BateriaoO The Road Map Now that you've played your first chart, let's add a few more terms to your chart-reading vocabulary. These térins are essential in following charts, As I mentioned before, a big problem in chart reading is getting lost in the “road map." Make sure you understand these items before going on. Boe Indication that the piece is to be repeated from the beginning (or “top") 2, D.S, or Dal i, Return to the sign (found previously in the piece) ERIE The Coda is the exgpluding section of the piece al 9) Tris indicated by Return to the beginning of the piece, and play until you reach the Coda sign, At that point, -=—=——————— = Jump 9 the Coda (marked by a matching Coda [ sign) i t 5 In this example, play through measures 1-8, where you would 0.. back to the beginning. At this point, play from measure 1 through the Coda sign at the end of measure 4, Then, "take ‘the coda" by jumping to the Coda sign at the last line and play measures 13 through 14 —— — = The same as D.C. al Coda, but instead of returning to the beginning, you go back to the sign take the Coda and play to the end of the piece. B® then 16... al Fine) Fine means end; this term is most often used with @ D.C. or D.S. marking, For example, when used in conjunction with a D.C. (D.C. al Fine) you return to the beginning of the piece and end at the Fine marking.cota Mins de Bare ireTRUER LRER URUR LRER KRALL ALL RURL ALLA LRLA LRRD RUGR LARE REUR URAL 5) RURT Chin AeRL CRER TROR boGR REAL RRL TRER CULE 9 2 HERE RARE RARL ARAL RURL WELL RLRU SLUG FS re eer. 40 22 tUte cour CboR LoUR TRUER TARR LRUR URRR THAR LAR URRR se rahe Hepest each exercise 20 times Lcizguieda Re. derechs LaaR®DINAMICAS ESQUEMA DEL TAMBOR En el esquoma superior, estén marcadas las zonas deltambor donde se debe ejecutar cada dindmica. Del centro hacia afuera son las siguientes: ££ FOTISSIMO ‘ + FORTE wy MEZZO FORTE “p MEZZO PIANO » PIANO 2p PIANISSIMO Existo una rolacién entre la allura con que se ejecuta 41 golpa, y ia dinémica correspondiente: (A)Altura_(D) Dindmic (A) 20*(0mds) 75%(2109 80°(H104 45¢(4109 20°(409 15°(H104 Oe tf op | angulo indicado es ei determinada por el palilo en su allura maxima (segdn la dindmica) y ol parche, Ejemplo:Motion Principles - The Up Technique The materials contained in this text demand a high degree of facility and control. In order to develop such skills, it is necessary for the student to under:tand how the hands are used in various performance situations. This is the main purpose of the Dosn-Up Technique. The Down-Up Technique is a method by which the student can learn ‘how! to play. It consists essentially of two components, those being Stick Heights and Stroke Types. Stick Heights - The sticks can be used in any number of height positions off the drum from low (15°) to high (90°). Because of the affects of height on impact, these positions can be related to dy- namic levels. ent SP NON oN ooo height . 90° #3 60° 45° 300237 E59. dynamic - FF F ME MP. Pp PP Stroke Types - In any given dynamic situation, the sticks will normally start and end in the same relative height position. This type of stroke' will be referred to in terms of its size; (i.e..a 45° stroke, 60° stroke, and so forth.) notion= \t \t \1 LT 4a height/ dynamic 90°-FF 759-2 600-MF 450-MP 300-P 150-5 It should be understood that the downward and upward motions are not seperated, but are rather parts of a continuous process.» You execute the entire stroke as quickly as possible. There are two reasons why this type of motion: procedure is necessary. First of all, on most percussion instruments, once the surface has been struck, it should be allowed to vibrate freely. Secondly, by completing the motion as soon as possible, you will be preparing for upcoming strokes, ©1d will avoid any time loss in this respect.ELEMENTARY BEAT EXERCISE STUDIES No. | One Gud) Two (and) ‘Three (and) Four (and) & 16% 2& 84 de ahh (ofst= eS Set a 6 “g feet SEES Staats SSS 69 ee °& Hap Ss Ste Ssh Set iy 6 boa Penta salts =aaraa k Lok Is 6 hpstepsap =p p Sit rp {eS SSS See eat Se | 11393No. 2 23 Two beats to a measure. Count One (and) Two (and) - 2 2 1 2 i 2 i 2 1 2 7 = SSS t L R R a R Lam 1 iz The numbers suces of rest. wil lines drawn across che stave separating the measures, denote whole mea- No. 3 Exercise in quarter and eighth notes. (Count One (and) Two (and) 1& 2 @ 1 &@ 2 &@ 1 & @ tLe 24 1 & 2 & tigygThe fingering (L, R.) must-be.carefully observed. 25 No. 4 129936 QUARTER AND EIGHTH NOTES COMBINED 1 These exercises are devoted entirely to alternating single strokesSTUDY IN EIGHTH NOTES u Four beats to a measure 123626 No.5 3/4 Time—Count One (and) Two (and) Three (and) Moderato 1 203 1 2 8 1 28 fF 2 8 1 2 B t 28 Letters A-B-C-D-E-F-G denote the different sections of music. Sometimes numbers are used instead. 11393 dou LECCION N® § 96. 10. lists ‘ide. 192. 80. 92. dod, aie! 132, 153, d dass. Estudie lento al principioJ oa03. go. 96, 120, 152, tat, 200, dio 42, 50. 60. 69. 89. 02, i900, LECCION N° 6evce evee ie 1 =i ap a By S Wore a 4 4g 5. heel 6. a b y "hes Jy 8 ray to We Tey da 10. bag ll. Meppt 12. ton He ear “Al ep fl ig ar py Ty ey ET. 19. 1,4] 20. yb ma sy) 21. Yj 7 4H ory Wl 114¥Combinations of Bass Drum Figures (continued) py tag gg ag [= Hy ey Tat PotsSnare Drum/Bass Drum Combinations Lyd ab ? t 4 2 pal_ad te 7 aT opal TF “H spofaty aes 6 Fly pe pti TA, PLD sry eT I, lama. Maly TTL,Snare Drum/Bass Drum Combinations (continued) 12. id 4.Idea #20 s In this example, the right hand moves continuously back & forth between the cowbell and hi-hat. mm J = 94-100 Basic Patter ReisReb Roe OA GIA se ance Version 1 Version 2 o> + > > > 2) Combined 3EA=fe a i a BS EPEESsPErEED Idea #21 This idea should be played with a hip-hop/shuffle feel mm J = 108-112 Basic Pattern = Version 1 Version 2 Combined; SET TIME 3 The next 11 pattems incorporate the toms in developing the feels. I Idea #22 y The first pattern in this group ‘uses a basic linear 3/5. Notice how the right hand moves around the toms. , mm J =110 ? i = : 9 Basic Patter EF a RL 3 ua > + a Version 1 FE a ——— a i a : mm i Version 2 a] : | > Z > i > _fre i Combined ——— f Idea #23 k Here's another version using 9/5, except in this case the hands reverse on the second three. Play this feel strong! i mm J =110 Version 1 Version 2 Combined > , » > ’ » > > J ) ) ) ) ) ) ) ) ) ) ) } ELoses900Exercise 1 SYNCOPATION 4 i At A hy A See Se | A el pene SSS i fp ee oe ” AAnnnarne ah 4 ue A ay te } A AY Q j 8 | 8 | Bp es pop = Q4 S$ Sas Toot | az A | | __4 i i £ i ; of 4 mm =: = aa FS a ee HS SS oe3 SYNCOPATION Exercise 2 A fA r a 4 A = A At re f 4 = t 7 r— tf oe F * z Se Seas ae cee = A = SEF = t A a t+ = ALSYNCOPATION Exercise 3 4 7 ff St ee ro t f + x 9 ff | y. Baa ff40 SYNCOPATION Exercise 4ay SYNCOPATION Exercise 5 here a 1 t 7. t 4 x } 7 1 = = | ot p42 Exercise 6 n Ah 2 SYNCOPATION oa FISYNCOPATION Exercise 7 84a Exercise SYNCOPATIONThe ewo sixteenth notes PERSE stoutd be ofthe same duration as the eight nore, no Jor or shorter. No. & AR RULER EL R RLRL oR RLR R RLR OR @ 1 2 t @ 2& 1 2@ 1&@ 24 1 & 2 R RLR LL R RLERL RORER OL 2 r 2 1 RRL RL RRL RRL RL wetle 2 t RRLRL z 1 RoR 1 RLR z r 2 &, RLR R RLR L 1 2 1 z 1 2 ro2 Tf 2 RRER L RRER ELRERL 29 ‘The groups of four sixteenth notes should be played with single stroke beats, cos EEE and com- mencing always with the right hand. = No. 8 Abbreviated As Playeda7, 88. 104, d=s0. 50, 03, — us, nm, 132, 80. 152, 8s. 178, 100, Si est escrito asf: Se ejecuta asf:2 = 100 STUDIES IN 3/4 RHYTHM (using sixteenth notes) X z a ee SS ee 5 i ALAL RURL ALRL | Diseee seems Lae eres 5 SS SS SSS tee eee == Sy Sarre =e — ed Ss == ane = eee Ss AL LAL R LRL LAL LAL = ALL RLLRL = ALR meee ee LRLRLRL AL RLALRL SESS a ee10 STUDIES IN DOTTED QUARTERS AND EIGHTHS (and Dotted Eighths and Sixteenths) = 100 x Seer Let SS — = Te tt ue iss Sees eS SoaS”LECCION N*9 Jew. on, 03, 70. 88, 101 yO a8, pines FA SC aS FS Sea paciente. El'spuro lo conducira solamente a equivocarse.OA seudy in abbreviated quarter, eighth and sine The measures marked with letter Z are purposely divided so fur quick eye training. pepe b e Abbreviated As Playedid STUDIES IN TRIPLE METER (3/8, 6/8, 9/8, 12/8) (Start tis exercise with either hand, alteroating to the end Give the frst beatin each measute a slight pulse.) 1uabovilSS+> Los (iNige: (tun: (ooun = (Wea: Bolpes. ncuatre: Up. Top, Bown. Full golpes cortes y suaves. Frovocadas por los dedos. geipe suave que se escapa hacia arriba. Se levanta la museca y se abren los dedos. . el palo baja y acentiia. Se cierran los dedos y baja la @useca movimiento compuesto par un Dewn y un Up. Desde arriba el palo baja rebota’y vuelve a subir. royoop ee. = taaa —1— yh escent ay —— wer a2 ee \ ee —— — Tt i — ro — 4 Jy pt pia. 8 oD Loa 22 Todos estos ejercicios practicarios en primer lugar. en el tambor. Luege en tom ~ tom’s los acentos y el resto en tambor. *> aH al Si Luege tocarios (los acentos) en platillo con bombo. Eijemalo: Dio >a pe —_— _* rae —— _ T pe Uiego aplicar ejercicios del syncopation. poy wean f UACENTUACIONES Ejercicios Preparatorios ® > ~ > > LG=| > = wz ww > =a ak > Be ey sia Ls Pa aa] a gj Sed: Stroke Studies Wrist 5 acti. “th i . 5 A i el All hil + att a A i “| i | ot I) oA If se klee ea i ean ir ae ae zo AUB ||a~ Ai ae Aq aT eo Halles Af ay ne 3X th : “Th ea A fea Ah F : ay ‘| : & B =o — =S | Wrist Stroke Studie No.2 as 2 ESS t = E i Fast Wriat-26LECCION N°’ 36 d 80.83. goit04.112-120!120-199-144.152. IDIDIDID IDIDIDID = ob ey eerp ee 4 > > 7 ee > > >> >LECCION N° 34 60 69 80.92. 104-118-192 152-155-184 = 80-88-96 -104.119-120-199-144SINGLE.PARADIDDLE ACCENT VARIATIONS RURRLRLLRERRERLL iy vooly RURR TRL RURRERLL RURRCRLLRERR URL | RURRURLLRERRURLL | RURRERLL RLRR LR yyy yy vy yy yy vy yy yy 2) RERR ERLE RERR URLL | RURRLRLL RURR LRLL | RERR CRLL RERR LLL | RLRR LRLL RRR LAL | 2 yw lwoovy v a! Kier thu Kure tae Kiar Lau Rune Ghee Atm Rue Roar Gace | Roar Uke. RAR URL | 3 iw oy | Ivy vy wy vy Te voy y (aU RURR CRELRERR CREE | RURRERLLRORR ERLE | RERR URLL RERR ERLE | RURR REL RRR ERLE es —— > T i 7 voy yy ey RURRVRUL RRR ERLE | RURR URL RERR LLL! RURRLRLL RERRURLL © RLRRLRLLRERRURLL | 6 voy volvo yy oy vooyoy oy 7 mlpR TALL RRR URL | ALAR URLERLAR ELL | RLRRLRLL REAR LR | ivoyv vy T y voy oy ty yy Two vy wy vy 8 FLURRUMLLRCRR URL AURA URL RiRR URL | Rear Tho Kure oko | Klar Ru aber (Ru | yoyo yy RURRLRLL RLRR LAL | 7 wooy wove |v vv vow iw oy wiov |v vy v_vv o! RURRLRLL ALAR TLL | RURRERLL ALAR URLL | RERRLRLURCRR TALL RLRRCRLLRLRRLRLL | 8 ivy vy i yy lw. CRURR ORL RURRURLL! RURRURLL RURR ERLE | RURRURLL RLRR ERLE | RURRURLL RURRLRLL |10 Pyy vy ww oy | von hic nfant fu txt ft aban lan 11 RURRERLLRURR LRU! RERRLRUL RERRLRLL | RURR LRLL RURR LRLL | RERR URLL RERRLRLL 411 2 u : wove voy vy RLRR LRLL RLRR LRLL LRLL | 13) fennl fu Rune ck voy voovy Ty vy AURA TALL RURRURLL | RURR URL RERR CALL | RURRERLL RERRLR ny vow vy vy te RRR URL Riee CRU | LAR ERLE ALAR ORCL! RURR CALL RERRLRLL * RERRURLLRERR RL | 16] vy ov wy oy y ' A7RURRERLL RURR URLL | RURR LRLL RURR fru! TRURR URLLRERR URL RURRURLL RLRRERLL | 17 voy voovy vovy oy te RURRURLE RURRURLL | RERRLRLLRERR ERLE RURRERLL RERRLRLL | RERRERLLRURR LAL | 18) yoy yy iy yyy iy yyy wy yy 19 RURR ERLE RCRRURLL | RURR ERLURERRLRLL! RURRLRLURERRURUL | RURRURLL RRR LRLL | 19 RURR URLE REAR CALL | ALAR LRU RURR LLL RERRURLL RuRR URL | 20 @® Ss ® RUDE AND MENTAL SERIES FRED KLATZ 1998SS Tresillos de Negras nm45 Tresillos - de Blancas js \ ) 5 ee ® a ee a }46 Tresillos de Semicorcheas Las corcheas que s¢ observan debajo de cada tresillo estén colocadas con el objeto de mostrar la ubleaciéa de los. mismos en: cada parte del tiempo del compas. —__. Después de estudiar correctamente estos estudios preparatorios no tendra pro, biema alguno en ejecutar tresilles, pero la difleultad existe cuando éstos son combine dos: con alguna figuraciéa distiata. ESEMPLO; a = at a Es por ego que a continuaciéa presento estos ejexcicios que el alumno deberi estudiar tanto como sea accesario para llegar a dominarlos a la perfeccién. Estudie los mismos antes de pasar a las préximas lecciones. SI es posible trate de estudiarlos con {a ayuda de un metréaomo. Luar @ ee er eo OE] oo Se ee ee =: ee48 LECCION N° 26 272 .80-48.95.108.120-198 re48 Leccron x J 272.90 .98.98.108.120.138 =~ =n aT aLECCION N° 28 d -80-86.72.80.88.00.104.119LECCION N* 29 d= 60.72.80.88 100.112 120. SGN 2a pee ae = en4 ~ 80-88-06.404-119.120.139. LECCLON N° 31 on1 (accel) No A: Flam (Apoyatura) ® apoyatura de mano derecha tura de mano izquierda _ Fe stp =< oT Trecelty 60 26 RUDIMENTOS As ndopled by the N.A.R.D. (National Assoctation Rudimontal Drummer) Ast adoptados por la N.A.R.D. ( Asocinclén Nacional do Baloristas do Rudimentos). Repeat each exercise many times; gradually increase the tempo until the desired effect is obtained, (Ropita enda ej el efecto deseado). cio muchas veces; incremente gradualmente el tiempo hasta obtener N® 1; Long Ro (tio Extenso) Greedy pat aaGsSsG notacién del rule de 7 golpes Too (secell) WI @ oF (aceell,)Flam Accent. Gaccell) gesaSaaa Soar pees ; TOT O01 01 (accell,) oor BF ~Trccell.) No 6: Flam Paradiddle To To 001 (Caecell.) Tatoo o1ToTT (ecell) N°7:; Fiamacue TOT (accel) . - ~ (accel) ToT oT To ToToT Oo Geeel) Ruff - i} AA rift | Tt 0 6 0 1 (accel) Tid Od! Ito 001 (accel) _ notacdén del ruff Tro pot 110 DOT (accel) Trooo1 10 O01 (accelly) 7TOT OTT OT OT OO Caccell) TOT OTT OT OT OD (accel) paaey N°l2: Single Ratamacue. (Ratamacue simple) > @ > > | F-} yelp s 7 (Seeell.) ” notacién del ratamaoue simple © atk S> of ff = = dot Trorot poror o (accel) Ne As: Triple Ratamacue, (Ratamacue triple) | (oe (accel) > 4 jalan ©. aR-adh Trovi DITO 101 dO1DDI DDI DT oO TD 10 iioro? (accell.) = > rt DOT DDT DOTOTD“ a) 7 Ne 18; Thirteen Stroke Roll, eee eee es’ (Rulo de trace golpe: } © (accelt.) > ® accel > i » © eceelt) > @ nretacién del ruto de 13 golpes Fifteen Stroke Roll; (Rilo, de quince golpes) ; © ‘ > © > oo (aceell.) oo oo (accell.) notacién del rulo de 15 golpes - © . - > oO. 4 15 1 ~ TT (accell.) : ToooTTT OD DIT (accel Tp oo7 7 N° 21: Single Paradiddle. 7 @> = > > o'= = . =Ne2la: Triple Paradiddle. To 1 61 6b” (accel aD os » anes pee Oise ea _ Tr 1b DO T OTT tatoo DOT OTT (accel) f° (aceell.) D100 001 00 1 ddI DDIOTT vito OTO boroo Toit “Oo Tro - (aceell.) ‘ (accel) SaaS dD lotro? 00 1 opi oor OFTaccell. (accel. Toto 11010 accel. Tro? o 11 oro Difo! ono) N° 26: Double Ratamacue. @ @ . © > trotroro t Dotoo 101 o accel Tro roro. DoT DDTOTD AL, THE AG STANDARDS RUDIMENTS. . : Quse Fincle Dare “Youste: ‘Due zs Par ~ Since, RaTaonagae 3 Pouote Ditaovwens Bayt i gafit 4 Bt og Tih a\arh | Eee eee ee ~ PaPe DaToonneue 5 “pane Gaaapinale A \ B44 1 JB | gy a ety = Lay eee oe ee meee eee eal - Tee Osparinole “42 lesson) Has LU Rmere cece - Flam Yuan UP Ua Accent Tuo Awe 9} os try ee = : oe sj SS oa ee L. Elam-A-DADDIE suo & PADDLE “Pale cee = Ss 5 Moke DA SEE De AaaHe Du lowe DW Maske Volt < a < < ae < ° res TS Stee Vo, Quaapionle Pourre Parapirale Lee Ba Salers Grakee a 3 ~-— ee xt TeA set i aerate Eee ee ox cartier ee TUL Fe oe a BR as Prue - AD dole 5 Role \ Toole Vs tet yom. Oy \ we eg eee ——— = = Wwrmilis — Sivele Dgrease ee noe Sieve ec < « < < . UER oe_ thar TA ot eh 4 eee ee SS a “Dass Prearinas Drs B Role i BUC sg eee Pe —f = = =F ae ee = Deverse Flam -tecents QM Taos d 4A 3 3 > > 3 Voc iar \eh Vay eit 9 tw See ee sad Yourke “Ratacra Hams we “Rater Sms 3, t \ ay Rit) sguadeeguasady Pee eee eee es Jus Yuos Tuam Jouste Praaninae - 2 Sins d BY At aaa x wi ott SE A EE ai tee RE ae Ue Su ZTdake Bois J << << se > > > "5ere are some combinations of percussion section grooves played on drumset, beginning with the cascara pattern (cight and) being played against the rumba clave (left hand) along with bass drum pateras 1 and 2. Practice with the hi-hat playing lf notes: and quarter-notes. 2:3 Rumba clave ws 1 D0» SS = ? iia ‘The cascara pattern should be practiced on both sides of the clave using both rumba and son clave. Here for example is the sor clave against the 3:2 cascara pattern: 3:2 Son clave > > > >> The left hand can also pick up the conga pattem, though this sounds a bit dated to me: Left hand conga pattern 2 = , or sI = th, == ee ‘The snare can also be used in a clave-like manner, which funks things up considerably: > > Sx __g jl == a Practice all of the above rhythms with the hi-hat playing quainters and half-notes. 12 aw 23these feels make up the most common ways you can play 6/8 now we will detail some grooves for the drums: To ow oo 4+ 3S 'Songo Clave | h b -y — x tev > = = > ome t edad ween sa ae HLH Foot D t Ejemplo 9 - Example 9 Variactén en Ride y Tambor. Varig on Ride cymbal and snare’ drum. aS ete ed eae H.H. Foot Ejemplo 10 Example 10 ‘Variacién tocando Ja madera en ta cam- Variation on Bell Ride playing madara pana del plato Ride. patie. odBateria / Drums Los siguientes ejemplos astan apoyados: ‘The following examples on bass drum varia- rlimicamante en la figura del tambor Piano tions are supported on the Plano drum feck Ejemplo 17 Example 17 Alternando manos sobre el Hi Hat. Alternating shteenth note on Hi Hat Dies Pri oros oi oo 1. too ERR RELR URL RoR HAL > + Ejemplo 18 Example 18 Variacion. Variation Dio ot ort oro1r oi o4 RUERRLERELCR LER LR CAE = = ot &jemplo 19 Example 19 Variacion. . Variation. 21 Do 1 oo Dt oi dio RL AR CRRA RLRLALR 20 - a) Ejemplo 20 Example 20 Variacién sin tambor, altemando manos Without snare drum variation. derecha e izquierda sobre el Hi Hat. Altemating siteenth note on Hi Hat. 01 01 tem RURL sme, Jew es TE

e903" wyo2 xq tamed ¥ 82 8t aot aod soqttes toate ope + (T Bptoracl Ho, 21QmBo wop aoe TUN AT enseego) seeS TOS BOTTTE BORE FT et no eouet@og" st op op omapa Te rpzelobzt FIT TTiqoose wy Jezlywee end “tiowad'epe Onb Feat apie Oba OFMsoyezepow 02 ~ueTwTAoM un uoo umes £ BmpaT eq ‘aed earts!onstz 2489! 810K *x0quey Tap oajueo Te WeATeNA couem, seqme' ot £ oz sodwoys cot ue of £ of sedmoy, sol ue epretnd nbzy eT wpowgteprepnber etiego Saep vt wpowy oaoue ourk wT soTaozzo1™ Fouea tase Souwe vequs soy {coq OOTS exgee Pp BTOO eT S0FNb2z el SIGOE BYDET Sp eq opmesnzo's0qees [ep 024 eo ep weszed'voure cop ony Sow oxque ve¥NOLOOORISNT 8 joy puv yoneq sn ae ~~ e [Gone HA | -—— _ ee oe ee mene ‘smprdga frm uoe ond ont o3dvo! ‘seuototcodmos out ep oxamd x0fv | BU samd oarzs omits eaeziese + veut * *eopsatneer &. vec "8 SOT reveIgo ered‘ seussar SOT us exis9nm es oMoD so! Se onbotog: (wetes [nate wm ue‘ eauatpuodser109 cure woo Lteeyoets exque op wat ¥T 0d ges¥d oqop OF mmm orsende opyyues us'epzepnbzy o *Tfoter Top enfnFe cut o opyius® Te wet myoerep ume | ‘goqunaser sodmoys oT wis So2azdaws woTRosZd Bora oFent! (odmo ya‘ z0T wan *T Pyowy oe tdaos oTNo.tF um opustatsosap!zoqwe TSP osaue9 Te ue‘eayoaT | Swatioedger ens ep ¥{0 ST ep worrnd'sounm owe on ONVH Lon Epxatnbzy 9 BYDerep sous SINOTOONHI!ABC DOBLE 90MH0 A ‘ABC y su objetivo 29 dar un gantallazo sobre temas que competen a la ejecu- cidn y a la informacién baterlstica. Para largar con esto hemos convocado a Dany Avila, destacado masico y docenta de nuestro madio que trabaja con artis tas como Patricia Sosa, Alojandro Larner. Friccién, Sueter, Sandra y Caleste, atc. En esta nota trato de resumir lo que serla una ciase o una sesion en cespiiegue de Coble Pedal. Dentro de fo que esta ascrito es importante tener an cuenta, el contexto en el cual se va a tocar esto. Por eso, lo muestro primero graticamente, y lo resume en pocas palabras. 1) Ejercicios: 2) Frases lineaies 8) Subdivisiones, 1) Ejercicloa: Eates son para tomar gonfianza con los pedale v racnmiencio amnazar muy lento @ IF acaleranria omviatl- namente, no de golpe. 2) Frases Linealea: Es un ejercicio de semicorcheas, par0 al haber infnidad de_combinacioges, paso gigunas de allas, fan modo da Break o pase. Aconsejo estudiarlas dentro de un ritmo (come un sole 0 break de un compas). 3) Subdivistones: En este punto trate de combinar sjarciciog y trases linaaies, pero subdividiondo a negra en diferentes subdivisionas. Ejedeic! WUS 1[46U ERO eeBeats eh oe CA = —— [ap eae ca FT a fe dears) ae = = = x w [FT i Fr) Jesealea)en = Fi TE cea3 C Pe 10 (ae) ees lee S451 SSeS 0 ne e rap ESE Ee 7 Cem oo mr == = = = il 7-42 Be Encyclopedia Of Double Bass Drumming | 13- Beals Fnevclonedia Of Double Bass Drumming | 17dd i Gin Bl ty v I i HH EF Ly eg uo cB fi e tO bi : mi. § Fl i | At A Poe aes 1 — * A = - - B= SL Fan ae ees mesures ae : Ss SaaS ae eee «OrFF Re Rd ew ane J ea sees J t 7 Ae meee J eee a QD astecas Jeane Fae Joes nae mee Beats I 4 a5= f = = eS coe 13 — | TE = a 4