INTRODUCTION 40's Your Move is about achieving your maximum potential as a player. This book is the culmination of questions that have been asked of me globally during private teaching for 30 years, many masterclasses, clinics, large drum expos, and almost 40 years of professional Playing. The exercises contained herein are vignettes to spark fun and creativity. This book is for your hands and fect, on pad and drum set. It will help you beter understand the ability of your hands and feet. The title of this book means two things. Firs, it’s up to you. Your desire t be a better player is like a chess game. I offer the seed of an idea, a “first move.” Now react: it's your move. It is your choice alone. Second, it’s your movement—the way you move your body when you play. ‘The techniques in this book will challenge you to look at every detail of the way you play drums and question it, Drumming is a dance composed of our outward physical motions, which project our inner expression and emotion. hence the subtitle Motions and Emotions. Every drummer must find their own movement that suits the music they play and their own personal artistic expression. During my early studies, I accumulated a lot of information and developed theve exercises as a path to the capability of full artistic expression on the drums. These are not stylistic exercises; rather, they are applicable to all styles. My teachers, Ronnic Benedict, Al Miller, Joe Morello, Colin Bailey, and Jim Chapin, all shared a great amount of knowledge, and what they passed on to me is contained in a new form in this book. I would also like to acknowledge my classes with Joe Porearo, Shelly Manne, Louie Bellson, Roy Bums, John Guerin, Charlie Perry, Jim Keltner, and Ralph Humphrey. All of these great artists have shared much with me and showed me the classic techniques of drumming. I have redesigned and adapted these techniques from classical and rudimental origins and applied them to the modern drum set. Early drum-set performers used thinner sticks and single-ply heads and played in acoustic bands in acoustically designed rooms with little or no miking. Today, we usc heavier sticks, double-ply heads, amplified music in large halls (sometimes with poor acoustics), and the microscopic ear of close mikes on all of our drums! Thus we need to apply the tried-and-true concepts with a new eye toward the future. The drum set as an instrument is very young. I feel we are still ina very exciting formative period for this art form of drum-set playing. To find out where we are going, I believe we must find out where we came from. As the new millennium begins, we must push our art form forward even further. The things I learned from my teachers are historic techniques. I felt the time had come to document them in a proper way. You will notice there are illustrations in this baok. Gene Krupa, on being shown a manuscript for a book Joe Morello was working on, suggested Joe include pictures to clarify the techniques. Joe mentioned this to me long ago. Years later, I met wonderful artist Steve Leahy and remembered this idea of illustrations, so this book, years after Krupa’s comment, now includes illustrations to show the concepts. Making yourself better will take commitment, time, and perseverance. For the mast growth, you must take the path of most resistance. Practice what you do not know.‘Working on things you already know is maintenance. Although maintenance is important, it should constitute a smaller part of your practice routine. Practice ‘Tips: I. True practice is a re-programming process: Everyone has old habits; being aware of them is very important. These habits sometimes unknowingly hold us back from achieving our potential. Bad habits must be understood. Then, as the new technique is learned, constant forcement is necessary to build new habits. ‘Think of your bad habits as misinformation. First you must be aware of the old barriers; then break them down; then build new abilities. 2 Go slowly at first: Your mind lcams and reprograms habits by constant repetition. When building technique, you are reprogramming your muscle memory. Slow, consistent, correct strokes will ensure that you are reprogramming your old habits with moro effective ones. Practicing slowly actually speeds up the learning process! 3. Use a mirror: Practice in front of a full-length mirror to observe your form, You become the teacher and student! The student is in the mirror: carctully watch what is done and correct it with what you have leamed. Teaching the technique to yourself van only reinforce you to program it as a habit! ‘This goes for drum set and pad. Remember: The consistency of how you sit is directly related to the consistency of how you hit. Be sure to pay close altention to your posture as well. Sit up! 4. Use a watch / Importance of time lengths: Hang a watch or clock with a second hand next 10 your music stand. Assign a time length to each exercise. A minimum of one minute cach is recommended. This serves two purposes. First, you must focus on each pallem long enough (o assist the reprogramming process as you improve your technique. Repetition is crucial. Second, this will allow you to manage your daily schedule for maximum effectiveness. For instance, if you know you have 20 minutes to practice, you can choose exercises and know exactly bow long each one will take, hence enabling you to plan various effective practice routines throughout your weck. 5. Use a metronome: Vhe metronome is a very effective tool for fine-tuning your time feel, But also think of it as a gauge to measure your improvement. It may frustrate you as you begin learning each exercise, but it will also inspire you as you sce the tempo increase as you improvel 6, Use audio and video taping to chart your progress: Many of these concepts deal with movement. Taping yourself is the best way to check yourself. Although audio taping can tell you if patterns are being played smoothly, vidco taping is better for the overall picture: you can sce where the tension points are or pinpoint any other obstacles that may need work. 7. Stay relaxed at all times: You should strive for complete relaxation. Siop if you feel tension or strain during an exercise. There is a major difference between fension and intensity. Tension is the tightening of your muscles, Intensity is full commitment and total focus. You must be totally relaxed to achieve a high level of intensity.& Stretch and Strengthen: One of the goals of this book is to improve your technique by physically conditioning your muscles. You will stretch for flexibility and fluidity and strengthen for endurance and power. Although you should be very relaxed, rernember you can still push yourself. 9. Concentrate: Effective practice requires total concentration. There can be no distractions. If you practice at home, isolate yourself from the phone, other people, TV, and other interruptions, ‘Schedule a time to practice and devote full time to it. Staying focused solely on the practice material is the only way to master these techniques. Concentration is defined as “to fix one’s attention” or “to focus one’s thoughts.” Only with full concentration can you maximize the rewards of practice. 10. Be patient: Don’t try to speed your way through the material in this book. It will take time to master these concepts. Digest the material over time, and be patient with yourself II. Seek ont an instructor tor the personal guidance of your talent. Attend drum and percussion events in your area, including those featuring artists with whom you are unfamiliar. Ask questions and take advantage of every opportunity to learn. 12, Lefi-handed players: Many of the exercises in this book are intended to begin with the weaker hand for greater challenge and development. If you come across pattems that start with the left, you should reverse the sticking and start with your right. Note: Unless otherwise indicated, exercises are in 4/4 time. A.NOTE OF HISTORY: George Lawrence Stone lived from approximately 1880-1960. He leamed the Free Stroke technique from his father as it was passed down through generations of drummers. His book Stick Controf! was written with this technique in mind, Joe Morello was Stone’s protégé, to whom the book Accents and Rebounds is | dedicated. Joe taught me the Free Stroke in the mid-1970s. ! Sanford Augustus Moeller was also born in the 1880s and cied in the 1960s. He observed many drummers including old soldiers from the Civil War who, in their nineties, still had great power and speed for drumming. This is when Moeller began. to notice the correlation between motion and speed. Moeller is the SAM. referred ta in the dedication of Jim Chapin’s famous book, Advanced Techniques for the Modern Drurnmer. Jim learned this technique from Moeller in 1938, and then Jim taught it to me circa 1978. Jim was Moeller’s best student, to the point that when Gene Krupa at the height of his career requested to return to lessons, Moeller, who wasn't teaching anymore, recommended that Krupa study with Jim.ELEMENTS FOR THE “RANGE OF EXPRESSION” The overall goal of good technique is to achieve the widest degree of artistic expression possible, Real eslate professionals say the most important thing is location, location, location. Tn drumming technique, the most important thing is freedom, freedom, freedom! The ultimate goal in the improvement of technique is freedom of creativity—in the moment. The fewer dynamics and less control someone has, the more restricted they are in expressing themselves. The diagram on page 5 shows the potential of a full range of expressive tools. A higher level of dynamics and control brings more choices from soft to loud and from slow to fast. When we have control over what we are saying, we have more choices in our expression. Then we have the option of saying whatever we feel. Think of the difference between a whisper and a shout. ‘You can also go from speaking very slowly to speaking very fast. The greater the speed, the greater the excitement level and the efficiency of getting your point across. This is why we study technique-to achieve a full range of expression. The full range uses speed, control, power, and endurance, With the fullest range of expression, your choice of what is to be expressed is left only to your imagination. Many people don’t usc the full possible range. If a person speaks continuously at the same speed, and the volume of their voice does not change, they become monotonous. The same thing happens to drummers, trapping them in the middle of the graph shown on page 5. The graph shows the full range of what is possible in all styles of music. Many contemporary styles, if they are played exclusively, do not require the full range of possibilities. This is not ajudgment or critique of the music, just an observation of the stylistic requirements. There are certain players in certain genres that do not need the full range of the ‘graph for them to play that musical style effectively. Thus jazz, funk, or heavy metal players may have different needs to fill only their specific genre. This works fine for certain players. For many of today's top players, however, one style is not enough. They strive for the versatility to play all styles, hence the focus on the larger range of expression. The outer box shows the fill gamut. Remember that a chain is only as strong as its weakest link. Where do you fit in? By looking at the graph, try to find out where you belong and what you could improve. Perhaps you lack speed or have not spent time playing softly. This would limit the size of your personal box on the graph. The space outside your box is your unused potential. When you look al the greats, they aif have the full gamut. There are no limitations on their oxprossion. That is what this book is about! Itis possible, with lots of practice and listening, to develop a full complement of expressive tools. These elements include playing fast to slow and loud to soft with a variety of techniques. You may not want to play loudly often. That’s fine, but it’s advantageous to have the ability when it is needed by the music. Strive to perfect all the clements for the full range of expression! Your ability to grow and improve is in your mind. It ia up to you. These exercises are my moves to spark your rangeofexpression. Thisis what I mean when I say, “It’s your move!”“Range of Expression” - The purpose of technique: To express what you feel-when you feel it! + The goal: Constantly increase your vocabulary with elements including dynamics, control, spec endurance, and power. - Where do you fit in? Unused Potential Fast Soft Loud | Slow Unused Potential | | Goale of Technique: - Speed: to call upon when needed. - Control: to place the sticks wherever and whenever you want. - Power: to have the ability to build to the highest dynamic level. - Endurance: to play as long as the idea requires for its expression.SECTION 1: Technique— the Foundation O “ is called the Power Grip (Fig. 4) and is used for harder playing (medium to loud) and some faster figures using open double strokes. Marching and rudimental players and corps often use the Power Grip.4. Keep the palms facing down, elbows hanging loosely by your sides, and sit with proper posture. Tuck in your lower back. Good posture will relax your body and prepare you to maximize your movements and energy. 5. Imagine you have a small barrel on your lap so that your forearms can- not invade the space directly over the space between your legs (When sit- ting). When looking down at your forearm (in matched grip), it should be straight at the wrist. Don’t bend your wrist to either side (Fig. 5). Thisis the most relaxed natural position from which you are able to stretch the arm muscles to their fullest capabilities. Fig. 6 1, Your lead hand holds the stick in the matched-grip style. (\ fy 1, \ WEA 2. In the weaker hand, the stick rests in the webbing between the = SX) s/ thumb and index finger, This creates the fulcrum (Fig. 6). _ —y 3.This Open-Handed Exercise is meant to familiarize you with the feel of the grip and to strengthen your fulcrum. The paim faces sideways Try resting the stick in the fulcrum and holding the hand in this postion (Fig. 7). Then, start the stick bouncing and play relaxed strokes withthe hand remaining in this position. Rotate the wrist about the axis of the > forearm to create the stroke. Do not move the forearm up and down, Fig. 8 4. To complete the grip, bring the index finger over the stick to touch A at the first knuckle. The thumb should rest on the index finger. The middle finger extends over the stick, staying almost straight (but relax- Low ed). The ring finger and pinky curl under the stick and form a resting — place for it. Keep the palm facing sideways, and relax (Fig, 8)! It is very important to remember the palm should not face up. Use these points as a guide, but remember that the advice ofa teacher is highly recommended. Although there are many different types of positions, these are widely accepted. The above points have proven to be effective in many players, and they will, if practiced properly, put your hands in a relaxed natural position from which you can begin to build your technical ability. There are other useful techniques, such as finger technique, that are not explained here due to space constraints. The focus of this book is on wrist development and hand and arm movement.Matched Grip ft Germanic) Figure 2: Shock Absorber 7 Figure 3: Control Grip Figure 4: Power Grip Figure 5: Natural Position finger) {Second knuckle of index finged “Around the Barrel” (First knuctde of index Traditional Grip Figure 6: Figura 7: Figure 8: Fulcrum Open-Handed Exercise Traditional Grip S25 7 \t ST SG ha iTHE FREE STROKE ‘The Free Stroke technique is the foundation for the exercises in this book, It is based on principles of physics that will pot your hand movements in greater harmony with nature, This, in essence, means you will allow the stick to move as it wants to move (effectiveness), cot down on the necessary work you must exert (economic motion), and increase your relaxation and control (efficiency). I call these the “Three E's.” In order to find your voice of artistic expression, you need a full complement of abilities including: speed for excitement, controt for clarity and precision, endurance for duration of expression, and power for dynamics in contemporary music. The concepts behind the Free Stroke are employed by many of today’s top drummers. Although many of them do not use the term “Free Stroke” when they describe their technique, it becomes apparent that they are indeed cmploying the same principles. The basic idea was established by the great teachers George L.. Stone (author of Stick Control) and Billy Gladstone in the early part of the twentieth century. It was then carried on by Joe Morello. who taught me the technique in 1975. Another drummer who leamed this concept from Morello was Danny Gottlteb, who uses it wonderfully today. Full Stroke: Begin in the natural position (see General Technique on facing page), Hold the stick straight up, perpendicular to the floor, keeping the forearm parallel to the floor and the elbow close to your body. This position is called a full stroke. The stroke will come from your wrist. Do not throw the elbow out. Make sure your elbow is hanging in a naturally relaxed position. Relax and concentrate on your grip and the motion of the stick. Think ofa bouncing basketball and how it rebounds from the floor. Throw the stick down WITHOUT WINDING UP, and DON’T SQUEEZE! If you are holding the stick loosely at the correct balance point, it will bounce away from the drum after impact. LET IT GO, even if it flies out of your hand. At first, you may have to release your lower three fingers from the stick to get the rebound, This is acceptable. This motion is the beginning of the Free Stroke. Reset back to the original (upright) position and try this rebound again. Go slowly, isolating each stroke to fully analyze the motion. Do not play the strokes in sequence until you have become comfortable playing them ‘one at a time, or you may find that you are pulling the stick up instead of allowing it to bounce. Isolating the strokes in this manner allows you to analyze the motion so you can reprogram your technique. Your mind learns and reprograms habits by repetition, Slow, consistent, proper strokes will speed up the learning process and get the strake in your “muscle memory.” If you find thar the stick is not rebounding, you are probably either gripping the stick too tightly, applying tension at the bottom of your stroke, holding the stick down, not gnpping at the optimum balance point, or pulling up. Once you have practiced this rebound stroke, try playing a stroke ina similar fashion but this time continue to keep all your fingers relaxed around the stick. If you allow the stick to rebound, your hand should simply follow the stick up. DON’T PULL UP! The stick will have enough energy to rebound and end in the starting position. Work only in the downward direction, for only a brief instant to set the stick in motion. Think down! Make sure your elbows are relaxed at your side and your forearms are parallel with the ground. Don't raise the forearms; this is a common mistake. The full stroke height is achieved with the wrist Remember, imagine having a small barrel on your lap so your forearms cannot invade thespace directly over the space between your legs (when sitting). Your wrists should be relaxed and straight. Don’t bend your wrist to either side. ‘You must be completely relaxed to master the Free Stroke. Bending any joint in your body in an unorthodox or unnatural way will create tension, which will be reflected in your playing. Like a mime artist, you must be aware of every joint and be able to seyregate and isolate the movement of cach. If you feel any tension, stop immediately. I highly recommend that you seek out an expert teacher who has mastered this technique. Every detail of how you grip the stick and how you move play a part in the Free Stroke. Used properly, it will revolutionize your playing. Half and Low Strokes: The full stroke begins in the perpendicular position, with the stick 15 to 18 inches away from the playing surface. When you are comfortable with the full stroke, try the half stroke (5 to 9 inches from the head) and the fow stroke (1 to4 inches from the head). These lower stick heights require a great deal of concentration. Make sure you are not pulling up; use the rebound, even for low strokes! At the lower heights there may be more of a desire to pull up for the initial movement; remember, don ' pull up to go down! A good exercise is to take the opposite stick and place it over the stick that is about to play (parallel w the ground). If you hear the sound of the two sticks clicking together before you hear the sound of the drum or pad, then you pulled up! This is called the stick-over-stick exercise (Fig, 4, page 13). When practicing the Free Stroke, be sure to use all three heights. | have included illustrations to show the basic heights and their dynamics. I don’t get overly analytical about the dynamics to allow for personal expression. Start slowly; try a metronome marking of $2 BPM. This is all about movement--natural movement! It’s your movement that needs to be uncovered, your style to be discovered, and your talent nurtured! Now, it’s your move! EXERCISE FOR THE FREE STROKE The Exercise for the Free Stroke is designed to help you understand and execute the required motion, Begin in the Full Stroke position. Throw the stick down and let it rebound, as described above. This time leave your hand down while you let the stick rebound. The diagram on on the top of page 14 shows the motion of your hand. The fingers can come out to let the stick butt move. There is a slight follow-through motion involved. A fier impact, stay extremely relaxed. The hand continues to move down as the stick bounces up and comes to rest in the nook between the thumb and forefinger. At this point the downward motion stops, and the hand should end in the down position where it lands. Your hand should actually end below the level of the pad. You should feel only the down motion when playing the stroke. The stick will come back quickly on its own. Very little fuel produces maxirnur results! This will allow you to feel the full rebound capability of the stick while training your hand not to pull up when playing the Free Stroke. After practicing the exercise, play some Free Strokes ending in the Full Stroke position. The movement of the stick should feel the same.2 TO 50 WARM-UP EXERCISE The following is a warm-up exercise passed on to me by Joe Morello circa 1975. To master the Free Stroke and use it in your playing, all the mechanics described in the previous section must become so comfortable and familiar that they need not be thought about when playing. For this to happen, you may need to replace old, inefficient technique habits with new, more efficient and effective ones. This replacement process takes much concentrated practice. The 2 to 50 Warm-Up Exercise is designed to begin to make the Free Stroke a part of your playing by making it very familiar to the muscle memory of your bands. The actual exercise involves playing Free Strokes as quarter notes to a metronome. Set the metronome between 80 and 120 BPM. It should be SLOW in order for you to really feel the rebound of every stroke, and check your grip and motion to make sure they are correct. It is easiest to reprogram your muscles with good habits when playing slowly. When playing to the metronome, try to feel it as part of what you are playing. I suggest nof tapping your foot so that you can totally concentrate on the technique and the metronome. Begin by playing two measures uf quarter notes with the left hand followed by two measures with the right. You will then add two measures to each hand as you proceed. Thus you will play two measures left, two measures right, four measures left, four measures right, six measures left, six measures right, eight measures left, eight measures right, and so on, until you reach fifty measures left and fifty measures right. If you try this at the tempos indicated, you will realize that it is indeed very slow. Relax your whole body, concentrate on the motion and grip, and allow yourself to focus on the quarter-note pulse. If you play the whole exercise, it will take approximately 45-50 minutes. It is not only a Free Stroke exercise but also an exercise in physical and mental discipline. Try not to become distracted or lose count. If you do, start over! This will condition you to pay attention! If you are able to get through the whole thing, with correct grip, it will make the Free Stroke part of your normal playing motion and warm you up to maximum playing potential. It is a challenge, but its rewards are great. Completing the 2 to 50 Warm-Up Exercise will strengthen your discipline as well. One last suggestion: Practice the 2 to 50 Warm-Up Exercise in front of a full-length mirror to analyze your posture and stroke motion, Use the mirror to correct any inconsistencies in your grip. A teacher who is experienced with this technique can help point out the areas in which you need work. Remember, improving your technique is a long-term process thet requires tremendous focus. Once you are comfortable with the Free Stroke and have played through the 2 to 50 Warm-Up Exercise, refer to Stick Control by George L. Stone. In Stick Control, play each exercise on the page for one minute each using Full Strokes at a metronome marking between 40 and 60 BPM. You can proceed through the book, practicing one page pet week to condition your muscles with the Free Stroke.THE FREE STROKE: a Start from full stroke position. ‘STROKE HEIGHTS & DYNAMICS Forearm is parallel to ground. Think down. Throw down. | Don't pull up. Don't squeeze. | Let the stick bounce up. | Follow the stick up. End in full stroke position. Relax. Concentrate. Full Stroke: 15"-18" (y-gy) Think down... | 4 L YI i 7 Oe is Cy Hall Stroke: 5°-3" [xp-ayf] Saag ae << Low Stroke: 1"-4" (p-ppp) — Fig. 4: Stick-Over Stick Exercise for the full, half, and low stroke: If you hear the sticks click before the pad, you pulled up. Think down! | Shown here using the haff stroke. 3. Follow stick up..Exercise tor the Free Stroke Begin with e Full Stroke. Think down. Throw dowsn. Follow through with the stroke. Leave your hand down. Let the stick bounce up. Relax and concentrate. 1 Think down. 2. Theow down, 3B. Let stick come back f{X ) 2 to 50 Warm-Up Exercise An Application of the Free Stroke # of measures Use Full Strokes. Check grip and position frequently. Start w/ weaker hand. Play two measures of Full Strokes with each hand. Add two measures of quarter notes each time. Play in front of a mirror. MM J= 80-120 Relax. Concentrate.The Power Stroke & Variation on the Free Stroke —Joe Morello This technique bezins in the Full Stroke position. The wrist can only give so much power, ‘The Power Stroke will give a higher level of strength by using the larger muscles in the elbow. Feous on the elbow. The wrist does not generate the stroke; the elbow does. From the Full Sirake pasition, the elbow is thrown out (away from the body). At the same time, the tip of the stick moves down toward the drum. The elbow begins the motion and the wrist follows. Then the stick reacts to the motion of the wrist. As the elbow relaxes and returns to the rest position, the wrist reacts back to Full Stroke position. This stroke happens within one second-a flash of power. The elbow and the biceps are involved behind the stroke, hence the greater amount of powcr. ‘This is not the kind of stroke you will use often, but it is an important reflex exercise so that when power is nceded, and the stick is in full height, you are prepared to use the correct muscles and technique for the best expression. ‘The Power Stroke ts an excellent calisthenic exercise. As a performance stroke, it is usctul when playing several consecutive hand-to-hand accents. It is similar to what is referred to as reflex awareness in murtial arts it helps in making fast movement decisions. This type of reflex action is very important in modem dnum-set movement. Use pages 5. 6, and 7 of Stick Control to practice the Power Stroke. Set the metronome very slow in order to return to the starting position between cach stroke. Itwill help strengthen larger muscles. Find your own metronome marking to focus and sharpen this movement. f~ Begin in full stroke position. Elbow generates the stroke. Elbow is thrown out. Wrist reacts to motion. Stick hits pad. Elbow returns to relaxed position. End in full stroke position. Relax. Concentrate.THE MOELLER STROKE The Moeller Stroke, like the Free Stroke, is a concept employed by many of today's top drummers. Think of it as turbo mode. When you need that extra power ina race car, you kick in the turbo. The Moeller Stroke is turbo mode for the drummer! Many players use a version of the Moeller Stroke that they have discovered on their own without formal instruction. In fact, Sanford Moeller did not invent this stroke. He simply observed many of the top professional drummers of his time and noticed that they all seemed to use a whipping motion that created & fluid motion and relaxed sound. The key thing he noticed is that power comes from motion, not muscular force. ‘The Moeller Stroke is a whip stroke that, while feeling relaxed and smooth, creates a great deal of energy when played. It builds on the relaxation and rebound leamed in the Froe Stroke, so I recommend that you learn the Free Stroke first. The Moeller Stroke 1s broken down into three heights, which create three distinct levels of power and volume. They are the Full, Half; and Low Moeller. These three levels are my own designs to correlate with the changing state of modern drumming. Years ago, drummers played on thin heads with thin sticks with an acoustic band in a room designed for acoustic performance. Today, drummers are playing with bigger sticks on two-ply heads, with electric instruments and amps, and sometimes in rooms as large as arenas! A wide range of expressive muscular capability is needed. 1, Low Moeller In the Low Moeller, the wrist generates the stroke. It is begun in the Low Stroke position Imagine yourself as a marioncttc, a puppet manipulated with strings from above. When the puppeteer lifts the string tied around the marionette’s wrist, the wrist riscs, but the elbow stays down, and the hand droops. This is the beginning motion for the Moeller Stroke. Practice raising the wrist in this relaxed, drooping shape. You can also think of the profile of a cobra, with raised hood, preparing to strike. Note that when raising the wrist in this fashion, the bead of the drumstick does not move-it stays in low stroke position, two to four inches above the playing surface. Think of the tip of the stick as having 1000 pounds of drag preventing you from liNing it! Once you have raised the wrist, whip the wrist back down to its starting position. This will cause the hand to quickly rise and fall, also with a whipping motion, bringing the stick with it and creating a high-energy stroke. The whole motion should be performed seamlessly, from relaxed low stroke all the way through the whip. The stick should move quickly up and down and end in the starting position. This is not an up-and-down motion. Think down; as soon as you begin, it's over! Do nos throw the elbow out to achieve the whip for the Low Moeller, The elbow moves only in reaction to the wrist. Some great drummers who use the Low Moeller are Steve Gadd, Vinnie Colauita, Steve Smith, and Jeff Porcaro. All of their videos are useful for observing this technique. Relaxation is the key to the Moeller Stroke. When whipping the wrist, a great deal of energy is rcleascd within the stroke without the player squeezing and slamming hard on the drum. This is the secret to playing powerfully while keeping the hands and anns free fromcalluses, shock injuries, and repetitive strains. You should fee! NO strain while playing the Moeller Stroke. Practice in front of a mirror and make sure al! the muscles in your arms siay relaxed. Use only enough energy to hold the stick in your hand. Don't squeeze the stiek, and observe the other technique issues discussed under the Free Stroke. Remember to train both hands equally with this new stroke, always beginning your practice session with the weaker hand. Use the flipbook images (at the top right-hand comer of pages 86 to 24) along with the illustrations for Further clarification. 2. Malf MocHter More Are + More Muscle — More Power “The Half Moclicr follows from the Low Mocller, but she clhow generates the stroke. Begin by lifting the elbow outward first, and then the wrist follows, executing the Low Moeller snap. The two motions should join together seamlessly to create a more powerlul stioke that starts from the elbow. Steve Smith clearly uses a motion like this in his playing Remember to end in the natural starting position. 3. Full Moeller Highest Arc + Largest Muscles = Most Power The Full Moeller is the ultimate in power. This stroke is used for the loudest and most intense playing possible. It is based on the Half Moeller, but the stick swings above your head with a higher are for more power. Some rock drummers such as Kenny Aronoff and Stewart Copeland use this stroke to generate lots of energy in their playing. Begin by lifting out with the elbow, and continue raising the arm by incorporating the shoulder muscles. The stick rises in a whipping motion and raises above the head. It then comes down with a tremendously pawerfl stroke. Be sure to think down since there is only one motion; it is not two strokes (up and down) but one downward motion. Remember to relax and maintain your grip; don’t sacrifice these things while playing the exaggerated whip or you will be left with a simple caveman-siyle stroke. The Full Moeller still applies the samc physical principles as the Low Moeller, but a high are with larger muscles means more power! Once you have learned this stroke, observe as many drummers as you can and notice how many use a whipping motion. You can see bow this can benefit rock playing~the Moeler Stroke is perfect for solid backbeats while staying fully relaxed, and it also acids tremendous Quilty to the dance of the drummer’s body while grooving. For further explanation and demonstration, see Jim Chapin’s video, Speed, Power, Control, Endurance, available fiom Warner Bros, Publications.weeping ewes LOW MOELLER: Uses whipping motion. Imaginary puppet string lifts wrist. Wrist moves up first! Tip of stick follows. End in natural starting position. Note: Low Moeller is basic Moeller motion; learn Low before Half or Full Moeller. HALF MOELLER: 1 Elbow lifts out first. Wrist follows. Elbow drops; wrist follows. Tip of stick hits with whip motion. End in natural starting position. FULL MOELLER: 1 2 Elbow lifts out first; highest motion. Hand lifts above head. Wrist follows. ; _ Shoulder muscles involved. Zz N Full range of arm motion. Ps \\ Stick whips over head. - Whip down for extreme power. “ \ End in natural starting position.PUMPING MOTION ‘Once you understand the Low Moeller Stroke, you are ready to lear the Pumping Motion, which puts the Moeller Stroke into use for a much wider range of playing applications, The Pumping Motion involves playing multiple strokes using, the Moeller whip. The energy created in the Moeller Stroke will propel the following strokes, thereby allowing you to work one time and produce multiple sounds/strokes. Your control, speed, endurance, and overall facility will improve dramatically. If you were to play a Low Moeller Stroke and then Ict the stick rebound in a relaxed. fashion until it came to rest, you would see that the Moeller Stroke produces enough energy to propel two, three, four, or even five free taps or controlled bounces. What a great energy- conservation device for your hands! Start the Pumping, Motion with taplets (Ex. A on page 20) by playing a Low Moeller Stroke followed by two Low Free Strokes. Then stop. Go slowly al first; try a metronome marking of 58 BPM. You should use minimal energy from the wrist to create the two Low Free Strokes, and they will be lower in volume than the high-powered Low Moeller Stroke preceding them. Notice how the momentum from the Moeller Stroke carries into the following strokes. Once you are comfortable with triplets, then move to Iéth notes (Ex. B on page 20). Gradually, you will speed up the process, and the Moeller whip will blend seamlessly into the following Low Strokes, which will require minimal cnergy from the wrist, and which can be controlicd with the fingers if necessary. If you stay relaxed as you gradually build up the speed, you can get it as fast as 120 BPM. But you must stay relaxed or you will defeat the purpose of the Pumping Motion. The concept here is: work once and create three or four controlled bounces (controlled bounce = tap stroke that uses the momentum of the rebounding principal stroke). Begin with the weaker hand. Set your metronome at a comfortable tempo, and play five minutes nonstop with tbe weaker hand, five minutes nonstop with the strong, and then five minutes with both hands playing perfectly together (not flamming). Continue this for 30 continuous minutes to train and relax your hands. Use the mirror to observe the physics of the technique. The whipping motion should look basically the way you originally leaned it. However, when playing the Pumping Motion, you will notice that the droop of the stick is not as pronounced as when playing single Moeller strokes (e.g., as when playing backbeats in a rock song). A common mistake is to add little extras to the stroke when moving on to the Pumping Motion. It is crucial that the Moeller Stroke is clearly understood before atterapting the Pumping Motion or neither will work correctly. The low tap strokes must use a controlled bounce. The stick wants to bounce--we are just applying technique in harmony with nature instead of fighting it. Practice the Pumping Motion at various speeds and use it as a warm-up before performing. It works great for loosening up the muscles in forearms before playing. Stop playing at the slightest hint of tension. Tension and pain are telling you that you are doing something unnatural. The Free Stroke/Moeller system uses the rebound, and there can be no rebound unless there is relaxation. The Pumping Motion, once mastered, will allow you to play faster and more relaxed with an amazing amount of control.Pe ere ee eer erry An Application of the Moeller Stroke A &} B eae Down Tap Up Down Tap Tap Up (wo Controlted Bounces} (Three Controlied Bounces} mm = 58-120 Things to keep in mind: 1. With Left - Start slow 2. With Right - Relax 3. Together - Tap strokes use rebound... free tap/controlled bounce Practice as follows-five minutes each exercise: 1A [triplats LH), 2A (triplets RH), 3A (triplets together) 18 (16ths LH], 2B (16ths RH), 3B (716ths together) The motion for this application of the Moeller Stroke is basically the same as that of the Low Moeller. Inthe Pumping Motion, the motion is continuous, allowing several strokes in a row.UPSTROKES AND DOWNSTROKES ‘The Free Stroke and the Mocller Stroke are basic approaches to natural motion on the drums. These two strokes can be applicd to any percussion instrument played with sticks or mallets--whether classical, rudimental, world, or drum sct. For them to work, however, they must be earned with a system that enables the player to exceute any combination of stroke volumes and accents since that is how music is played. This section concems itscif with the execution of sequential stokes of different heights. There are two types of these. Upstrokes (also know Pull-Outs), where a softer stroke is followed by a louder stroke, and Downstrokes (also known as Controt Strokes), where a louder stroke is followed by a softer stroke. in combination, Downstrokes and Upstrokes can be used to execute any possible rhythm played on a percussion instrument. These are my interpretations of the classic techiiques taught to me by my teachers, but designed with the modern drum set in minci Until now, you have practiced the Free Stroke as full, half, and low sirokes~but not as combinations of the three. Pull-Outs and Control Strokes are exercises thal require you to play full, half, and low strokes within the same rhythm. The Free Stroke allovs the stick {o rebound to its full height after the stroke. When performing, however. it is not always possible or practical to allow this to happen, so we need a system to control the rebound and make it work in any rhythm we choose. Keep in mind that while you will be learning to control the rebound of the s imperative to stay as relaxed as possible and observe all the proper technique requirements discussed under the Free Stroke. Downstrokes and Upstrokes are divided into two categories: Formal and Jnformal. Formal strokes are played from the wrist, using the Free Stroke technique. Formal playing is used in classical/orchestral playing and in both traditional rudimental drumming and modern drum corps. Informal technique is mainly uscd on the drum set, and it applies the Moeller method. Both Downstrokes and Upstrokes in the Informal method usually start and end low since this is usually the starting position when playing the drum set. George L. Stone’s book Accents & Rebounds (the follow-up to Stick Control) is an excellent resource for working with Downstrokes and Upstrokes. Joe Morello’s book Master Studies is a must to perfect and prepare yourself to apply this technique ‘o your playing, Ted Reed’s Syncopation (pages 52 on) can also be used (mm = 40). Upstrokes and Downstrokes give you a range of creative options to expand your range of expression. UPSTROKES: FORMAL PULL-OUTS An Upstroke is performed when a low or half stroke is followed by a higher stroke. The combinations are: Low to Full, Half to Full, and Low to Half. To play a Formal Pull-Out Upstroke, start at the appropriate stick height and execute the first specilied stroke, allowing the full rebound to occur. Let the momentum of the rebound help you bring the stick up past its original height to the height of the following Half or Full stroke. You should stay extremely relaxed so that your hand is rising to the second stick height and the stick is following it. Try not to think about pulling up. This will require a great deal of practice and concentration to master.especially useful when playing ‘The Formal Pull-Out is played only from the wrist. I slowly and there is more space between the notes to be played. It is also appropriate when a great deal of accent power is not needed. I is a very controlled motion and. hence, more appropriate for these situations. Because the Formal Pull-Out uses the wrist only. you will use the wrist strength developed by the Free Stroke when playing it. Use the exercises on page 26 to practice Formal Pull-Outs. and refer to the Pull-Out illustrations (page 25) for diagrams of the correct, motion for these Upstrokes. UPSTROKES: INFORMAL PULL-OUTS The Moeller method not only creates a great deal of energy for rebounds, but it also enables the drummer to execute accent patterns that are difficult or impossible with normal wrist technique. Many drummers work too hard aad still don’t get maximum results. The movement of the Informal Pull-Out creates great technical possibility with ease and comfort. The Informal Pull-Out is a single motion that contains two strokes. It consists of a Moeller Stroke with a tap built into the imitial movement of the wrist. The sound is like a flam played with one hand. For modem drum set, it alfords great fluidity of motion and creates what I call the “drummer's dance”--your personal style of how you move around the drums. In contemporary drumming this is very important since dancing is inspired by the feel of the tune. People must feel the groove in order to move. So the drummer should dance to the groove first. The Informal Pull-Out will help you find your own dance. Play several Low Moeller Strokes, staying relaxed, and observe your motion in the mirror. Think of the string around your wrist mentioned in the Moeller Stroke section, You are a puppet reacting to the pulling of the string. In the standard Moeller Stroke. the tip of the stick stays in place as the wrist riscs to perform the whip. For the Pull-Out, allow the tip of the stick to drop onto the head while you raise the wrist. This will create a low tap that is built into the rising motion of the wrist. Continue the Low Moeller motion in a smooth manner as you normally would. The low tap will then be followed by the accented whip stroke. You ate thus pulling out an aceent on the second tap of a double stroke (hence the open one-hand fam). Begin and end in the natural low position and think of the Pull-Out as one motion--you are simply “stealing” that first tap. Much of what you play on the drum set in modern music will use this technique. Learn the Informal Pull-Out slowly to make sure you are not deviating from the original properties of the Moeller Stroke. Practice on your pad. playing each exercise until it is smooth and clean. Examples A-D (page 26) will allow you to play Pull-Outs in different rhythms with accents on different parts of the beat. It will take some time to get comfortable with the idea of replacing two standard motions with this one new, elficicnt, and economic motion. Notice the slow metronome markings for the exercise. When you understand the movement of the Informal Pull-Out, you wall play these rhythms with ease and comtort. As you spced up, relax even more, and remember that relaxation and speed go together! Once you are comfortable with the Informal Pull-Out, try it in various rhythms, mixing the examples with your own ideas. Try playing grooves that contain a ghosted snare note right beforean accent, and you will hear the magic of the Informal Pull-Out at work! Artists such as Steve Gadd and David Garibaldi hear accents mixed into their grooves and use this technique to execute them. These accents add to the flow and dynamics of the performance. DOWNSTROKES: FORMAL CONTROL STROKES Formal Control Strokes are an application of the Free Stroke. They are used if you are playing slowly and very powerful accents are not necessary. A Downstroke occurs when a higher stroke is played before a lower one. They are so named because the stick cannot be allowed to rebound to its full height if you want to play a softer/lower stroke next. You must set up for the next stroke during the rehound of the previous stoke. The possibilities arc: full to low, full to half, and half to low. To execute a Downstroke. simply play the higher stroke as you nommally would, and stop the rebound at the height of the following stroke--without rension! Thus, fora full to half stroke, you would play a full stroke and allow the stick to rchound until if reaches, approximately 8" (the height of a half stroke). You would then gently stop the stick’s rebound and come to rest in the position of a half stroke. Just accept the stick at the lower height. Itis not necessary lo squeeze the stick or become tense to execute this. Try this process using the combinations on page 28, Be sure to practice Formal Control Strokes slowly at first DOWNSTROKES: INFORMAL CONTROL STROKES Informal Control Strokes use the Moeller technique. They include the same height combinations as Formal Control Strokes: full to half, full to low, and half to low. Informal Control Strokes offer more fluidity and ease of motion than Formal Control Strokes. All the Informal strokes start low, since this is usually the starting hand position on the drum set. A Moeller whip stroke is used to execute the first stroke, and then the energy of the Moeller is used to create and sustain the second stroke at a lower height. The second stroke does not itself have its own Moeller Stroke; it is played using the energy of the initial stroke. Stay very relaxed during the initial stroke since any tension will destroy the rebound necessary for the second stroke. Don’t squeeze the sticks, and accept the second stroke after the first. Use the Control Strokes diagrams and exercises (pages 27-28) to practice these and examine the correct hand positions. This reinforces the dance movement on the drum set.UpstrokKes @& Downstrokes Upstroke: A soft stroke followed by a louder stroke. Downstreke: A loud stroke followed by a softer stroke. Formal: incorporates Free Strokes. From the wrist onty, for slower passages and rudimental or classical playing Informal: Incorporates Moeller Strokes. Used for fastar passages for drum-set. applications. Include Pumping Motion. THE FOLLOWING COMBINATIONS FACILITATE ALL POSSIBLE STROKE PATTERNS & POSSIBILITIES IN DRUMMING: Upstrokes “Pull-Outs” (soft to loud) Farmak Informal: Low to Full Low to Full Half to Full Half to Full Low to Half Low to Half Downstrokes “Control Strokes” | (loud to soft) Formal: Informal: Full to Half Full to Half Full to Low Full to Low Half to Low Half to Low Primary Strokes Full to Full Half to Half Low to LowUpstrokes: Pull-Outs Motion Diagrams for Formal Pull-Outs Half to Full Low to Full Low to Half Motion Diagrams for Informal Pull-Outs Half to Full: 1. start at half 2. whip to full (playing half stroke) 3. end low Low to Full: 1, start low 2. whip to full (steal” tap) 3. end low Low to Half: 1, start low 2. whip to half (‘steal” tap) 3. end low &§ & vlc D wepouw: Unce. Pull Outs Metronome marking J = 40-76 Practice slowly, on pod. Play each mensure until smooth and clean. Play each pattern dx with no accents, then 4x with accents. Practice using both Formal and Informal PulLOuts. ‘Suggestion: Play non-accents as low strokes, accents as full strokes. on bee fp Py | Roll RRLL RRLL LLRR LLRR ~ Inverted I: Jdad | i Open Rall My RLLR RLLR LRRL ERRL 3 ¥ , : vows fey py | RLL LLR LRR RRL a 3 > > Double . | a . aeutke |: 22) « I: 22) «| i RLLR LRRL 3 > mt: LRL RLRWUVWIIDULURGDS. WUlIuUlur GuruUKtc> Motion Diagrams for Formal Control Strokes Using the wrist & Free Stroke Full to Half & < Full to Low 2? 1 Half to Low Motion Diagrams for Informal Control Strokes Starting low (drumset position) & using the Moeller eystam Full to Half 1. start low 2. whip to full 3. use momentum; play half stroke —— 4. end low Full to Low 1, start low 2. whip to full v 3, use momentum; = es play low stroke 4. end low Half to Low 1. start low 2. whip to half 3. use momentum; play low stroke 4, end lowWwWUWVVE ID URS. Control Strokes Metronome marking J = 40-76 Practice slowly, on ped. Play each measure until smooth and clean. Play each pattern 4x with no accents, then 4x with accents. Practice using boch Formal and Informal Control Strokes. Suggestion: Play non-eccents as low strokes, accents as full strokes. = Open ii ‘| A Roll RRLL RRLL LLRR LLRR > > >> asc bity pay =. RLLR RLLR RLLR LRRL LRRL LRRL = - 3 = > > C Triplets Ik JJ ‘l lk |: J] RLL LLR LRL LRR RRL RLR [7 4 D aetroke ee RRLL RRLL LLERR LLRR Now mix the patterns from open roll into double 4-stroke into triplets. Use your own combinations.wpPowu WVNRGSD CAHIS EUV E ISS! WNRGD. Application Exercises ‘Once you have become comfortable with Pull-Outs and Control Strokes, you can begin to wot on combinations of the two. These exercises are all variations on an accent pattern of two beats of sixteenth notes. As the accents move, it will be necessary to play various Upstrokes and Downstrokes to execute the rhythms. Practice with the accents as full strokes and the non-accents as low strokes, I suggest this as the most effective beginning to understand the strokes. In Exercise B, the first right would be a full stroke, rebounding to full height (since the next right stroke is also full). The second right would be a full-to-low Downstroke to put you in position for the third right, which isa low stroke. The last right stroke is a low-to-full Upstroke to put you back in full stroke position as the measure repeats. You must analyze cach measure in this way to locate the Upstrokes and Downstrokes, Play slowly and carefully. Once mastered, Pull-Outs and Control Strokes allow you to play any series of accents and any rhythm comfortably. Use the George L. Stone book Accents & Rebounds for further study. Stone actually wrote that book for this purpose but did not explain Upstrokes and Downstrokes in the text. Metronome marking J = 40-76 Use the patterns below to practice Control Strokes and PullOuts in combination. Practice slowly. on pad: play each measure until smooth and clean. Concentrate appropriate mations for Control Strokes and PullOuts. Practice using both Formal and Informal strokes. " RLLR LRRL Use this rhythm with the following accent patterns; use full and low strokes pee arate eee A |r RLLR LRRL || B |; RLr ures | neowa | mobos | RLLR i {| Lpatae LCoen A Put A LPusbOut L Contra E |:rmurire:| F RFDFR Redos ee ri Use other rhythms with accents to further experiment with Up/Down Strokes. Try peges 5, 6, and 7 of Stick Control and place accents anyuhere.DEUIHUIN <—: Performance Exercises for Drum Set and Pad Hands and Feet Drum-Set Key All drum-set patterns in this book are notated with the following three- line staff system: | BASS DRUM: SNARE DRUM: a ae Snate Drum—* 4 Cross Stick WLHAT: Halt Open Hi Hat \ Closed Hi-ttat Se CMR d Open Hietlat ——+ 0 = ==2 = Ride Cymbal: —7 a Hi-Hat = A 4 d Crash Cymbal ‘lose with foot ——» pOMS: splash with foot > ef eee 4COMBINATION EXERCISES ‘To improve our groove, a locked-in feeling must happen with our arms and legs. When it is working smoothly, we enter the pocket of the groove, hence the term “in the pocket.” [ developed this exercise to further focus on the locking-in of the different combinations played by our hands and feet. Combination Exercises are patterns that are played simultaneously by two, three, or four limbs. They are designed to improve your overall control of the drum set. Numbers I-11 listed in the box on the bottom of page 32 represent all the combinations you can play together with your hands and fect. There are three rhythmic examples: A, B, and C. Begin with Combination 1 (RH, LH). Play Rhythm A using the right and left hands together. Repeat this for at least one minute without stopping. Then continue on to Rhythms B and C, playing each several times as well. Then try Combination 2 (RH, RF) and proceed through Rhythms A, B, and C. Continue this process until you have played the rhythms using all 11 combinations. Then, practice the same sequence (A1, B1, C1, A2, B2, C2, etc.) for one minute cach without stopping. This would make a 33-minute nonstop exercise! If you practice these every day, you will fecl improved strength in all of your limbs, and you will sense a higher level of comfort and balance when grooving. Play in a relaxed manner. When playing triplets or sixteenths, you may need to “kick in” the Moeller technique with accents on the downbeats. Play flat-footed, heels-down technique on the pedals. This will strengthen your ankle muscles and create an open “splash” sound when you play your hi-hat pedal. Start very slowly, and play cleanly. Never speed up during this exercise. When you feel comfortable with one tempo, stop and change to a faster tempo. Here are more things to keep in mind: 4. Sound Combinations: Choose different sound surfaces on the drum set each time you play the exercise. This will help broaden your sound combination palette and open you up to sounds that you may have not yet used to their maximum effectiveness. For example, try Example A with right hand on floor tom and left hand on snare. 2. Precision: Make sure that all sound surfaces hit at exactly the same time. The smallest flam in the sound will disrupt the flow of the groove. Pay careful attention to the lefl-fuot hi-hat--make sure it splashes in exact unison with the other limbs. Record or videotape yourself to check your progress. 3. Balance of Sound: When playing combinations, make sure the volume ofall sounds is equal. Many drummers will favor their stronger limbs. You can use the 11 combinations with any book of rhythms. For example, try Modera Reading Text by Louie Bellson and Gil Breines or Syncopation by Ted Reed.VOmMmpinacvion Exercises << Practice on the drum set. Play together—don't flam the sound. Use flat-foot technique on pedals. Practice slowly. Balance the sound. Use different sound surfaces. Don’t increase speed during exercise; stop and change tempo. af 1 mm Be: c 2 SLT SSE I Tihs, Key: Use the following combinations: RH = Right Hand 6. RE LF LH = Left Hand RF LF = Left FootDRUMISTIC FORM Although the drums often play a supportive role in music. the drummer is still required to think musically. The great jazz and fusion drummers are as active in the ensemble as the rest of the instruments. Drumistic Form is a first step to get you thinking in musical terms by playing a musical arrangement on solo drums. Creating a piece of music on the drums is different from making up a drum beat. Music includes melody, harmony, rhythm, dynamics, and arrangement. A musical composition on the drums, as on any other instrument, involyes all of these. As you learn the patterns for Drumistic Form, you will begin to hear the melody created by the voices on the kit. Although the drum set is not pitch-specific, the instruments that make up the kit have pitches relative to one another. Thus it is possible to imply melody with the drum set. Harmony involves two or more voices playing at the same time. The first and second endings bring the snare and hi-hat into use together, implying a harmonic ending to the phrase. Rhythm (as most drummers know) is a pattern played in time--but too many drummers concern themselves with only this arca! Dynamics, or the relative volume of the parts, add emotional content to the music. Section Ais medium-loud, and Section B is loud. Arrangement is the order in which the pars are played. In Drumistic Form #1, the pickup at A is important because it gets us into the teel of the groove. Play Aover and over until you feel extremely comfortable and have committed it to memory. If you follow Section B as written, the second ending leads you back into A. 1 suygest playing the hi-hat flat-footed so the open splash sound happens naturally. You can play this in many ways, but the first suggestion is to play through the form a written. Now solo on Section A using Section B as a transition to retum to A. The second suggestion is to play through the form as is, but when you get back to the top, solo on Acight times and then solo on B eight times, going to the second ending the last time. Then retum to play the form of A and B as written, ending on | after the second ending at B. Eight times is only a suggestion. You can experiment with any number of measures you like. When comfortable with Drumistic Form #1, move on to #2. Drumistic Form #2 involves one-measure phrases that employ the elements of form. Notice the difference in volume of the two parts. They can be played in phrases of varying lengths, but it is suggested to begin by playing four bars of each. Then try soloing over A and soloing over B. In soloing on these forms, begin to make slight additions to the melodies, and as you continue soloing, add more and more expression and take more chances. It is usually best to solo so the listener can generally still hear the melody within your playing. Have fun and think musically! Listen to all the jazz drummers, old and young, to hear how they play melodies on the drums to complement the music. To hear the drum set played in solo musical compositions at the highest level of complexity and expression, check out Terry Bozzio’s three-part video series, Melodic Drumming and the Ostinato.on Cane eee, oun orl | A RL ete. Ee | Feri | FEA Fer Fer | x x x ¥ 4eka 1 2Ze&a 3 @e&a 1e&a 2eka 8 Geka (ee, BE ads ds i feRa2® &aBeh&as Ba TeRaB® &a3B BSH [2. (Last Time) — -— te&a2z &a23 & 4e8a First play through form as is. Then solo on A, using B as a transition to A. Note: Play open-handed {i.e., for right-handed players, left hand on hi-hat and right hand on snare).mee ee ee INTRODUCING ONE-MEASURE RHYTHMICAL MELODIES Ik Play A 4x, & 4x, solo on A melody, then solo on Bl RLLRLRRLR R Cc In A, the first note of each beat is played on a different surface. It can also be played as a duet with counterrhythms and melodies. Now compose your own Drumistic Form melodies!FROM FLAM TO GROOVE ~—_ From Flam to Groove shows how the rudiments can be used to create exciting patterns for the drum set. This exercise was inspired after hearing Steve Gadd and David Garibaldi apply ryles to the drum set and make it musical, creative, and fun. Rudimental patterns Breat for fills since they can create interesting licks as you break them up around However, the rudiments are also great for expanding your groove vocabulary, as the following patterns will illustrate. For both From Flam to Groove //1 and #2, play the rudimental pattem first on the pad or snare and get comfortable with it. The sticking LRRLR RLLRL is a rudiment called the single flammed mill. It appears in both patterns. After learning the pattern, place your lead hand on the hi-hat and repeat the pattern, When doing this, the flams should close—this means that you should no longer scparate the two strokes but instead play them in unison (this is called a flat flam). Notice how the sound changes as you split your hands on two sound surfaces, Continue hy adding the bass drum pattern underneath the groove set up by your hands, and there you have From Flam to Groove! Each exercise has an alternate bass drum pattem at the end for you to try. After going through the two paticrns with all of their variations, make up your own foot patterns and then your own rudiment-to-groove ideas! ‘Dom performing in Istanbul, Turkey, 1997From Fliam to Groove #1 STEP ONE: Play flam pattern on snere: |ka 2 22 42 RL ORRLR “LER ‘RRL STEP TWO: Split hands and play pattern eper-handed: AH on unare, LH on hi-hat: Is Pe ‘STEP THREE: Move RH to ride cymbal, LH to snare and add Sumba bass drum pattern: pees % 4 SEI STEP FOUR: Replace snere drum with bass drum: oe 4 | ra, ‘ Be i ‘STEP FIVE: Repeat this process with added accents: 2d od be > a eae *R RU'RRLR “LLRL ‘RRL cf Sa aD ‘| *R RL'RRLR SLLRL ‘RRL | iy *R RL'RRLR “LLRL ‘RRLweet orc! wes et VS re STEP ONE: Play flam pattern on snare: STATA IT IST y ‘RRLR"LL'R R URL STEP TWO: Split hands and play pattern open-handed; RH on snare, LH on hitat: STEP THREE: Move to ride cymbal and add Samba bass drum pattern: Ey trocar ‘STEP FOUR: Try alternate bass drum pattern: A an 55 5 STEP FIVE: Repcat this process with added accents: 4% 2 ‘RRLR R R tR L 4 ATT "RRLR"LL'R R LR Ll 47D Te Paw i ‘RRLRTLL'R R OLR L = = si fasSOME RUFF EXERCISES, It is common to have one stronger hand with which to lead or one particular sticking that works best for you on a particular pattern. However, when you play the rudiments (or other patterns) with oply one sticking/accent pattern, it becomes very limiting both for your technique and your overall vocabulary. Let's see what happens if we take a common rudiment, the four- stroke ruff (or single-stroke four, as it’s sometimes called), and develop it with @ focus on various stickings and accent placements. There are three basic stickings for the ruff in this exercise, all of which can translate onto the drum set. They are: A.RLRL LRLR B.RRLL LLRR C.RRRL LLLR The letters in the exercise (Al, B2, etc.) correspond to these stickings. The challenge is to be able to play all the stickings, accent the final stroke (which falls on the downbeat), and incorporate this into different patterns. This will require a great deal of control and relaxation to accomplish since most players will find some of the stickings uncomfortable at first. You will apply the Low Mocller, Pull-Out, and Control Strokes in this exercise as well. Be sure to practice both Formal (at a slower tempo) and Informal Strokes. Exercise | sets up the ruff with alternating-stroke tnplets. Notice all downbeats are accented. Play through the exercises, staying relaxed. Notice that Exercise B requires a Pull- Out in order to execute the accent on beat | since the same hand just played the last (non- accented) partial of the triplet on beat 4. All of these exercises use Pull-Outs and Control Strokes. Note that a Pull-Out does not have to be played by two consccutive strokes but may be separated by one or more strokes on the other hand. Stay relaxed, use the rebound, and make sure to execute the ruffs cleanly, even if you must go slow to do so! You will be playing Control Strokes any time you move the stick into position for an upcoming accent or non-accent; pay attention to this detail! Next, try the one-measure phrases, which are slightly more difficult due to the higher concentration of notes. Moving on, Exercise 2 uses single-handed triplets to set up the rulf's. A large degree of endurance comes into play here, along with the requisite control and relaxation. You should not foel any tension during the exercises. If you do, stop and slow down! Your hands will be learning new motions as well as new rhythms, so practice carefully and stay focused. Observe your technique in the mirror to make sure you are correctly applying the Pumping Motion, Pull- Outs, and Control Strokes. Be especially careful with A3-C3, since you will be playing all sixteenth-note triplets but changing the stickiugs/arm motions within the phrase. This requires special attention and careful practice. Good luck!\Q SS Practice at different metronome marking Practice using both Formal end informal strokes (wee Upstrokes & Downetrotee!. — L= Exercise 7 - Two-Measure Phrase coos sects A | iInininianininm, ‘| RLR LRL RLR LRIR LRE RLR LRL RLERL Putkout o.ininimininining RLR LRL RLR LRRL LRL RLR LRL RUR a ls oplaInininininininy RLR LRL RLR LRRR LRL RLR LRL RL One-Measure Phrase > 3 >3 AI yin Tiny RLR LRIR LRL RLRL >3 >3 B1 oa RLR LRRL LRL RLLR >3 >3 > c1 RLR LRRR LRL R LLL aN{continued} Prectice et different metronome markings. Practice using both Formal and Informal strokes (eee Upstrokes & Downstrokes). Exercise 2 - Two-Measure Phrase Control syria Pulkut, ak Inininknin Inining RRR RRR RRR RRR LLELELELEL CLR taal a splinininininining RRR RRR RRR RRRL LLLELLLELLELLELUR Corea Seok, ue ne ng c |} Inininkainininhs. | RRR RRR RRR RRRR LCLLLCEECELE CEL One-Measure Phrase IB z= >3 ee eee RRR RRR LLLLLRL RLRLRLR RLR LRLRLR L LRL = 35 |] eee JJ RRR RRRL LLLLUR RLRLRL R RRL LRLRLR L LR ce ae ha Th wo c3 ceed RRR RRRR LLEL UL RLRLRLR RRR LRLRLR L LLLFLAM FACILITY If you have never really thought about flams, well, that’s about to change! The flam is one of the most useful rudiments. When mastered, it adds texture and excitement to your playing. The sound of each drum becomes wider due to the slight space between each of the notes. This wonderful rudiment is commonly applied in today’s drumming. Flam Facility will help you control the execution of the flam and give you some exciting application ideas. Exercises A through D involve the playing of a “rhythm pyramid.” This means thal you will cycle through quarter notes, eighth notes, eighth-note triplets, sixteenth notes, and quintuplets—all without stopping. After playing a few measures of quarters, you proceed nonstop into eighths, and so on until you reach the quintuplets. Then, without stopping, go right back to quarter notes. The main point of interest in this exercise is that all the notes are flams! This high-intensity workout will really develop your technique. Notice that the stickings change: A is all right flams, B is all left flams, C is groups of subsequent flams played side-to- side on the same hand, and D is alternating. Each will present its own challenge. Flam Facility Part 3 uses even more variety in the stickings. The first four are based on the paradiddle: RLRR LRLL. This is very difficult to execute at first, but don’t worry-it's supposed to be! Remember—the path of greatest resistance is what propels growth. Maintain relaxation at all times and keep the grace notes low. Exerciscs I and J usc stickings containing three consecutive flams by the same hand. Play Exercises E through J with both eighth and sixteenth notes to increase speed, control, and endurance. Stop playing if you feel any tension. You can use any other stickings with this concept; try Stick Control pages 5, 6, and 7 played as Flam Facility exercises. Parts 4 and 5 are mixed rhythms that should be played with all the sticking variations listed at the bottom of the page. When these are mastered, the flam will be a truc ally in your arsenal of technique. Remember the following important points while playing: - Precision and control are two very important qualities in technique = Practice slowly so you can develop an even sound for each flam. - The grace note is played at low-stroke height (1"-4"). - Al slower tempos, the main note is played as a full stroke (15"-18"). - Al faster tempos, the main note can be played as a half stroke (5"-9"). - Triplets, sixteenth notes, and quintuplets apply the Low Moeller to propel the pattern.peel le) Ol, R'R RR IR IR 2 |: ya 2 ‘R'R Flam Facility - Part 1 A Test in Precision and Control Metronome marking « = 40-76 Read the exercises downward. Exercise A Right Flams MoooRoocfoncRorct 'RRRR'RRRR'RRRR RRRR 5 3 enna shad 3 3 3 lal alale) alalal 5 RERERERRER'RER'RER'R'R Ir 2 = a a seks 5 5 porecern 5 Exercise B Left Flams. geal h toe 3 3 3 E Laie STRAT ACOUL MUU EUCULULL 5 aaa Gi i Gi ACCC UL CUCL TCLEL VAMetronome marking J = 40-76 sed cha cnarciose Uowrrnardl Exercise C Side-to-Side Flams pod wd dl 'R 'R L L wT ERR) SE AEH te) LE 2 re 3 3 a dl aal alalal alala ven] PRURARLLTL'RER'R LLL Hess a tae aa. RIRRRELCLIRRRR UCU 5 5 s 5 LAT ET AE, RRRRR LULL 'RRRRR LLLUL Exercise D Alternating Flams I 2 J 4 L 'R ak jo ce) 2) Ld | Hee Re ie) MA IRE 2 re as . jv JID LD RAR UI L RL RRL -aalaaya sygaday, ||: g y2a4 aba RURL'RURL'RURL RURL 5 5 5 5 an ny RERER "URLRL RURUR TRERLIvIeLrUTUNIE MENUY ¢ — 4-70. Read the exercises downward. Also include sixteenth notes for exercises G, H, |, and J. Mixed Sticking Flams Exercises E-J Exercise E Exercise F peravy pola aly RL RR LR LL RL LR LIRR OL 'RERRURUL'RILRR ERUL REER URRL RULER LRRL Exercise G Exercise H ||: 2 te Bee 22 al 2 | Js? eee oy “ROR TE Ae A RAL TRY Gte SRS FLL ae Retr Exercise | Exercise J peel ol 2) 2d |:2% ees oe RRR “LR UR IR OL aE aR i Me For further variations, go to the exer go Control (Stone) pages 5, on those pages, placing a flam on every note. ind 7. Play throughMetronome marking J =40-76 SATA A) A. 1 DAS TE woe ae IRAP) : Ha ‘| addi aay vay] ‘| uf afi). ade & af | Practice all exercises with RIGHT flams. Practice all exercises with LEFT flame. RRAR R'LRL LLL Alternate sticking with RIGHT then LEFT flams and with LEFT then RIGHT fiams. PLR LR eMetronome marking J = 40-76 i 3 3 5 ||: eee 73els) Je) alata) ajalal elk) sj alga Be. 4 3) 3 3) = ||: 12 2) alalala) alalale wpa gay aaa - 3 5 3 ||: - 48) Jy a lala) sala) waaay alaaa) alae oD 3 5 5 6 Ta a Ty Practice all exercises with RIGHT flams. Practice all exercises with LEFT flams. RRRA ALLL Alternate sticking with RIGHT then LEFT flams and with LEFT then RIGHT flams. RLR'L "LR OLRINTERVENTION OF FLAMS & If you have worked on Flam Facility, you have begun to develop control over one of the most exciting rudiments to have in your playing vocabulary. While Flam Facility develops your overall control of flams, Intervention of Flams takes this one step further by showing you creative sticking patterns that contain flams. ‘These exercises are called Intervention of Flams because the tlam is intervened, or placed within, a rhythm that is being executed by the opposite hand. The exercises in this section can basically be classified into two sticking groups. The first is a sticking pattem that switches the intervening hand from left to right or vice versa (such as Exercise A in the triplet section), and the second is a pattern in which one hand vamps a rhythm and the other hand intervenes flams on top of it (such as Exercise K in the triplet section). Notice that in Exercise K, the left hand plays constant triplets while the right hand plays the high strokes of the required flams over the top of thosc tripicts. Flam Facility has prepared you for this. By intervening flams. you will learn to place flams at any place in a given rhythm while strengthening the hand that is playing the low-stroke vamp. Stay relaxed and use the free-stroke concept to keep the sticks in motion, bouncing constantly. Keep the proportion of the lead flam strokes consistent with the subordinate strokes or vamp. Thus, if you are vamping triplets with a 2"-4" low stroke, th rvened flams would be played as half strokes of 6”-8". Half-stroke vamps/grace notes would be accompanied by full-stroke main {lam notes. If you are playing the exercise fast, then keep your sticks lower. Apply the Moeller whip to facilitate smoothness of motion. The exercises procced through triplets, sixteenths, and quintuplets. The flam placement is varied tu include every possible combination of flams and non-flams for a measure of the given rhythm. In each of the thuce rhythm sections, Exercise A is to be used as a refrain when playing through all the variations. After practicing each rhythm individually, play them all nonstop, but place A in between cach subsequent exercise. Letter A is the key pattern, and you must feel confortable with it FIRST before moving on to the other patters ‘The section voneludes with a workout that combines all the rhythms. Remember to play at a tempo that encourages relaxation. Play through the rhythms with your weaker hand playing the low vamp strokes. Choose a tempo that will improve the speed and endurance of that hand before continuing on to faster specds. Use your mirror to watch your form! Note for Quintuplets: There are metronome markings indicated; however, for the quintuplets it is especially important to find your own comfortable personal speed with which to start. Start slowly and find a speed at which you can comfortably subdivide these rhythms, and repeat each exercise numerous times individually before trying to string them together. At faster speeds it is not practical to count quintuplets,Intervention of Flams Metronome marking J = 66-144 Practice each mesure Individually. - Using Triplets ‘Add Exercise A as the first measure of cach exercise (ox, AB, AC, etc). Row 1 begins with right hanck row 2 begins wrth left hand. et) Z a: 3 A firo-2ootsad dey 1- *RRR®LLURRRSLLL 2- “LLURRR®LLURRR 1- URRR'LLL'RRR®LL 2- RLLURRR®LLL'RR Dp away 1-'RURURURL'RL'RL 2-“LR'LR'LRLR®LR°LR F pores Jz ‘I 1-'RRLURR®LURR®LL 2- SLURR'LURR®LL'RR prea ay c PEEEPBOPECEEEE 1- LURRR®LLURRR'L 2- RR'LLURRR"LLULR E jpowa away 1- URURERURLRER 2- RELR°LR°LR®LR'LR®L GI: Jada Jedi ] 1- URRSLURR®LURR'L 2- R®LURR“LURR'LERintervention OT Fiams \ - Using Triplets (continued) & ww 2222 TISTISTy og ply 1-'RRL ‘RRL ‘RRL ‘RRL 1- URR E'RRURRURR 2- ®LLR *LLR "LLR “LLR 2- R®LL R®LL R'LL R'LL y sey ig pL 1- RUR RUR RUR RUR 1-‘RURRURRLRRUR 2- LR'L LR'L LR'L LR'L 2-SLRICLRULRULRL p eee pg pe ey 1-'RRURRER'RER'RL 1- LRRUR'RURRLRR 2-"ELRIELRULR'LLR 2- FELRCLRULR LL N [ey @ pea 1-'RRRRRRRRRRRR 1-'RRRUULERRRELL 2EEEEEEEEELEL 2S RR'RULURRR- Using Sixteenth Notes Metronome marking J = 66-120 Practice each measure individually. (Add Exercise A as the first measure of each exercise (ex. A-B, AC, etc.) Row 1 begins wich right hand; row 2 begins with left hand. A TTT y 1-'RRRR®LLLURRRRSLLLL 2- "LLLURRRR®LLLL’RRRR B [:aadesdebac aba Cc PELPEECSEPCID EERE 1- URRRR'LLLURRRR "LLL 1- LURRRR®LLLURRRR'LL 2- RXLLLURRRR'LLLL'RRR 2- RR'LLLURRRR'LLLURR D PRT Tay - (ean ay 1- LLURRRRSLLLURRRR'L 1-"RR'LURR'LURR'LURR'LL 2- RRR®LLLURRRR'LLLUR 2 *LURR'LURRRR'LURR'LL FE paeeE EE Asy G jeoaraay 1- CRRSLURRSLURR'LURR'L 1-"RURURURURURERERL 2- LURR LURR LER LUR 2- “LRLR'LR'LR'LRLR'LR'LR7 ed dS ee ee ee 7 4 - Using Sixteenth Notes (cont.} SY H |: 22ERERARy ype 1- CRURURURURUERERUR 1-'R'RLER'RLURRLUR'RLL 2- RLR'LR'LR'LR'LR'LR'LR'L 2- FEALRREULRRULRR'LLRR a IY « |. ea 1- URRLUR'RLURRLLR'RL 1- LUR'RLUR'RLLRRULRR 2 RULRRULRREULRRLLR 2 RRULRR'LLRRULRRLL L POTTY mw 1-'RLUR'RLUR'RLER'RLUR 1-'RRRURRRURRRLRRRL 2-SLRRULRR'ULRR'LLRR'L 2 VEL VULR LIRR Nn [Hany o k sauna 1-LRRRURRRERRRERRR ~'RURIRRLR'RRERRRURR 2 RUCLRUULRULLR UL ‘ TLR CLRULLRELRUL p (ZaaRLARy @ ey 1-'RRERRRERRRLRRRER 1-'RRRRRRRRRRRRRRRR ZAELREULRIUULRVULRL 2 "EC ECE UCLMetronome marking J = 66-92 B |; 2.2 FD 1- 'RRRR R®LLLL 2- R®LULL L'RRRR p |: 251 Tay 1- LLU'RR RRR*LL 2- RRR®LL LLURR p pea 1- RARELL 'R'RLLL 2- “L°LRRR “LSLRRR H pay 1- RLURL 'RLURL 2- ®LRR®LR SLRRSLR 5 pay 1- CR'REL UR'RLL 2- R*ELRR R°LELRR a pT 1-"RRRRR ®LLLLL 2- "LLLLL 'RRRRR ty epee Cc \; Aas LT: 1- LURRR RR“LLL 2- RR®LLL LL'RRR E |; 4108 JT: 1- LLLUR RRRR“L 2- RRRR*L LLLUR G eel: 1-“RURLL ‘RURLL 2- "LR®LRR “LR"LRR 1 Soe, 1-'RLLUR ‘RLLUR 2- SLRRRSL SLRRRSL K |, aan Ey 1- CRURL URURL 2- R®LRELR R'LRSLRintervention OT Friams - Using Quintuplets (cont) L |: 22 Fy 1- URLUR URLUR 2- XLRR"L RLRR"L N |: Fay 1- LURER LURUR 2- RRELRIL RRTLRL Pp |j22.J2d000; —'RR'RLL 'RRRLL - “LLSLRR “LSLSLRR R |; fina fig | 1-LURR'R LURR'R 2- RRL RRL Bose EI 1-'RRLUR 'R'RLUR 2- ®LSLRR'L “LLRR'L, v | eet i] 1-'RRURL'R'RURL 2- SLALR"LR SU'LR'LR N -o— ma ||: 00s Jy 1- LRERL LURE 2- RRTL"LR RR'ULR op aay 1- LLUR'R LLUR'R 2- RRR"LL RRRUL Q |: Fy 1- ERRIRLERRRL 2- RULLR RUULR s oa 1-'RLLR'R'RLURR 2-LRRTLALSLRR'UL U [eT 1-*RLUR'R'RLERR 2- SLRRELAL SLRR'UL W ||: 2828 2 1- URIRERERRUR 2- RCULR RULE A- Using Wuintuplets [cont.J xX |: Ain Fi. T-LRERR ERERR 2- RLU RRL Zz |; oo ey I-CRRRRURRRR 2 RECULRLLL ELT , BB | 1-'RRURR'R'RERR 2 "CLR LR DD |: 22222 pas. 1 RRRRRRRRRR 2700 Y ee, 1-'RRRRLI'RRRRLE 2-"ULLR SUUL'LR Aa [EER 1-‘RURRR 'RURRR 2-7LRTEL SLRULUL cc |: ea, 1-'RRRUR'RRRER 2- "FULL UULRLIntervention of Flams - Workout <— Metronome marking J= 66-92 Also use reverse stickings (start with left), Create your own pater. “RRR “LLL 'RRRR “LLLLE L*RR R®LL URRR R'LLLL ATUL) TET FRRLL'RR“LU'R'RL NRRL ‘RRLLL RRL URRLUR RL APLn nn Se EE. FRLUR 'RUR'R CARLL RELL ‘RURUL 'RURLL URLRE LRURL 4 4 4 4 5s 5 5 5 , SEED AOR FG AE. ERERERERURERURER URURL 'RURLRL'RERL'RERLR pT) ST 0) A, “RARL URL ER'RLUERLL UR'R URL URRILLRLLLTIME TEST } Perhaps you have heard the quote by a famous composer: “Music is the space between the notes.” It is this observation that the Time Test explores. Put to the proper use, the Time Te rigorously examine the accuracy of your internal clock. It is constructed of broken ythmic clements playcd in time to an external click. The Time Test is to be practiced on a pad) with a metronome. Do not rap your foot while playing. Rely only on your internal sense of ti and try to feel the metronome as part of what you are playing. This will improve your time and. help greatly when it comes to playing with a click track in the studio, among other things. The T «s of broken rhythms separately until you are completely comfortable with the way it feels in relution to the metronome pulse and until you can feel the pulse within the rhythm. Each shyllim should be playcd for a minimum of one minute to understand the personality of the rhythm. This would create a 15-minute basic exercise. Then try playing through ull the rhythms nonstop in various lengths. ‘Iry four bars, two bars, one bar, and two beats of cach phrase. Observe the wide range of metronome markings (40-152) and try them all. 20 not overlook the very stow speads. They are among the most difficult. Professional recording drummers know that only the players with the best time can make these slow speeds groove. The slow tempi are the path of most . ‘This is the path of most growth! jixteenths and triplets. Play each exorcise Play the Time Test with all four limbs individually, checking the accuracy of each one. Then use the hands and feet, alternating the sticking as you play through the pattems, Play through the entire exercise both right to left and left to right. With consistent practice you should be able to widen the range of slow-to-fast tempi at which you are comfortable, The Ti Test is an ongoing exercise that you can refer to offen. Try this out with your band members test their time!Time Test ! ee a0) a po DT Syed. gee Da gel) fe pgp peg. gray y 9 10 11 12 13 14 15 “peep Dp sae TTT pea USING TRIPLETS 1 2 3 4 5 6 7 3 3 3 3 3 3 po ppp ep pep Practice first with the Left Hand alone, then just Right Hand, then Laft Foot, then Right Foot alone. Next siternata the ouscking, sing Hands end Fon, first L to A, then R toSLEIGHT OF HAND For Hands and Feet The purpose of this exercise is to develop a feeling of balance between your hands. It will build your overall dexterity. On the drum set, this balance is crucial because both hands are needed to move around and play the various instruments on the kit, In magic it’s the smooth technique of the hands and the poetic movement that creates the illusion. Similacly, in drumming, the control of either hand should be available anyrime it is needed. Sleight of Hand should be practiced carefully, paying attention to all the techniques discussed previously. Notice that the metronome markings start very slowly and build into a wide range of faster speeds. You should follow this same process when practicing, Shown in Exercise A are some different combinations of hand direction: 1. Just use your left hand. 2. Just use your right hand. 3. Play both hands together but do not flam the sound. 4. Altemate starting with your right hand. 5, Alternate starting with your left hand. Practice each letter with the five sticking, variations for onc minute cach to achieve maximum results. The Sleight of Hand Workout is designed to push you even further with tempo, accuracy, and concentration. In addition, you can use rhythms from any book or music manuscript with the variations. Also, make up your own rhythms. Now use this exercise for your fect. This can surely help strengthen your double-bass technique for easier execution with your feet. For further work on the feet, I recommend Colin Bailey's Bass Drum Control. Although these rhythms can be practiced by anyone using any technique, they are designed as an application of the Free Stroke. They will work to their maximum potential if you have first become familiar with the Free Stroke and the 2 to 50 Wanm-Up Exercise accurately and confidently. If you have reached this point, then Sleight of Hand will take your technique to the next level of speed, control, and endurance. Use your imagination to enhance the feeling between your hands and feet. Improving your “feeling of balance” will further develop your drum-set ability. Then the magic will begin! Inspired by my brother-in-law Vito Lupo (international magician).Metronome marking J = 66-126 and up. Repeat aach pattern for Push the tempo to challenge your muscles. sreignc or mana - Using 76th Notes canna = one minute. A ff IIIT II y Left Hand L Right Hand = R Together T Alternate R,L oR AltemateL, RL ‘LEE Lee RRRRR RRR TTT TT TIT LRLRL RLR RLRLRLRL L R T G R USE THE SAME STICKING COMBINATIONS FOR THE FOLLOWING: B ||: JSD iii JI, ‘| Cc Ik ddadd- 4 7) 14 ‘| pj 2-TLTy e pprd y F [2570 Ly | jp PUT eihy H STI I They y 1 DT TAS) 4 NOW APPLY THIS EXERCISE TO THE FEET AND EXPAND! aeSleight of Hand - Using Triplets e marking J = 66-126 end up. pattern for one mint 3s 3 3 A |: ae e Left Hand Cee ove Right Hand RRRR RRRR Together Tht TT tr AltemateR,L RLRL RLLR AltemateL,R LRLR LR RL USE THE SAME STICKING COMBINATIONS FOR THE FOLLOWING: B34 ye ps Ly pj; + JJ) ye pn. Y Fo pdt id tim. 4 3 3 3 33 4 Gq 4:21) Jy NOW APPLY THIS EXERCISE TO THE FEET AND EXPAND!ere eee Tere - Workout a Metronome marking. ~ 66-126 and on- Bush the tompo to chaltonge your muscles! 5 6 A A mel] Practice Example A first using all right hand; all eft hand; bath hands; atternete R, L then L, R. Then apply this sticking to the following exercises: B YJ T i 1,0 imam a _ SA aay promo MIT y p73 TE Ta ‘| im mmmoacay NOW APPLY THIS EXERCISE TO THE FEET AND EXPAND!THE WEAKER SIDE For Hands & Feet Throughout this book, there bas been an emphasis on working with the weaker hand. The Weaker Side takes this to the next level! Note that if you are a lefty player, you should reverse all the stickings on this page. No casy way out here! The concept behind this exercise isto take sixteenth notes and apply various accent patterns to four permutated stickings. This will build the overall strength and ability of the weaker hand. The key to understanding The Weaker Side is that you will have to apply Pull-Outs and Control Strokes in order to achieve mastery over the rhythms. Again, the techniques in Section 1 must be practiced thoroughly to achieve the greatest results. At the top of the next page are the four sticking patterns used in this exercise. Play each one using all low strokes, being sure to execute them cleanly and evenly. Notice that each has three left strokes and only one right stroke. Exercises A through D take these stickings and apply an accent to each beat of the sixteenths played by the left in tur. Thus you must not only execute three consecutive lefts, but you must apply an accent to one of them as well! Look, for example, at Patter A. In Patter AI the sticking is RLLL. The first accent falls on “e.” The next two lefts are low strokes. Thus the stroke “e” leading into “&” is a Control Stroke; you must execute and accent and then come down to a low stroke for the next unaccented beat. You will need to execute another Control Stroke—this time an Upstroke~at the end of the beat to take the lost unaccented left (‘‘a”) and raise it to prepare for the repeat of the accent on “e.” Of course, when playing this in time, all of this will flash quickly by, so it is necessary to lear the motions slowly in order to be sure that you are performing them accurately. Pattern A2 still uses the RLLL sticking but moves the accent to“&.”" Now you must play a Pull-Out to execute the low “e” into the high “&.” You must then immediately execute a Control Stroke to play another low stroke on “a.” This is probably the most difficult of the three technical situations you will encounter in this exercise because you enter with a Pull-Out and exit with a Control Stroke. The final situation is shown in Pattern A3. The accent is on “a,”so it requires two low strokes (“e&”) and a simple Pull-Out to execute “a.” You then control that rebound to prepare for the repeat. Also play this page with your feet. This is mentioned for various exercises in this book but bears repeating since many players neglect their feet and limit their expression. Push yourself--the challenge of the fect is great, but the rewards are wonderfull If you are lefly, reverse the stickings to work on your right band. Practice all of these with special care and attention to detail. They will increase the ability of your weaker side by leaps and bounds!The Weaker Side For Hands & Feet Metronome merking J= 60-120 or more! Practice on pad. Inctudes PULL-OUT and CONTROL STROKE exercises. im4 boy py pay LLULR Control Stroke pase PEON: Atl: 2p sf: ty RELL RLLL RELL Bal: 2 2y spay LRLL LRLL LRLL Caf y azfeey apy LLRL LLRL LLRL Dipany 2pany apc, LLLR LLLR LLLR Use your own combinations. Lefty players reverse sticking.SET UP THE SINGLE STROKE ‘The purpose of this exercise is to increase the speed, control, and endurance of your single strokes. As the title implies, this is done by setting up the roll with a specific slower pattern. Although most drummers strive to have fast singles, realize that the ability to get into and out of the single-stroke roll is just as important. This exercise consists of four examples, A-D, each of which is a four-measure phrase Each exercise has two different stickings with the exception of C, which has four. Exercise A consists of alternating measures of eighth notes and sixteenth notes. B is comprised of triples and sixteenth triplets. C is composed of a measure of eighths, a measure of sixteenths, a measure of eighths, and a measure of sixteenth triplets. A, B, and € are all played hand-to-hand Exercise D is the same rhythm as C, but the sixteenth notes and sixteenth triplets are played with paradiddle sticking. Each of these exercises presents variations on the stickings and thythms used for singles. The basic pattcins are A and B, in which the first measure is played by the left hand, and the second measure is created by kecping the left hand going and filling in the spaces with the right. This process then reverses for the third and fourth measures. Excrciscs C and D are slightly more complicated. In the last two sticking options for Exercise C, the hands must reverse when the fast measure begins, In Exercise D, the fast rhythms are played as paradildles, which are very useful at high speeds. Push yourself as fast as possible. Play through each exercise (Al, A2, B1, B2, etc.) for two minutes each. Notice that there are two or more stickings for cach exercise. Practice each exercise slowly at first and follow the stickings very carefully. It is important that you play the eighth-note rhythms very evenly if the fast rhythms are to sound even as well. Play through each exercise individually using all stickings indicated. Increase the speed only when you are relaxed and comfortable. A quality single-stroke roll should have a smooth and even sound, and there should be no tension in your hands. This exercise is also very effective for the feet. To focus on your feet, practice normal hand exercises to break out of the habit of excluding your fect. ‘This exercise has been intentionally written without accents. Concentrate on uniformity of the strokes as you speed up.Set Up the single Stroke é Metronome marking J = 60-120 or mere! Use Halt ‘Two minutes each exercise (AT, AP, B1, etc). Aleo practice with feet, both off and on the pedals. 1& 2& 3 & 4 & 1e&aP@e&adeGase6e p J) SI DT J T-L LLL LE EL L -L RERLRERLRLRLERLRL 2-L ELL EL LL L LE LERERLRLRLRLRLRLR WIT ARTY RR RR RR RR LRLRLRLRLRLRLRLR RR RR RR RR RLRLRLRLRLRLRLRL T-LLL LLL LLL LLL RLRLRLRLRLRL RLRLRLRLRLRL 2-LLL LLL LLL LLL LRIRLR LRLRLR LRLRIR LRLRLR RRR RRR RRR RRR _LRLRLR LRLRLR LRLRLR LRLRLR RRR RRR RRR RRR_ RLRLRERLRLRL RLRLRLRLRLRLeenmnmucus 16 268 3 6& 4 & 1e&a2e&Gade&adeba I: J 4 iL T-L LE LE LE LE L LE LLRLRLRLRLRLRLRLR 2-R R RR RR R RRLRLRLRLRLRLRLRL 3-R R RR RR R RLRLRLRLRLRLRLRLR 4-bL LE LE LE L LE RLERERLRLERLRLRLRL Tani ‘ ‘7 Uy LE LE LE bL LE LL LRLRLR LRLRLR LRLRLR LRLRLR RR RR RR R R RLRLRLRLRLRL RLRLRL RLRLRL RR RR RR R R LRLRLR LRLRLR LRLRLR LRLRLR Lt EL bL &£ LL RLRLRLRLRLRL RLRLRL RLRLRL (naa T-L EL EL LL L LE LRLELRLERRLRLLRLRR 2-R R RR RR R RRLERRLERLLRLRRLRLL 6 6 6 6 1140 J SE LL LRLLRL RRLRLL RLRRLR LLRLRR RR _ RLRRLR LLRLRR LRLLRL RRLRLL ar ar ar L R 0) ar NOW APPLY THIS EXERCISE TO THE FEET AND EXPAND!SHUFFLE TICE FOUR-STROKE The Four-Stroke Ruff is a useful rudiment, but it is difficult to execute cleanly at fast speeds. It is also a challenge to lead the Four-Stroke with either hand and play it with unconventional stickings. Shuffle the Four-Stroke challenges you to doall of these. The basic idea is illustrated by Examples 1 and 2 at the top of the page. The left hand plays a constant dotied-eighth-and-sixteesth shufile. The Four-Stroke is then intervened into this rhythm in onc of two ways. It is either played by two right-hand notes in the space between the shuffle pattern, or it is played RLR, resolving back to the left to continue the shuffle. When playing the top sticking (A1, B1, ete.) of each example, the accent in the paitem is achieved by using a Pull-Out (see pages 21-26). Exercises A through O apply these two possibilities for the Four-Stroke throughout ¢ measure of 4/4 time. It starts with one-beat niffs, moves thern through the measure, and continues adding muffs until you are playing a full measure of them in pattem O. Practice both stickings equally, running through the exercises nonstop on the pad with a metronome. Once you are comfortable with this, repeat the whole process but shuffle with the stronger hand and lead the rufis with the weaker hand. Each example lasts one minute, fora total exercise of 15 minutes. This exercise can also be applied to the feet for further development. Practice both on the pedals and off the drums, flat-footed on the floor.Shuffle the Four-Stroke Rieeronome marking J = 60-144 Practice on ped. 2-L RIRL -t ot n= n= 1 2-L > poem, | te oad LL LL I: api LL LL Jdad a a a -L RRL L {REIS = 3s Mie sol ra emia: | -L RRL L tea te Cena aS > 3 > Lt RRLL L LL RIRL Lb > 3>3> dde -L RRL L RRLL Lae -L RLR L RLRL LL £ > 3 > 3 LL RRLL RRL LL RLRL RIR pa ae Z-LRRL LE LL puma V-L LERRLL LL OL 2-L LL RRL LL oL panini, V-L LL LL OLE RRL 2-L LL LL LL RIR P-L LURRLL RRLL OL 2-L LLRIRL RRL OL pea deo ii 6 >3> > >3 pao P-L RRLL LL LL RRL 2-L RRL LL LLRIRDMUs LIS FVUUIOLUURG {continued} 1 Pinay J po dal ay V-L RRLL LE RRLL P-L RE RRLL LL RRL 2-UCRLR EL LE RLERL 2-L LL RIRE tLRR re > 33> 33> 3> > 3 >3>3 L ke i! Waa Tasca] T-L RRLL RRLL RRLL OL Tek LL RRL L RRL RRL 2-L RLRL RIRL RRL C 2-L LL RLR L RRL RLR > 23> > 3 > 3 > 3 > 39> >3 sae sade: seccae daa] NI LTS ITY 1-L RRL L LL RRL L RRL P-L RRLL RRLL LL RR 2-L RRL RLRLRL RIR 2-L RLRL RRL L RR > 3 > 3 > 3 > 3 ed ceded osceve 1-L RRLL RRLL RRLL RRL 2-L RLRL RLRL RLRL RIR Shuffle with the weaker hand first; use both variations of the four-stroke ruff. Then shuffle with the stronger hand: Te > 2-R LRLRSEVEN-NOTE GROUPING USING SIXTEENTH NOTES ‘The Seven-Note Grouping is comprised of the sticking/foot combination highlighted in gray at the top left of the next page. It contains four hand notes and three foot notes, split through the pattern. The idea is not to give this to you as a “hot lick,” but to get you thinking about your own combinations that inject some excitement into the time flow. Below are listed the six different variations. When playing odd-numbered grouping patterns that consist of hand and foot combinations, these arc the possible permutations of a beat of sixtcenths that you will encounter. Thus you must be technically comfortable with all of these and be able to fecl them against the time flow. Practice them individually for precision The Six Different Variations ro Bea oe Be Be ey Looking at the one-measure phrase (next page), we know that we have 16 notes to work with (since we are playing a bar of sixteenths in 4/4). Thus we see that we can fit the Seven- Note Grouping into the phrase twice (7 x 2 = 14) and then we have two notes left over, which arc played with the hands. The brackets show the Seven-Note Groupings and the leftover notes. This creates an exciting one-bar fill that, once mastered, can be moved around to different sound surfaces on the kit. Approach the two-bar phrase in a similar fashion. There are 32 notes to work with, so the Seven-Note Grouping can be played four times (7 x 4=28), This gives us 28 sixteenth notes with four left over, which are split two and two between the hands and feet (at the end of the phrase). Alternatively, you could keep the last four notes all on the hands or all on the feet (with a double pedal). Try experimenting with various combinations. Once you have leamed the patterns, try playing them while keeping steady quarter notes with the left foot on the hi-hat. This is a real coordination challenge! The last example is an eight-bar phrase that is not intended for use at your next wedding gig. Instead, it is intended as a challenge to see if you can feel the 4/4 meter as the Seve-Nole Grouping cycles over the bar lines. Go for it!DEVEIFIVULeE UWruuUpIliyg Using Sixteenth Notes RL RL Feel the two-measure phrase as opposed to analyzing & fafa Try one meauure of time, then ona measure of fil and two mensures T i ‘of time, and then two mesaures of fill. One-Measure Phrase to z FAAS RR [ed at] oe soe leks 2es&a 3eRa Beka Two-Measure Phrase FFARR eo Cao ooo o—ee FRR PRS eet Write your own five-, severe, and nine-stroke groupings. Use sixteenths and triplets.ODD FEELINGS Odd Feelings is a drum-set exercise that was conceived when I noticed 15/8 would cause a high sense of panic in my students. This exercise breaks down several odd meters into more common components and puts them together to create more complex time signatures. To understand the Odd Feeling of 15/8, it is broken down into two separate grooves. One is 4/4, the other 7/8. 15/8 is not always subdivided like this--this is only a first step to understand a groove that many drummers don’t usually play. Subdividing 15/8 this way wall provide a comfort zone to learn the meter. Within the fills, the counting is very important. The eighth note must remain constant. The object of this exercise is to work toward the stage where you can feel 15/8 naturally without breaking down into these parts. As long as you are counting the eighth note, the fills can be whatever you feel to connect the parts together. Part B is the straight 15/8 groove counted and felt as 15/8. When you play this fill, try to phrase it as a measure of 15. When you are comfortable with this, try other ways of breaking, down the 15/8 into sections, such as 3/4 + 9/8 or 5/4 + 5/8. Count the eighth note in the same fashion as the written exarnple. — oun — Odd Feelings #2 and #3 follow the same pattem for 11/8 and 13/8. This exercise should break dows some of the confusion in attempting to play odd times. It ts only unfamiliarity that makes the feeling odd. Through practice, odd feelings become comfortable feelings. With more Practice, they become natural feelings!ans nnn i ing a Combining Beats and Fills in Odd Time Signatures wy Play the beat until you feel comfortable; then play the beat into the fill, and repeat. 4475 155 +7= 4 8 8 &@2&83 848 123 4 5 67 es = Ir lao}a = Ir 123 4 5 6 7 8 GF 10 11 12 13 14 15 eB tert tot | FILL J Try some more as shown; then write your own ta experiment with odd time signatures! aere UES GU © nS in Odd Time Signatures Play the beat until you feel comfortable; then play the beat into the fill, and repeat. 345-4 ats 8 1&8 2& 3 & 1 23 4 5 aad dt ad Lb ALLL 3 FAILE—: ps] O0) 8 9 10 11 SLE magmaiaaae meee Ss Se Try some more as shown; then write your own to experiment with odd time signatures!Udd Feelings #3 Combining Beats and Fills in Odd Time Signatures Play the beat until you feel comfortable; then play the beat into the fil, and repeat. 543=18 4*3s "8 Tit. foe (23 4 5 67 8&8 9 1011 l2 13 sl as IT CoCo FALE 5 Try some more as shown; then write your own to experiment with odd time signaturest 16Many times our groove is affected because of an inconsistency in precision and control. Precision on the drum sct is an ingredient that is necessary for technique to assist feel. Thiscxercise applies to the drum set and challenges us to focus on the control (or lack of control) we have In Exercise A, we begin with the “collapsing” of three notes. There should be a distinct difference among the triplet, sixteenth, and drag exercises. It is important to begin this exercise with your weaker hand since the groove can anly rise to the level of the weakest link. Try practicing the triplet figure for two full measures of 4/4, and then move on to A2 (sixteenth) and ‘A3 (drag). Al and A2 begin on beat I. Since it is a drag, A3 begins on the pickup to beat | and ends on the downbeat. Exercise B is the same exercise, but the first two strokes of each figure are doubled. This must be practiced slower to achieve the necessary precision. Thus each of these figures will begin with two double strokes. Exercise C follows the same formula but uses three double strokes. The sticking is that of a seven-stroke roll. Being the most difficult of the three stages, it will highlight any precision problems you may have. These are calisthenic drum-set exercises that build a foundation of precision. If you are having difficulty with this, that’s good--it makes you aware of what nceds work! If you are able to play it camtortably, that’s good also--it reinforces good habits, Now experiment and develop your own exercises for precision. Germany 1998: Dom explaining “Expression, Enthusiasm, and Passion.”Precision lest A Basic Patterns — Metronome marking J = 80-132 LEFT HAND plays small tom; RIGHT HAND plays floor tom. Triplet Sixteenth Drag : inl | 1 26 3 l&a le&é& 1 B Five-Stroke Rall Metronome marking J = 66-84 ie jE w i, l&a le& 1 Cc Seven-Stroke Roll Metronome marking « = 72-116 ey 2p. 2 EEE, le&a2eha3e&ate&a Concentrate on the different feel of each pattern. Hear and feel the differance. eoSHUFFLING THE SIXTEENTHS Shuffling the Sixteenths is another exercise that will develop your dexterity and rhythmic control. It will also strengthen your weaker side. It is similar to Intervention of Flams in that oy i ther hand “intervenes” various things over it (or in this case, between it). The structure here is as follows: At the top of the page is an ostinato to be played by the weaker hand at the indicated tempi. The stronger hand then plays the rhythms below while the weaker hand continues the ostinato. You will find that the stronger hand is playing in the spaces created by the ostinato. Hence, you are shuffling with one hand and filling the spaces to create sixtcenths. a shuffle pattern. The stronger aking, the shythin more dense until Starting with the first pagc, we see that the ostinato hand then intervenes the “e&” rhythm in various places, finally you are playing (in #15) a full bar of sixteenths. On each ensuing page the ostinato changes, so at the end of four pages you have played the four different possible permutations of a two sixtcenth-note ostinato, with your stronger hand filling in all the spaces. When you are comfortable, move your stronger hand around the drum set and check out the interesting patterns you can create! Also apply Shufiling the Sixteenths to your fect. This exercise has been intentionally written without accents. Concentrate on uniformity of the strokes as you speed up. Dom's setup; on tour in Sweden, 1999.SnuTTIng tne Seen are 1 | wa Metronome marking J = 92-192 ma plays ostinato: A fay 2 = & 4 Poe = spd = fp ea Ab 7 5 6 8 pod pede gp ee gpe 4 10 11 12 ped aged ngpeoee dpaogy 13 14 15 pon pan ayponnay When you are comfortable with this Sompmee| move yous ‘stronger hand around the drum set. Then apply to the feet, on and off the druShuffling the Sixteenths Part 2 Metronome marking J = 82-192 ‘Weaker hand plays ostinato: Bp any The stronger hand plays the following in between: 1 2 3 4 |: fia = {k 24. = dk =i. z |: ak A. 5 6 7 8 | 41. £2. - ‘lk 2 i122. t ‘{k - ff). ‘|k J). - Ji. |: I. z 41, 21h 2 fl. z 4). Il: £).41.21. z dk z £1. £121. 13 14 15 When you are comfortable with this exercise, move your stronger hand around the drum set. Then apply to the feet, on and off the drums.DSnutting tne smteentns Part 3 1 ly zt miler “hh is. hy Cs 7 8 ai a Example Grooves: > > Et > a o Combination of #s ie 9 3474846CONCLUSION If you have worked on all the exercises in this book as prescribed, congratulations! You have learned to discipline yourself in the art of drumming, and you've taken the first step into a world of greater artistic expression. These are important steps! ‘The Free Stroke and Moeller technique work in conjunction with cach other. Itis all about relaxation, the goal of which is to allow your ideas to be expressed through your movement. Think about the instantancous time it takes for the brain to convert s thought to a spoken word. Ideally, your drumming concepts should go from thought to result just as quickly. Drumming is a communication of expression, and with these techniques and exercises, your barriers of frustration can be overcome. Thave acquired the information in this book from many great players and teachers over many years and began writing this material in the mid-1970s. Steel sharpens steel, and man sharpens man. As you improve yourself, you improve others. Inorder to maximize the results of the concepts in this book, you must make the commitment to practice regularly. This will maximize the rewards of these techniques. Practice should never be forced; have fun leaming and learn to have fun! There are no mistakes, only unexpected opportunities and discoveries. When | practice regularly, I fecl better, which makes the band feel better, which in turn makes the audience feel better. The rewards arc waiting for you! There arc many things to keep in mind as you continue your studies. Listening is everything—-much of your time should be devoted to listening and studying the great players. Your study of technique, though important, should comprise a smaller part of your devoted time to learning this instrument. Keep in mind that the musicality of expression is the end goal. Playing with other musicians is the key to learning to apply what you have studied thus far. This is what will truly make the difference for you as a musician and artist with a unique expressive voi This book is fucused on movement--your movement—to increase your artistic ability and creative freedom. This first step will lead you to a higher level of emotion and expression. | want to help you open doors of comfort in your playing. Now scck out further study and. continue the momentum you've begun. You have made the effort to get this far; now continue to push your potential even further. It’s your move!ACKNOWLEDGMEN' My deepest thanks to: Joe Morello - For showing me a way to play with nature and not against it. Jim Chapin - For showing me the “Big Technique” to graduate to a higher understanding of movement. Al Miller - For giving me the foundation in drumming that has allowed me to continuc to build on my talent, and for guiding me always. Ronnie Benedict - For teaching me the love and respect for performing and sharing knowledge. Charlie Perry - For his insight and knowledge of the art of drumming. Roy Burns - For being a life and drumming mentor, and for always making me challenge the way I think. Colin Bailey - Who taught me by always showing his enthusiasm for Icarning and playing. Joe Bergamini - For unending professionalism, nonstop ideas, and conquering every hurdle. A great person, artist, teacher, and colleague. Steve Leahy - For his positive spirit and wonderful drawings to help make this book come alive. Mike Catalano - For insightful ideas, suggestions, know-how, and testing of this material. Fred Spadaro - For boundless enthusiasm, help with this text, and a pair of wings! Phil “Cappman” Catalano - redline specialist - for your input and corrections. All at Sabian - For the opportunity to travel the globe to share and learn and for their vision on offering the best to the drumming community. Vic Firth and his dedicated team - For the clarity of unending education as their vision and for setting the highest standard of excellence. Premier, Remo, H.Q. Percussion, and LP Music Group - For their constant support. Additional Thanks: Claus Hessler, Yves Belrepayre, Jerome Marcus, David McAllister, Bobby Rock, Robin DiMaggio, Tony Bienert, Udo Dahmen, Tony Cannelli, Dominique Hamet, The Bokken Family, Thierry and Ann Allard, Neil Garthly, and all my past and current students. A very special thanks to my wife and my boys for their unconditional love,ABOUT THE AUTHORS im Famularo has been traveling the globe preaching the gospel of drumming for more than 30 years. intense performer, Dom is one of the most respected solo drum artists in the world, with a career itupon his unique skills as a drummer and motivational speaker. He has presented masterclasses and around the globe in China, Hong Kong, Japan, Israel, England, Ireland, Scotland, France, any, Portugal, Belgium, Italy, Austria, Holland, Switzerland, Sweden, Norway, Turkey, Malaysia, apore, the Philippines, Indonesia, New Zealand, Australia, Mexico, Brazil, Argentina, Canada, and United States. He has directed and emceed major drumming expos around the world and has been of drumming’s most sought-after private instructors for more than 30 years. Students regularly fly in around the globe for intensive study with Dom. His impact upon drummers was shown by the of Modern Drummer Magazine, who voted him as one of the top five clinicians in both 2000 and ] and who voted It Your Move as one of the top three drum books of 2001. In 2001, Dom was given Modern Drummer Editor’s Achievement Award for his contribution to drumming. A major player in percussion industry, Dom is an endorser and education consultant for Sabian Cymbals, Vic Firth icks, Premier Drums, Remo Drumheads, LP Music Group, HQ Percussion Products, Audix jerophones, Studio Cans, and Sevans Pro Audio. Currently Dom continues to travel globally while jing on several forthcoming drum books and other projects. Dom is also the author of the ivational book, The Cycle of Self Empowerment. more information, please visit his website: www.domfamularo.com Bergamini is an active professional drummer and educator. A student of Dom Famularo, Al Miller, Jobn Riley, Joe has been teaching drums privately for more than 13 years and operates his own drum I with two other teachers and more than 80 students. An active recording artist, he appears on two from his band 4Front and on his own critically acclaimed solo CD, Joe Bergamini: Arrival (all his own label, Spec Records). He has also recorded with other independent and major-label artists. As ‘clinician and endorser for Sabian Cymbals, Tama Drums, Vic Firth Sticks, LP Music Group, HQ ission Products, and XL Specialty Percussion, Joc performs clinics in schools and music stores. addition to 11 Your Move, Joe has written articles for Modern Drummer, Percussive Notes, and Stick ‘and has been featured in Modern Drummer and Gig magazine. He is also working with Dom Famularo other upcoming books and projects. Joe holds a bachelor of architecture degree from New Jersey stitute of Technology. would like to thank his wife Kimberly, parents Ron and Millie, and wifes parents Joe and Chris for irconstant love and support, and Dom for his guidance. 1 more information, please visit his website: www.joebergamini.com Steve Leahy (illustrator) has been working as a professional illustrator since graduating from the [niversity of Massachusctts in 1991. His love of depicting photo-realistic themes has earned hit top pes ai the AirVenture show in Oshkosh, Wisconsin, in 1997, 1998, and 1999 as well as the lisher’s Award for Artistic Excellence in the 1998 American Society of Aviation Artists forum in Wichita, Kansas. In addition, he was included in the 33rd Society of Illustrators show in New York. iteve is currently an Artist Member of the American Society of Aviation Artists and the American Simbrush Association lermore information, please visit his website: www.stevenleahy.comIT’S YOUR MOVE Motions and Emotions Upstrokes and Downstrokes. SECTION 2: Performance Exercises Drum-Set Key. Combination Exercises... Drumistic FOrm.s... From Flam to Groove. Some Ruff Exercises. Flam Facility. 42 Intervention 48 Time Test...... 57 Sleight of Hand.. 59 Set Up the Singie Stroke. Shuffle the Four-Stroke. Seven-Note Grouping Using Shuffling the Sixteenth: “79 The Four-Stroke Ruft..To Al Miller, for his unending dedication to drumming and | his unselfish desire to share it constantly, and to all the past great drummers who experimented by trial and error and found the natural \path. They allowed us to learn from them and, ultimately, to open aur own doors of expression! | FOREWORD At the millennium, Dom Famularo maintains his status as soloist extraordinaire, world~ traveling percussion ambassador, and inspirational motivator to drummers everywhere. ‘To those ‘of us on the inside, it’s clear how much Dom has had to do with the recent explosion in interplay between hands and feet. His skill is all the more surprising when you know he was about 30 when he started with the duuble-bass technique. It’s Your Move contains many of Dom’s finest inspirations, I’m partial to the unison, or “togetherness” exercises. Obviously, there is much excellent practice material here. Even more unique is his exploration of the emotional side of drum-set artistry. I think that Dom has succeeded in communicating, on these pages, a large part of the pure joy and exuberance of his “big game” on the instrument. Dom started originally as a member, with his brothers, of a successful family band. By his early teens, he was a most effective music player. Soon he began serious study with Al Miller, a Long Island legend. Later, he was lucky enough to get lessons with the great Joc Morello (of Dave Brubeck fame). In the mid-seventies, Dom spent a year in Los Angeles, where he was taught formally by Colin Bailey (he of the fabulous right foot), and informally by the king of Hollywood jazz drumming, Shelly Manne. On his return to New York, Dom was soon successfully leading a progressive, fusion- style band. At the same time, hie began to perform drum demonstrations in stores, schools, and colleges. Soon, his dramatic soloing and potent personality qualities combined to move him away from Long Island and into the drum-clinic “big time.” He supported both Billy Cobham, and Simon Phillips, not taking a back seat to cither of these superstars. His decade-long relationship with Sabian Cymbals has accelerated his touring: Oslo to Tel Aviv; Buenos Aires to Beijing; Cairo to Montreal. At home, Dom maintains a steady, if often interrupted, teaching schedule. ‘The emotional and inspiring part of drumming is fascinating to Dom, as is his dedication to the progress and welfure of all who play the instrument. If you're hurting or in trouble, Dom comes hurtling on the double, ‘And he'll stick with you Until the problems end!* —Jim Chapin * From Jim Chapin’s CD, Songs, Solas, Stories. For more information visit www. domfamularo.com. uw| It’s Your Move | Motions and Emotions ‘a 1] By Dom Famularo with Joe BergaminiBy Dom Famularo with Joe Bergamini “I began writing this book years ago while teaching. There were many common issues and challenges facing CA CO eC eT) exercises work to give the drummer a full palette of skills and tools for contemporary drumset playing.” —Dom Famularo Pe eee a ery