Lesson

1 2

Lesson
2 16

Lesson3 22

Lesson4 32

Lesson5 41

Lesson6 4B

MIISO
@YAMAHA MUilDATI(II{

O Copyrighl 1997by YAMAHA Music Foundarion

tsbrcxclusiveuseat YAMAHA Music EducationSysem
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 BasicNotation

Abbreviations
RIDE .ide rymbal
CRASH crashcymblt
H .H . hi harcyD bals
L, open hi ha. (halfotrn)
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of DrumChartNotation
aRde cymbat.hyrhms (rghthand)as folows:
aSnaredrumrhythms ilefthand).tslo ow,s: tl
OBdssdrLrm rhythmslrlghtfoot).ls fo lows: .J
aH hat r hyr hnrusng
s the h hat peda i ei r
lolows: I ll l

aclosedandopef hl hatrhythnts
as fororls:
L, Opennnat
+ -closedh hat

a ndicatesa crashcymbdlaccent
alndicdtes
thespecefor a druntfil

o o .o oo. ,r /t..
"," o. o.. ., o
a ' .. d . r' , -o oo^
aclosed snarerim shot as fo lovis: I .
OBass Drumrhythmas fo ows: . I .,,

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8thBeat- rcapsuloiiatory
Bth beatrhythmwasformedaroundthe birthof rock muslcdurng the ate 1950s and early
1960s. lt featureda strongand stralghtrhythmlcgroovewhichwas wel acceptedby the
younger generation,
andls stilthemostcommon patternintodaysrockmustc.
rhythmlc

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HardRoak

HardRockwas introduced by BritishRockgroupssuch as Led Zeppeinand DeepPurpe

durlngthe ate 1960sandearly19?0's.Rlghthandquarternoterhythmlc
technlquesdrlvinga
dynamc8th beat grooveare the distlnct neededto masterthis styleof
ve characterlstics
orummn9.
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cyhor y (with Palins)

. copuarmusic,thereare manysituatlons wherethe drummer ls askedto playas he likes Whileit is

rcortant to createa groovethat preserves the basicstructureof the notatlon,sometimes t ls betterto
.'.:y as you fee throughthe muslcinsteadot playlng y
the nusic exact as written This kind of
a:Jntaneousrhythmlccreationfrequentlyproducesunexpectedand fresh musicalmornents.
l:qs€quently,wordphrasesareoftenwitten intornuslcchartsto glvedrummers a senseol dlrectionto
:_a rnusc. Forexaraplel
/ri!hfeelng Playas youfeelto fit the moodof the music.
s miarfeel Pay a similarfeel as a previoussectlon.ln genera,thls ls usedto abbreviate
engthynotationpatterns.
.ore openieel Playmorefreeythanbefore.
frLrm soo CreaterhlthmicpatternsorFthefly,Thereareseveralkindsof soos.(1) Drumssustaining
a rhlthmlcgroovewirlleothersrest. (2) Fl -in rhrthmicpatternswthout treakingthe
groove.(3)Freeformlmprovsatton.

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Balladsusingdow 16thnotegroovesbecame popularin the early19?0's.Beforethls,riplet-

werethe norm.But usinglothnotesyncopation,
feelballads ballads in the 19?0'screatedI
moresophisticated
soundandcatered to contemporaryurban By
taste. mastering
this kindof
grooveyourperformances
willbecafi€morecolorfulanddynamjc.

31
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16 Beatmediumgrooveemerged fromfunk music.rts godfather,JamesBTown,s Tecognzed

as the pioneerof this stye whichalsopassed throughjmportantartlstslikeSly
& the Family
Stone.N/lanyfamousfunk bandsof the 19?0,scontrlbutedto this soulful
atulu,nut grau,,
influencedfuturepopurarmusc.Differentfromthe straightedgedpowerof rocx musc,
tunk
teaturesexpressivedynamrcchangesand colorsand incrudeswrdevarieties percussion
of
:ns[ru're^t5
to 1d... o- idedlrnyr" n( TUSc.

40
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 LessonS

/-aReady Position

roprav'
Stickposirional resl.bclirc vou bcgin

AacentedStrokss
, S:roke Slrikc down irom the hiShPosilion
to hir.thenrelurnto slanPosrlron

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fl
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l() hil, and slop at ftc low Posrton
(ypically sbourone inch above$e
drum hcrd ) C onl i nuousslr okes
shouldbc unlcccntcd

UnaccentedStrokes
nil fron (he low Posilionand Pull
back l o the hi gh Posit r on
Continuous stmkosmdybe acceDled'
J T \ RT

::'oKe (T) Hi1 light frcm (hc low Position then

pull back lo fte samelo\l Po$non
C onri nuoussrokes maY be r ap

41
 AccontEx€rclr€s
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Slow Rock

SlowRockusng rripetrh!,thrns hasbeenusedin popuarmusicfor a reativelylongtime.

Durngthe 1940sand 1950,s it appearedfrequently
in bluesandjazzmusic.ln the 1960,s,
siowrockrh),thrns
heardin manyRhythmandBluessongsinfluenced futurepoputar musc
wth a moresophisticatedfee. In the samecategory
of tripetsyou canfindlaiobackbtues
tnpEts,smoothsoutfultriplets,as we as powerfui
rocktriplets.Eachhasits ownrh!.thmic
tasle.

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Shuffe Grooveen]erged fromjazzrhythmsand was wldelyused by rhythmano oues

musiclans.Becauseof lts emphasson the back-beatof the groove,lt is clearthat muchof
contemporaryTock.fusc flnds its roots in ShuffleGrooverhlthms.ExcitingShuffe Groove
rhythmsareknownbestfor theirablltyto firakepeopeup and happy.ShuffleGrooverhythms
usingrighthandquarternotehits are not a newtechnique, and areat the heartot up temoo
fvlotownsoulmuslc;at the sametlme,its infuenceon Britishrockls aso unmistakabe.

53
RUMS