es 150151 Disco-Style To Develop Hi-Hat Splashes... 152-157 Rock Breaks»... .. . ees 158-163 SECTION FIVE ~ BASIC JAZZ DRUMMING : Cymbal-Snare Coordination... 2... 2. es 5 ee 165171 Cymbal-Snare-Bass Coordination . 172 Cymbal Variations : : 173 Simple Jazz Breaks eee ee bene . 74 Four-Measure Solos... . . . o eee es 1759 SECTION SIX — DANCE BAND BEATS AND VARIATIONS. Part One: Rock Beats, Waltz, Lindy, Polka, Peabody, Tarantella, Mexican 181-186 Hat Dance, irish Jig, Jewish Beats, Greek Beats, Military Beats. Part Two: (Latin Rhythms): Clave Beat, Merengue, Bossa Nova, Mambo, 187-190 Cha Cha, Rhumba, Beguine, Bolero, Samba, Tango, Afro Cuban, Conga, Paila Beats, Paso Doble. NOTE: Two pages of drum manuscript paper are presented at the end, as well as a Mini Music Dictionary, : © Copyright 1983 by Joe! Rothman 1085 Dumont Drive, P.O. Box 1017, Voorhees, New Jersey 08043 International Copyright Secured Made in U.S.A. All Rights Reserved