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    Rothman Joel. - Basic Drumming PDF

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    JOLITO RAMOS

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    © All Rights Reserved
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    mwestare ELEMENTS OF MUSIC NOTATION consists of five lines and four spaces. ———— All music is usually written upon a staff, The Treble Clef ‘The Bass Clef |The Neutral Clef THE CLEF SIGN is placed at the beginning of the music. ———— ——_ = Music for the drums is usually written in the bass or neutral clef. Bar Line Bar Line Bar Line Bart BAR LINES separate the staff into measures, NOTES AND THEIR EQUIVALENT RESTS ae Whole Note Half Note Quater Note Eighth Now 16th Note 32nd Nowe Whole Rest | Quarter Rest Eighth Rest 16th Rest 32nd Rest THE TIME SIGNATURES The Time Signatures are figures given in fractional form at the beginning of a piece of music. The numerator tells the number of beats to a measure; the denominator tells che ea eatoeal 4 or “Common Time" isthe time signature most often used in popular music. GLOSSARY TEMPO MARKS indicate the speed at which the music should be played. The most common markings are. Slow Tempos Moderate to Fast Tempos Grave Slowly, sadly Moderato Ata moderate speed Largo ~---— Slowly, broadly Allegro — Quickly Lento ——— Very slowly, very sadly Allegretto ——— More quickly than Allegro Adagio — Slowly Presto — Fast Andante —— Ata leisurely pace Vivace Very fast ‘Andantino ~~ Somewhat faster than Andante Common terms that indicate tempo changes are: Atempo — means a return to the original speed after there was a change in tempo. Accelerando — (abb. accel.) — means a gradual speeding up of the tempo. Ritardando — (abb. rit.) — means a gradual slowing down in the tempo of the music. ‘Ad Libitum — (abb. ad lib) ~ means at the performer's pleasure. DYNAMIC MARKS indicate the degree of loudness or softness of the music. The most common terms are: pp pianissimo Very soft Extra Terms 'p piano——— Soft Da Capo (0.C.) —— From the beginning mp mezzo piano —- Medium soft Dal Segno (D.S.)— From the sign (%) mg mezzo forte — Medium loud Coda ——----—— A closing section added at the end J forte — Loud of a piece, shown by the Sf fortissimo —— Very loud Fine ————— The end sf2_ sforzando A short, strong accent Poco a poco —--- Little by little ——— crescendo (ab. cresc:) Staccato Short, detached A gradual increase in the volume. Tutti <== decrescendo (abb. decresc.) > Fermata Indicates a gradual decrease in the volume of the music. —— All everybody, ensemble Pause before proceeding © Copyright 1963 by Joe! Rothman ORS Deumant Drive P.O Bex 1017 Vonwhees Mew Jersey OR043 For the past several years, teachers have requested that | write an “all-in-one” drum method for beginning to intermediate students. BAS/C DRUMMING is just such a book. Obviously, no one study can possibly contain the total requirements of every private instructor saddled with the responsibility of tailoring a course of instruction to meet the individual needs of each student. Still, this book presents a wealth of highly organized material on a broad range of topics essential to the initial development of a well-rounded set player. Teachers will find sufficient exercises on most areas of drumming which they find necessary to teach. The one topic not covered in this book deals with the reading of drum charts. There simply wasn't enough room to explore the topic adequately. However, if this is an area of particular interest, | suggest the following books: CUT T/ME PARTS, DRUM ARRANGEMENTS, SHOW DRUMMING, and BIG BAND CHARTS. This edition has been revised and extended to include duets, mixed meters, additional roli studies and technique studies, as well asa mini dictionary of commonly used terms. in all there are over thirty pages of new material. TABLE OF CONTENTS SECTION ONE — READING BASIC RHYTHMS Reading in “Quarter” Time ee es Pgs. 345 Reading in “Eighth” Time 46-52 SECTION TWO — READING ROLLS Rolling in “Quarter’” Time ae 54.65 Rolling in “Eighth” Time aoe 66-67 SECTION THREE — BASIC DRUM TECHNIQUE Basic Sticking Patterns Featuring The Right Hand... . pee col Left Hand Control. . 82-86 Accent-Studies . . . 87-91 Rudimental-Type Exercises . eee eee 92119 The 40 International Rudiments... . aoe 120-121 Sticking Patterns with Quintuplets and Septuplets .. .. . . Dieteee 122 SECTION FOUR ~ BASIC ROCK DRUMMING Rock Beats with 1/8 Notes . + 124-127 Rock Beats with 1/16 Notes. . 0... 4 sees 128-138 Rock Beats with 1/16 Note Triplets. sss ee eee 139-140 Rock Coordination Phrased 3/8, 3/8, 2/8... . . « 141 Rock Beats with a 6/8 or 12/8 Feel. 142-145 Shuffle Rock Beats... . . . eee 146 1/16 Note Cymbal Beats . . ae ee ee. 147-149 Rock Beats in 3/4, 5/4, & 7/4... 0... aa sees 150151 Disco-Style To Develop Hi-Hat Splashes. . « tee 152157 Rock Breaks... . 158-163 SECTION FIVE - BASIC JAZZ DRUMMING. Cymbal-Snare Coordination . 165-171 Cymbal-Snare-Bass Coord . 172 Cymbal Variations... . . . 173 Simple Jazz Breaks . . Goe0e : 174 Four-Measure Solos... . . ae Sa6 ren AL) SECTION SIX — DANCE BAND BEATS AND VARIATIONS Part One: Rock Beats, Waltz, Lindy, Polka, Peabody, Tarantella, Mexican 181-186 Hat Dance, Irish Jig, Jewish Beats, Greek Beats, Military Beats. Part Two: (Latin Rhythms): Clave Beat, Merengue, Bossa Nova, Mambo, 187-190 Cha Cha, Rhumba, Beguine, Bolero, Samba, Tango, Afro Cuban, Conga, Paila Beats, Paso Doble. NOTE: Two pages of drum manuscript paper are presented at the end, as well as a Mini ‘Music Dictionary. ©Copyright 1983 by Joe! Rothman 1085 Oumont Drive, P.O. Box 1017, Voorhees, New Jersey 08043, International Copyright Secured Made in U.S.A. All Rights Reserved SECTION ONE READING BASIC RHYTHM This section contains two main parts. The first, and most extensive part, deals with the reading of rhythm in “quarter” time, where the quarter-note represents the basic beat. The exercises are mostly in 4/4 time, but there are a few in 2/4 “and 3/4 time, as well as summary exercises in 5/4 time and mixed meters. ‘The second part of this section deals with reading rhythm in “eighth” time, with the eighth-note acting as the basic beat. Dynamic marks are sprinkled throughout the entire section. However, since the book is mostly for beginning to intermediate students, the dynamics should be thought of as secondary. First, try to gain understanding and fluency ith the rhythm in each exercise, then replay the exercises and include the indicated dynamics. A more thorough presentation of dynamics can be found in DYNAMIC CONTROL, and MUSICAL STUDIES FOR THE INTERMEDIATE SNARE DRUMMER. Once this section has been completed, return to the begin- ning and replay selected exercises in cut time. READING IN “QUARTER” TIME 1/4 NOTES AND 1/4 RESTS © Copyright 1983, by Joel Rothman 3 SUMMARY OF 1/4 NOTES AND 1/4 RESTS 1/2 NOTES AND 1/4 NOTES cut: 1 2 9 4 1 2 3 4 4 2 3 4 1 2 3 4 1/2 NOTES, 1/4 NOTES, AND 1/4 RESTS cut: 1 2 3 4 + 2 3 4 4 2 3 4 4 2 3 4 HALF RESTS, WHOLE NOTES, AND WHOLE RESTS coum: 1 2 9 4 1 2 3 4 1203 4 1 2 39 4 SUMMARY IN 5/4 TIME 2 la eee chee) { 1/8 NOTES AND 1/4 NOTES count: 1 | = (Repeat previous measure) SUMMARY OF 1/8 NOTES AND 1/4 NOTES com: 1 203 4+ ieee zee Serna, Tet onTIaEe T+ 2eaeae 1st and 2nd endings are commonly used in music. First, play the entire exercise including the 1st ending. Then repeat to the beginning of the music, Do not play the 2nd ending at this time. The second time you play the exercise, skip the Ist ending measure and go directly to the 2nd ending. SUMMARY IN 3/4 TIME * Note: From now on, dynamic marks will appear in most exercises. 9 SUMMARY IN 5/4 TIME DUET 1/8 RESTS ON THE UPBEAT Pata aS Eee Tasos 1/8 RESTS ON THE DOWNBEAT coumts1 + 243444 Ve2egeae Verztaeae (imenceersnerane counts} +2434 4 saa) ice re) 142 344+ Ve 2zegtas mf cout + 2+ 3944+ Leozeat ar T+ 24 3444 t+ 2+aeae MORE 1/8 RESTS ON THE DOWNBEAT count: 1+ 2 344+ T4243 4+ 1+2 344% ease) COMBINATIONS OF 1/8 RESTS ON THE UPBEAT AND DOWNBEAT count: + 2G HAE T+24+3444 Pee aeat 1+24 344+ coum:t + 24+ 344+ re2earar ve 2+ arate Teese one ale af ‘erese. poco a poco Sf cums 2+ Ha r+ 2+ arae 1+24 3444 1+24 344+ SUMMARY OF PREVIOUSLY LEARNED RHYTHMS count: 1+ 243 44 tee sae) re243 44 142 3444 peli a et a hd mf sempre SUMMARY IN 5/4 TIME Count: 243 445 Ja eas ease) pee ees hetal Oe ae) ace asi " SUMMARY IN MIXED METERS Counts + 2 + 1 2 eet 2) 1 424 ae 1 +24 3 TIES FROM 1/4 NOTES (As written) (As played) (As written) (As played) coun: 1 2 3 4 4 2 3 4 1203 4 4 2 3 4 TIES FROM 1/2 NOTES (As written) {As counted) (As written} (As counted} cous 20 3 TIES FROM DOWNBEAT 1/8 NOTES {As written) {As played) (As written) {As played) coum: 1) 2e 3+ 4e THD. 4R +4 Le resear rH2+3 46 TIES ONTO DOWNBEAT 1/8 NOTES (As written) (As counted) (As written) (As counted) cout: 14249444 eats cetlale ote snenaes Te 2zeae at TIES FROM UPBEAT 1/8 NOTES Ra PR A A Ai DOTTED 1/2 NOTES (As written) (As played) (As written) (As played) DOTTED 1/4 NOTES (As written) {As played) (As written) (As played) 4 a4 = pS S decresc. poco a poco A single dot placed after a note increases its duration by a half, 20 SYNCOPATION WITH 1/8 NOTES AND 1/4 NOTES (As written) (As played) (As written) (As played) count: 1+ 249444 Vezegeas re2ze gear 1+2+3ae44 re 24 ae ae verzeageae V+2z+arat Ve2eaeas count:t + 2 + 344+ re2zeate ae rezegeae Te2earat 2 SYNCOPATION WITH 1/8 RESTS ON THE DOWNBEAT count: 1 +24 344 1+24 3944 1424 grat eeazaeaot tas) pees sah ae Bas || a eS Ee SYNCOPATION WITH 1/8 RESTS ON THE UPBEAT AND DOTTED 1/4 NOTES counts} + 2+ 3444 reat ae at 142+ a44at MORE SYNCOPATION (As written) (As played) {As written) (As played) T+ 243444 com 1+ 24 SH4s VH2434 44 Te2tatae cout: 1+ 24 944 + T+2+344 V+2ear ase T+ 2eae4e SUMMARY OF SYNCOPATION SUMMARY OF SYNCOPATION IN 5/4 TIME 2°39 445+ 14243 4 5 qaph NN atl N ht hs INTRODUCING 1/16 NOTES coun: 14 24SF de td 1+ 2tSe detd 1424+ 304044 142+ 3e+aa+ coun: 1 +24 9etddetd 1424 3e+ddetd 1+ 2e+dat derad — > —_S ———aS coun: 1 + 2+ 3etd 1+ Dera + leta2+a+ Terd2esda+ 25 1/16 NOTES ON THE UPBEAT count: 142+ 3+ 44d 14+2+ 34 446 1+2+ 34444 Lt2t+ s+das — cout:1 +2 3+ 44d 142 9404 1+24da4 4 1+d2+3 4 count:1 4 2etd3 44d 1 24d34 4e4d 12 Setd4td 1 2etaataa TSE. | ASD SE a alata pe 1/16 NOTES ON THE DOWNBEAT coun: 142434404 1+ 24394404 L+2 430+ 4+ 1+ 2+ ger ae mf count +2 3 +4e+ 142 Bet ae 1+2er ata te+ 2+ a4 4 yf conti etd? 34+ 4e+ 1+ 2e+ Zeta letd2+3e+4 1 2e+ 34 4etd 27 1/16 NOTES ON THE UPBEAT AND DOWNBEAT count: 142 34 4e+ 1+2 443 4e+ 1 24 34d4e+ 1442 Seta P poco a poco crese. r | Ee tata aa a SUMMARY OF 1/16 NOTES IN 3/4 TIME count: te+d2+d3e+ 1e+d2 +d3e4 let+é2e+ 3 +0 letd2e+ a+d = = = mf sempre DUET 1/16 NOTE RESTS count: Le td 2e +d letd2e+d tet+d2eta letd2etd TIES ON 1/16 NOTES (As written) (As counted) (As written) {As counted) 31 DOTTED 1/8 NOTES (As written) (As played) ta 2+ count: 1 +d 20 + 1 count 142434440 1424 34044 +2 (pS eae = ae Ge ; = E == 1424 34ddetd 1td2e+d3atd4 aS Sa 22 DOTTED 1/4 NOTES WITH 1/16 NOTES ON THE UPBEAT (As written) (As played) count: 1 2+d3 4 +d 12443 444 count: 142+ Jetda Is2edaeras 14243 + 4e+d 1424034 deta DOUBLE DOTTED 1/4 NOTES {As written) (As played) {As played) count: 2+4 3 4¢d 1 2+4 3 44d 1 24d 3 440 count: 142+ Je td W42+d3era4 reat aera _ | NR | | | aS \ a Two dots placed after a note increaces its duration by three quarters of its original value. 33 SYNCOPATION WITH 1/8 NOTES AND 1/16 NOTES (As written) (As played) (As counted) count: 1e+d 2e +d tet+td2era le+d2e+d 1/8 NOTE AND 1/16 NOTE SYNCOPATION— WITH RESTS AND DOTS count: Te+d2 etd 1tet+d2e+d¢ 1 +d2e4+d 1 e+a2 +46 countste td 2etd Letd2e +4 SS - ial —=. mf count: e +d 2 etd tetd2e +d 1 +42 e+% 1oetd2 44 35 INTRODUCING 1/8 NOTE TRIPLETS count: 1 2 3 4wiplet 1 2 3 4triptet 12 Striptet 4 12 Striptet 4 3 3 3 3. In playing triplets, there are several counts that can be used. | suggest the student first count 1 trip-let, 2 trip-let, 3 trip-let, 4 trip-let. After developing a feel for the triplet rhythm, the count may be reduced to 1, 2, 3, 4 The student should also become familiar with two distinct sticking patterns for the triplet. Te first is alternating hands. The second is playing the triplets with two rights followed by a left (RRL). This pattern enables the player to always lead with the right hand, and a natural accent falls on the third part of the triplet producing a more “swinging” sound. Both stickings are important and each should be incorporated at the appropriate time. 36 1/8 TRIPLETS WITH'A REST ON THE UPBEAT Ss Sy ——==_F The fermata sign over a note (@) means pause before proceeding. SUMMARY IN 3/4 TIME 37 1/8 TRIPLETS WITH A REST IN THE MIDDLE 1/8 NOTE TRIPLETS WITH TWO RESTS 1/4 NOTE TRIPLETS (As written) (As played) {As written) (As counted) nl 3 3 To 3 3 1/2 NOTE TRIPLETS (As written) {As played) (As written) (As counted) ——3— I 3 —3— 33 3 3 1/8 NOTE TRIPLETS CONTAINING 1/16 NOTES 3 (SSSR eS SS ay 1/8 NOTES AND 1/8 NOTE TRIPLETS 42 1/16 NOTE TRIPLETS — FROM THE UPBEAT 1/16 NOTE TRIPLETS FROM THE UPBEAT AND DOWNBEAT SUMMARY OF 1/16 NOTE TRIPLETS 3 33 3. 3 3 3 es pees ee ne 1/16 NOTE TRIPLETS WITH 1/16 NOTES 3 3 aaa aa. = 45 READING IN “EIGHTH” TIME 1/8 NOTES AND 1/8 RESTS cont 1239456 123456 123456 123 456 oT Bee poten era fe rey ere ~ = mf sempre ~ = Sa 1/4 NOTES AND DOTTED 1/4 NOTES 47 SUMMARY IN 3/8, 9/8 AND 12/8 li oa aia EB ace es eee potas S PY pesstegtaatephe = SUMMARY IN 5/8, 7/8 AND MIXED METERS 123456 te2+1 ae 49 INTRODUCING 1/16 NOTES cout: 123 45 6+ = =< F sempre 12+3 45 6 1/16 NOTE RESTS count: 12344564 if sempre 1243 4546 14243444546 51 DOTTED 1/8 NOTES 1424344 546 1243 45+ 6+ {As Written) 12+3 4 546 ro2- (As Played) Duplet 52 SECTION TWO READING ROLLS There are two methods for teaching rolls. One is the press roll app: roach, where the student is able to produce a sustained roll in a com: paratively short period of time. Rolls produced in this manner, how: ever, initially sound sloppy and uneven. As the student progresses, it is expected that he will develop a finer skill to execute these rolls with smoothness and finesse. Proponents of this approach assert that for all Practical purposes, since the press rolll is the roll that is actually used, especially in orchestral playing, students should be trained early in their studies to think of a roll simply as a continuous and smooth sound for a given length of time. The second method for teaching rolls is based upon the rudimental or traditional approach, which requires a student in the early stages of learning to play a precise number of “open” double strokes when he reads a written roll. As the student's technical prowess increases, he is able to play the open doubles at an increasingly greater speed. Even tually, the student will reach a maximum speed with open doubles, at which point the closed or press roll comes almost naturally. It takes an average student anywhere from one to two years to play a smooth closed roll through the rudimental approach. Although this method is initially tedious and time-consuming, its advocates claim that as an end result, the student gains much greater control and overall technique than in the press roll approach. Moreover, this greater control with open doubles and its resulting machine gun-like sound on the snare is extremely useful when it comes to playing jazz and rock solos around the drum set. In general, this author tends to agree with the advocates of the latter method, and the approach that is notated on the following pages is basically a traditional or rudimental one. All exercises are presented as “measured” rolls, with a predetermined number of double strokes for each beat. The two approaches, however, are not mutually exclusive Teaching the press roll should be initiated and incorporated at an early stage, in combination with the approach that | have chosen to illustrate. In fact, the exercises in this study not only can be played as'written, with 3 predetermined number of double strokes per beat, but they can also be played with press rolls. It should be added that the same exer: cises could even be played with alternating sticking, thereby providing the reader with the opportunity to develop his single-stroke rolls. One final point’ the pages in this section contain measured rolls which are based upon doubling sixteenth-notes, enabling a nine-stroke roll to be played for each beat. If the section is replayed in cut time, the rolls would be played as five strokes to a beat. However, another group of measured rolls exists, based upon doubling sixteenth-note .triplets, allowing thirteen-stroke rolls to be played for each beat. Since there isn’t enough room to present a separate study with these triplet rolls, | suggest that the reader replay all the exercises, using thirteen-stroke rolls to a beat. Page 109 contains a series of exercises to develop triplet rolls. . For a further study of rolls in all théir ramifications, | recommend the books ROLL CONTROL, and ROLLS, ROLLS, ROLLS. ROLLS ON 1/4 NOTES Nine strokes to a beat (quarter-note). (As written) (As played) bok LLRA LEAR ROLLS ON 1/2 NOTES a = fae faa] ROLLS ON WHOLE NOTES Z __g 1/8 NOTE ROLLS FROM THE DOWNBEAT (As written) (As played) RRELR LURRLE 5 strokes — (As written) (As played) 1/8 NOTE ROLLS FROM THE UPBEAT {As written) (As played) = eri en 1 5 strokes-— 87 1/8 NOTE ROLLS FROM THE UPBEAT AND DOWNBEAT ROLLS ON SYNCOPATED RHYTHMS (As written) (As played) (As written) (As played) (As written) (As played) 59 ROLLS WITHOUT TIES (As written) (As played) (As written) (As played) (As written) (As played) SUMMARY OF ROLLS WITH AND WITHOUT TIES ROLLS TIED TO 1/16 NOTES (As written] (As played) 61 “INSIDE” 1/8 NOTE ROLLS FIVE-STROKE ROLLS STARTING ON “E” AND ENDING ON “D”" (As Written) or {As Written) (As Played) aor ae Meee 5 stroke roll FIVE-STROKE ROLLS STARTING ON “D” AND ENDING ON “E”” (As Written} (As pan iene eoaeis fede atd eecemeaies bi 4 I ALR CURAL ROL Al 6 stroke ral 62 DOTTED 1/8 NOTE ROLLS ON THE DOWNBEAT (As Written) (As Played) RL ROL RARLLRRL, RALLARL 7 stroke rolls (As written) (As played) > FE fas iS Pee —* : iS=2 DOTTED 1/8 NOTE ROLLS ON THE COUNT of “E” (As Written) (As played) , Letd2 + te +6 27+ R LURRLLA 7 stroke roll 63 SEVEN-STROKE ROLLS STARTING ON “AN” AND ENDING ON “E” (As Written) a era2e+ RL ARLLRRU RL (As Played) “Tstroke roll” SEVEN-STROKE ROLLS STARTING ON “D”’ AND ENDING ON “AN” (As Written} or (As Written} (As Played) esd 2erd ve+ta2 + etd 2 es ‘T stroke roll” 9, 11, 13, AND 15 STROKE ROLLS STARTING AND ENDING ON DIFFERENT PARTS OF THE BEAT 7 9 9 7 9 RUCARLLARL AL : a Numbers above the notes indicate the length of the double-stroke rolls. 65 ROLLING IN “EIGHTH” TIME AT SLOW TEMPOS 5 STROKES TO THE BEAT (As Written) (As Played) (As Written} (As Played) SS Port ROLLING IN “EIGHTH” TIME AT MODERATE TEMPOS 9 STROKES TO THE DOTTED 1/4 NOTE Doubling the Quadruplet Quadruptet {As Played} Es — ne (As Written) Replay the first three lines at a fast tempo using seven stroke rolls to a tied dotted quarter-note roll As Written As Played le " TRRULLRA LOR 67 SECTION THREE BASIC DRUM TECHNIQUE This section starts with basic sticking patterns using eighth: notes and triplets, For the most part, the right hand is featured, and it predominates in all the exercises. Replaying each exercise in reverse will allow the left hand to play the predominant role, and the second part of this section presents a comprehensive study tailored specifically to developing left hand contro! The third part of Section Three is an accent study with eighth: notes and triplets. By playing all accented notes on various tom toms, and all unaccented notes on the snare, the reader will be able to develop fluency with fundamental patterns around the drums. If you desire extra material along these lines, | suggest the book: A QUARTET OF RECIPES AROUND THE DRUMS, After the accent study, there is an extensive presentation of rudimental-type exercises including flams, ruffs, drags, single. stroke rolls, double-stroke open rolls, paradiddles, the 40 international rudiments, as well as special exercises with quintuplets and septuplets. EASY DRUM SOLOS TO DEVELOP TECHNIQUE is a, new book which incorporates all these topic in easy-to-play four- measure solos. For the most in-depth study of all aspects of technique | suggest: BASIC DRUM TECHNIQUE AND BEYOND. BASIC STICKING PATTERNS WITH 1/8 NOTES (Featuring the Right Hand) roy pO oy poony poo Dy py poy poy poy py pO Oy pony 2B 26. 27. 28. I I E sean cg a asincsrgniaiat Mm ancaiccrsia ag leanne | poy poy poo, STL y Aik A i 4 p 2 3s 2s Hs di A i db dl wey pL Wy py poo r 2 ‘ “ RLU RRULUL RLULRURRL RLLRALRLE TRLURLALR | 69 COMBINING BASIC STICKING PATTERNS FOR TWO MEASURES Group One 1 2 HAIN NTs 5 4 STITT. icine taieeel lense en in prgr niceayt aggre ivan trite a 4 Ik LY 4h 1,2 y RURCALRL! ALLALURE RLRLRUCAL | AARLRLRAL Hoy pom, RLRERERE! RERRALREL RLRLRUERL ) RUERRLRAL pO om, " RUERLRUERL | LRLEARLALR ae WOOT, oy poo, omy RURLALAL! LRRLR ALR RLRLALAL! LRLLALLA Group Two 1 2 pT Oy INO, Amy RURLA RULER RLEARRLALE RLRULRRLR RULER ARERAL TAO, any pono, onan, RLRLRARLR ALLALALL RLALRRER RLLALLAE PID, Ty jo, oom, RULRLARLAR LARLALRLR REC IR UEAGA) Cele ae CERI tin dA) ees ITT STO, pI, Jy 70 =o Group Three ros aa ooy Too oom RURRLRRL | RARLALRLL To, Samy poo, omy RLERALCRAL! RLARRLRLA RURRLRAL! RLRALRLL TOT RULRALRAL! RALLARER at 0. OTT IT, RUERRLERAL! LRLLALLAR RULRRURRL | CRRURALR Group Four Inyo, RUERRULALL! RALLERALL RURALALLE | RALARLRL po wy sam RLRALRLL: RALALRAL RURRLRLE | RRLALLAL TIO Ty pO oy ALARLALLE | RLLRALLR RURRERLL |! RLLRLREL ooo, ¢o on. omy RURRLERLL! RLELALRRE RURRERLEL | RLERLLRE n e770 TL, ST Ty tran aa oy f= PEePeEee ,onony, |; RRURALA STN ITD RULALL AL Group Five RRLRULRARL \ T0 ‘ TOT To ANT ONT, a fh TOOT, FOI y pO, oom RARLARLAR RRLARLAR J7T1.JTD5 RRUR ALAR JNO AALARLRR my LRLRLERLLE Group Six my LRURLALL TmODy pO, y LRU RLERRLE RRULRRLRAR . LRLRARLAL LERRLLRL | TT RRLRALRR LLRLERLL RRUERRUERA LERLEARL 10. LRRLULRALL RRLARRUERR L 72 TT rm, RLLRLUERL LRRURRLR RRLARRLRR! LRLALLAL Group Seven ny RRLRULRRL | RARLARLRL a, RRLRLARL | REAR RLARL Group Eight jon, ono, RRULRULRRL | RRERLREL RRLALRARL ITT ITT. LRLLARLL To omy Pea age e ee RLRRALALL Rl Cee Cee eae Ry ena RALRLARL | 4 Oy RURRURRL 3 NRRL RRURL ono RRURRLLR Poo, ono, TOTDy RULRLRRLL Group Nine Group Ten RRULRLARLR pO omy RRLARLRLR PRRURROERL! AREALALE 0 Oy Rag) OER Inte e URC RECO j ODO, ono y RURRURRL om RRLRRLLR omomy LRLALRLL Group Eleven pO RRURLLAL | pT RRURLURL 4 pODOD, ooo, LRLULRLRGL GARCIA een Coee (Cnt R ina ere Ay Oooo, CRRLURARL Gr RALRUERLL RRURULRLL | JT ARLURALL RRLALLARL | RLRALALL oup Twelve 4 pO, oom, aCe ten her eng erence RLRLRARLL Woo besitetcteractcedl Group Thirteen AALULRALR RRULLRALL Sooty pola RURRURRL LRURLRLL Gro RRLLRURL STN MRA LLRALR.! ARLRARAL TOO Any poy RRLURALR | LRLERELRE up Fourteen 2. pO AA LUERARLL ARLALRARL | RRLLARALL RRURLRLL 4 poy RRULLRALL LRURLRL 74 Group Fifteen woh Soy pO oom, RULLRRLLR RLLRALAL iS cetRER UeUER eae Ree er ear aR ST TT. JIT) fT, FAT y RLUERRLER! LERLLRLL ALLERRLER LALRLRE Group Sixteen ro oy} my RLLRLERAL! LRALRELA Rye Re) Cee ean Group Seventeen pO, OOo y RULLRRURL |) LARLRLALA | 4 Ps IUCR EG CAR Caen ee na aes pO, OOo, 4m, om, = 2 Group Eighteen pO, Ono y RLLRURLR | LCRLRURARL pon ony poo. oon, MY i] LALURALA RLLALRLR — 75 Group Nineteen poo Oy 7.0, oom, RURLALRA | LRLALLRL RURULRLRR! LRLLALLL JT Oy 4» OO oo, RULRLRLAR) LCRRLLARL RLRLALAR LURALLRE =: Group Twenty oo oy po, oo AUREL RLLR! REL RRLELE RLRLRLLR | RLULARLRLR I BE k E 7 ‘ Group Twenty One 1 2 4 Ty poo) omy AUREL ALR CERLEALE RULALLERLER | LALRLALR Group Twenty Two an, onony po oy ALRLLE RRL! LALLURLLR RURLLRRLE LRLELALRAL 1 cn y pa LRRLURLR RLALLRRL | RUERRCRLL 76 Group Twenty Three RRLURLRL! CRLELRLRL — RRURRRUR! RALRRLERL RRLURLAL Group Twenty Four Tay i}. oy . HOF ny pom, RARURRRLR RRUERLARLR RRULRRARLR ! 1 2. L a. BLS I. IKeraattatbestestad =I Group Twenty Five RURRLLRL WAP Wy oy po, Cie Cer tenpe rs LITT y RRURLALL RRURLRRE AAD y “URURLA CRT CRIES rt, oy pono mony RURRLUERL LRUELALLR I RURRLERLR! RUERRLARL 3 7 Group Twenty Six MTT y= pT. RURALURL RURRURUR LRURLRAL +A TTL y LRURURLL HAI pA oy STICKING PATTERNS FOR FOUR WITH EIGHTH NOTES MEASURES I: | ___g. RLRRLAAL RLURALALR LRLALRAL 2 RURAL ALR RLARLALA LALALALA L TTL, j-IOT “ TT, TI, RRLRLRLR LRLERALRE ATT a RLURRURL poo, . jlo, omam, RLLRLRLA RL RULLRRE poo. 4 RULRLRLLUR + TOA eee, peers RARLALR LR RRLLR ALL RLLRRLLR RLELARLRE RLLRLLRL LRLLALLR RLRLERLERL RLERLLAAL RLRLRLLR H "RLLRALLR 78 BASIC STICKING PATTERNS WITH TRIPLETS RARULL RARLRL RRLLRL yy RURLLR TURRLAR COMBINATIONS OF BASIC TRIPLET PATTERNS 4 i pns my 3 3 3 3 RLRLAL RRLRRL ALRLRL RLRRLR = 3 3 3 3 RLRURL RLLRLL 33 3 3 10. I: 13. vy ALRLRL LRRLRL RLRLAL LALALR 3 3 See dee eases) pei I 4 ARLALL 1 pT LT y " RLRLAL RLRRLL RURLRL RLLRRL 303 3 3 RLRLAL LALRLL 3 RLRLAL LRRLLR vy 3 3 33 & 3. 3. 1. 3 3 3 3 33 not ese ee) wm 3 3 be LRLRLA Manne i RLRLRL RLALLA 3 I RLURLRL LURLAL 79 RURLRL LLRLLR 1 33 4 3 3 3 3 jp, RLURLL RLL RAL 7 go 3 3 3 1, 3 3 3 3 pO ID, 2 3 3 3 arreeryetretea pun skeen) RALRLL RLRALL Fiaee Seeet SbeeetseeaeG| pL y RALLAL RURRLL 13 RURRLL RALRRL i 3 3) 33 RLLRRL RALRRL , NM Ny dhs RRLLRL RLLRAL 4 3 3) 3) 3 pO Ty RURRLL RELARL 2», 3 3 3 3 oi lee 3.3 . J I, RURALA LALRLR at to esroleetsuees) » SII ALRLLR LUERLLR RLLRLR LARLRL RLRLRR LALALL i suit chthy = = RLURALR LRULRLL RURLLR LURLLE 26 on 3) 3 l. J J | bey 28. 3 3 3 3 poo RURLAR LLALRL ey = a 3 3 3 3 a Ii: " RALLAR LLERALL ARLURR LALALL ee RRUARL RALLAL 6. o 3 3 3 A RARLALL RLALRL RLLARL LRALLR prepa set rclee ese) pT 4 RLRALR LLRLLR RURLLR LRLRLL “RLAURR LLRALL 3 3 3 3 RRLLRA LLALRL weed 7 4 RRURLLRURLAL STICKING PATTERNS WITH 1/8 TRIPLETS FOR FOUR MEASURES RRURRURLRLRL 3 3) 3) 3 LT RURLARLRALRAL Ot Ce a er pO RURRULLRURLRL LR URL RUA RLLALRALL 3 3 63) 3 RLLRRURLUERRL RRLURLARLRURE Siero gad) RRRLLLRURERE RRLLERLARLUERL 3 3 RRRULLLARRCLL LRRULLRLRLAL | R eee See oat arg) : pracaineacnaiacisll : RARLLLEREREARE LEFT HAND CONTROL LEFT HAND STICKING PATTERNS WITH EIGHTH NOTES FOR ONE MEASURE In this section the left hand leads or predominates in most exercises. ieee) ae] ‘A REC eD ere jp) OT. RELRELEL t TOOT, { URC aUeCen abel = I -eade Ty LLLALLOUR ; Ono 4 ea etp ARG can an fj STILT Oe ereenat ‘9 — T™) HTT pt ded ced olf LRLLLALR jee eee LAR RELL RE odd. LLL RL ALR = i- Jd ITT A eC tare) ees 2 TO. | RLELLELREL Ono 4 LERLEERE j}-oy USEUe RI ree lee jo Hl LRULRLALR ji- < 10 + i LURLLARUR jo ony LRRLULRRE jj022 JT De Bpe peters ce joy LLL R LURE 82 Ono» RERLELLL ; ono 4 Ur jos LeRebALE (Re Celr eae ji} 4 LLARLLLR jp COOL bance i oe T1_4 LA RLLLLA LRALLERA Patera ean oh et = LAR LEFT HAND STICKING PATTERNS WITH EIGHTH NOTES FOR TWO MEASURES 4D ona pO oy RELLLLAL LeceReee ATL, RLLELALE jo CLeRLLEL ITT RLLLLALE j- JO RLELURLLL LRLUERLLL OO. RLLELERLL ALLLERELL RLELELELEE RLUERLELE 6. RLLLALLE jo. RLLLERELE LRLELRELE jo, So, RLLRLLEL LALERELE OTL. (Tn, Sm. RLELLERLLL LE RLLRLL LERLLRLL jf; TT i omom RLLRLELER LUERLLREL pO, So, RLLRLLAL j- LRLELLLE O00 RLLRULARL Ton LRLURLLL TI. RLLRLLRL LRLRERLL Iman RLLALLARL Oo Cee cea LURLLRLL STOO LRLLRLLE jm LRLLLALL LRLLERLLEL LERLERLE tO, Oy LRLLLERE LLRLLALL jo, LRLLEREL LERELREL pT, Ty. LERLEREL LRELRELE CANO RC ee Cera eCrRe LEFT HAND STICKING PATTERNS WITH EIGHTH NOTES FOR FOUR MEASURES pee 4. JT TTT. muLevece atitaLee © meuuteee jp 04 To, aLELLALL ALULALLL | MLELERLL 2 joo TO 4, —_, J Ty eeeeres RLuREERL | LRLLALLL 1. TO T0004 om aLtERteL ALERLERL © LALERLLL s jr. OTL, TT HLLRELUL REERLLER | CLURLLLL i 14S jodi JIT * OL doy ALLALURL RLEREERL | LALURLLL f To, jefood TT 4$—_, : 4 mLtaenee ALERERLA | LALALALL joo 04 200 BLRLLit Beeston atom A} i | jf 20ST» Ton, Foy aLatinee AUREL ALE | CRLULRLLE pT. * S414 SO OLy LEFT HAND STICKING PATTERNS WITH TRIPLETS FOR ONE MEASURE ' 3 3 3 3 iO Oy RLELEt mtauce 3 3 3 3 ST Ty ee ee ae eee se 3 3 3 3 pO my Retmeeatrtice 3 3 3 3 poo Foy RERECLEL RERELE poo y RELL RL RERELE RELER EL LLALR EL RLLEARL Ree R EL jmommmy ee Cert jOmmms eet neect reer LER LL R LLALLA 3 fi 3 3 pod TOL pe FO lf 3 3 jrocooomy eRe et Re Geen tee 85 LEFT HAND STICKING PATTERNS WITH TRIPLETS FOR TWO MEASURES ig co 3 3 3 3 3 3 ‘ RE EEE bE ReEEEER REER EL REEEEE (oo oy RULER Em bte ee MEE MEL AELLAL e 3 3 3 3 3 3 3 3 i + ‘Al PEEL tC metate RLLeMLivMiee a 3 3 3 3 3 3 3 3 7700, A a. I} mes lee ele PELERL AELLAL mttiMLeiniee 5 3 3 3 3 3 3 3 3 (umm, mmmm_y 6 3 3 3 3 3 3 3 3 peeves eekes cere eee | Pewee e meRteL MLLAeL etaeee 7 3 3 3 3 3 3 3 3 | TOT oo, So Ie : ae ea | RLER LEE’ RARER LEE REEL ARL VERELE 8. 3 3 3 3 3 3 3 3 pO TO, oo So oe ay 9. 3 3 3 3 3 3 3 3 joo To Soo Tn a 4 Lotwin catnin tatimtcaccer 10. 3 3 3 3 3 3 3 3 |---| SO Le ey 86 ACCENT STUDIES ACCENTS ON 1/8 NOTES (For One Measure) wy pO ODy poy poy pI py poy py pO, py py poy OIy poy py py py py poy jy poo, pO y pO, *Note: On all the pages with accents, play the exercises with alternating sticking (single strokes), leading with the right hand. Also, try placing accented notes on the tom toms, and unaccented notes on the snare drum. This will develop the facility for moving from one drum to another during breaks and solos. Two other books dealing with accents are: FUN WITH ACCENTS AROUND THE DRUMS ACCENTS AND SOLOS FOR JAZZ AND ROCK DRUMMING 87 ACCENTS ON 1/8 NOTES (For Two Measures) > > a> tet JTL, > > > ACCENTS ON 1/8 NOTES (For Four Measures) 10 pee = ACCENTS ON TRIPLETS 1 = ~3 39 13 3 Ty. I, ° : (For One Measure) 2s os? 3 3, 3 OT Ty oes 38 6 = aoe 27. 0 get 23 3. 3, 33 8 3 Lee oS nal RUDIMENTAL—TYPE EXERCISES EXERCISES WITH FLAMS ae Pea a a4 4 oe —_ ee = 4 cn se a4 es a oat wet se eae si oe —_ oa es cs C= u | % ane x cee Hl theg eul ag eo ppc Of—ye os 15 m ak ca ee ae 19, 18. ce se 2 RR R RR RA RRA A LRELL L RRR RARRR R R ce ce eo ce se 24, EXERCISES WITH RUFFS 3 STROKE OPEN RUFFS (FROM THE DOWNBEAT) RLR LAL RLALRE jo mny jomom,y RL RL RLR CRE Rao He Cen cent) R URL ALRLRLE RULARLRLALRL RLERLALALALAL 3 STROKE OPEN RUFFS (FROM THE UPBEAT) 1 7 RURL RULER LAL AL Oo ay poOCAO Ey Re RL RERLRE RL R LRUER LAL +4 ORS RURLALRL RE RURLRLRLAL ROLRL RUR LAL RL 3 STROKE OPEN RUFFS (FROM THE DOWNBEAT AND UPBEAT) jon 4 igo AO OPEN ROLLS—SINGLE STROKES 5 STROKE OPEN ROLLS FROM THE DOWNBEAT 3, igi PRL 4 jy ARR APL REG RR) TARE RE RL R LCRERE poaaodn FA moo y RLALRL RL RL RURLRLALALR LE RLALRERLERE 5 STROKE OPEN ROLLS FROM THE UPBEAT ip y (AA 4y fp A. Ay . (| my 5 STROKE OPEN ROLLS FROM THE DOWNBEAT AND UPBEAT G4 Ce ay a | | jy 4 BA, By 7 STROKE OPEN ROLLS FROM THE DOWNBEAT RURURLR LRURL AL RURLALR LRLRLRL pO, | Ay A LR L RURLALR LAL RERLRERE RLRL ALR LALRLRL 7 STROKE OPEN ROLLS FROM THE UPBEAT RRLRLARL L LALALR A LRER LARUE RLRLERE RLURL A LALALR LAL RLURL REAL RLRLALRL RLALAL COMBINATIONS OF PREVIOUSLY LEARNED OPEN SINGLE STROKE ROLLS HOR A RCRA y Re ceG Ce Reel Re teen 3 HIRO y joa my HOA TAA 4 -SR A Ay MAR IRR CA CASA Ry pRB wk AFATAM 4 RL RLRLR LRLE RE Z RLERLRLER LRLERL 95 9 STROKE OPEN ROLLS FROM THE DOWNBEAT HAAS y peg RLR LAL ALAR LRERELRERE ja ay RLRLRLALR eR Geer) Cal) Ala OAR. OA) Oy RUR URLALRLAL RURLRLARL RURAL ALR LALALALAL 9 STROKE OPEN ROLLS FROM THE UPBEAT ig =f} +} Ay . be on (i4 ORR. 8 9 STROKE OPEN ROLLS FROM THE DOWNBEAT AND UPBEAT a a. RLARLRLERLR LR LRLERL ARE 11 STROKE OPEN ROLLS FROM THE DOWNBEAT AND UPBEAT BESS y } Sy RLRLELRLREARER q PUR LRUERURLRE 1 3 acnecienecnane 1 ane n Ue on eeantaac 4 Ire LAL RLERERER IL arecnenariaritall 13 STROKE OPEN ROLLS FROM THE DOWNBEAT AND UPBEAT 13 13 LRURLALALALA, LALALRERERERE R RERUEREAUERLEALA, 15 STROKE OPEN ROLLS FROM THE DOWNBEAT AND UPBEAT Ree Se RLALALRUERLRLALR LRLRLERERERERERE 4 5 je, CR TR LRLRLRULRLARLALR L RLRLALALALRLRL | 97 3 STROKE RUFFS AND SINGLE STROKE ROLLS IN 6/8 TIME 2 2 HAI y jf CRTLy pf AA y ’ eee eee eeetnES EEE ° RLERL RERL jE ST Ty fay pA y pRLARLy jy OAR 4} CORY jn 4» ¢ AAC Aa i-20) S| APA Ay HER LAL ALRLRLRLREAL ;Gshy j CRAB, RURAL RURLARL RL RURLALRL (j SERA, SRE y RURLAL ALALR LRURLRLRLAL j;-- SRE, CoA 98 EXERCISES WITH 4STROKE RUFFS 4 STROKE aan OPEN RUFFS FROM THE DOWNBEAT 2 3 3 a 3 3 pS pS RURL RLAL RLRL RURL pe, 4 a 4 STROKE OPEN RUFFS FROM THE UPBEAT LRLR LRLR RLRL LRLR 3 REAL REAL RLRLULRLRL : (LO 6. 3 3 3 3 3 3 ie SFC 4 jp ORO a pp CO Ke jo fl fe 5 a +| R LALA LAL Lo oRLRL RLR L oLRLR RLR 3 3 ] pT ET) IT ALR L ALR LAR cae 3 3 3 3 | JA 4 Fa Ey ROLRLA LAL RLALA LAL RURLR LURE ADDITIONAL EXERCISES ; 1 3 3 FI 3 3 E 3 PAR LRLAR OL RURL | r LRLR RURL LRL RLRL 5 eed 6 . 3S 33 3 3 3 i Hl I 1 rR scecdeadodl Ma aL R URL RR LRLALAL PA RURLRURLRL ; 3 3 3 3 8 3 3 3 33 7 LRU RLALAL RLRL i r R LRUR LRL RLERL RURLRL 9. 3 3 a Ie eee 3 3 3 3 LRURLRL RLRLRLRLRL 10. 3 4 py LRUR LRLR LRLRLRERL 99 4 STROKE OPEN RUFFS IN 6/8 TIME ORY joy imeem y 4 3 0 3 3 ; 3 3 jy Oy joo y 3 3 , a 3 3 n 3 3 3 SS 4 jy ADDITIONAL EXERCISES gS Ty (Sa 3. 3 3 3 3 4 3 3 3 (CS OS jy 5 3 3 3 6. 3 3 3 3 (oy CaS y 7 3 3 3 3 3 J Sy 8 3 3 3 3 3 » = 353 3 3 RURLRERLRLALALRE RL 100 EXERCISES TO DEVELOP THE LONG SINGLE-STROKE ROLL (ONE ON EACH HAND) Important: First play all exercises as single strokes (alternating hands) with a right hand lead, then replay the exercises leading with the left hand, ijueegee dents) 13, [3 —3— 101 EXERCISES WITH DRAGS OPEN DRAGS FROM THE DOWNBEAT i4f) A FO Fy RRL RAL RAL RRL jae eae) er = eer ee meee eee Q Jie AWM FL ++ AWD AL A OPEN DRAGS FROM THE UPBEAT POR CR CAA 4 ee teO Ree ; Tay pOCRoOm, i TD ATEN ( TAY 5B, OPEN DRAGS FROM THE DOWNBEAT AND UPBEAT pmo 4 ,oaoMoy ARL A LER L RRL Renee een jRAD Ay pCR Oy RoLUR LER L RRL 102 OPEN ROLLS — DOUBLE STROKES 5 STROKE OPEN ROLLS FROM THE DOWNBEAT TAL y pL Yy ey eat eet: anita teRat POO, . FOO ao naLLRL Ae L PALLRLARLERL | AMER LAL RE 5 STROKE OPEN ROLLS FROM THE UPBEAT HOA y j-Smy jam y mea pe Lunn natin ‘ HA, 41 SL, ST Ly numuntiane A LURAL A LimmL | AL ALALERAL 5 STROKE OPEN ROLLS FROM THE DOWNBEAT AND UPBEAT 1, RRULLALLE RAL PoE). 1 OFS Oa y RUARLLERLLRRL RURALLRLARLL \RLARRLLALLERAL jp SL, A, A), Sy ARLUR LLARL RALLR LURRL AALLR LER RL 103 7 STROKE OPEN ROLLS FROM THE DOWNBEAT jefe § Ly RRLLRR RL RL ARLLARL L RL R L RRLLARL LLERRLLA RALLARL RALLARL 7 STROKE OPEN ROLLS FROM THE UPBEAT ioBSRy § CRY ROLL RRL L L RR LLURR RURL RULRALL R LLRALLA LLARLL RLULRURLURALL COMBINATIONS OF PREVIOUSLY LEARNED OPEN DOUBLE STROKE ROLLS 1 RLLER LR ARLLER LE RL RAL jj; OA. Wao y RL RRLLAR LUERRL jay el ty ate) ele eerie ROLLER LER LERALL 6 pmo, j} FRA Ay RRLL ARLE RARE RRL 2, RAL LARL RALLER 8 RRLLR TR SRCE Ry R LUE RALLER LE RAL LL RRL RAL LRAL 104 9 STROKE OPEN ROLLS FROM THE DOWNBEAT RLU A ALLA Lon mtiane | RL | FR ARLURALER | LURALE RAL ALA LARLEAALL ALAALLALAALL | RLRLAALEAALL 9 STROKE OPEN ROLLS FROM THE UPBEAT 1 2. LUERRLLARE RRLLARALLA a: LLURALUERAL RoR LLARLLA RL RLURALLRAL RLLRRL RLU RAL AOL RO LURALURRE 9 STROKE OPEN ROLLS FROM THE DOWNBEAT AND UPBEAT 1 —o RRLLARLLA Cinatonne a > > RRLLARLLR LUEARLLARL 11, 13, 15 STROKE OPEN ROLLS FROM THE DOWNBEAT AND UPBEAT AAA y jy RO LURRLELR ALL 13 , 13 iieiacacnnenciias 4 I I LL RRLULARLELARL 5 8 13 6. Bas = Rs ASR LOR RL LA ATUL , ar auciaanniaaniaal COMBINATIONS OF 11, 13, 15 STROKE OPEN ROLLS 1. Ul 13, pee ee ee eee eee RAR LEA RELA RL RRLEARRLULRRLLR 1 13. i> OFA SSCA PS LL ARLE RRELR LER RULER ALLER AL a 13 15 EAieiaciaeiniganinici an RARLL ARLE RALCL ARLE A 13. 15 CL RALLARLL LURRULRALL RAL LURRLLRALURALL 106 OPEN DRAGS AND DOUBLE-STROKE ROLLS IN 6/8 TIME 2 3 RUR LR LL joy ROU R L RAL 5. j- Sa RRL RAL ROL ARL RLUER LE jOTROTA y ono ROLLA R LLR {ACBL ROLLER L RAL (py ROL RRL ja RoLL RRL RAL RRL jay ROLLR LLR LL jp RRLLR L ORL RALLAR LLER L ji; SO. ARLLA L ORAL jj; Cy jo RL RL RRLL ROL RAL RRLL 17, ROLLA L RALL 18." Sid RRLLR RALLR Sy RALLR LLRRL oO. R LLRAL RALL FAB RALLARL ROL 2, ROLLR LLRALL 25. RRLLRALLRAL 2. RL RLR EL jim Ro R LURRLL jaan RALLARL RRL i; SCRE y RoL RALLRALL 26. jj CHR sR y R LUERRLLRALL RALLARLLARLL RRLLRALLRRLL EXERCISES FOR MEASURED CLOSED ROLLS Based on Doubling 1/16 Notes i stroke roll to a beat) . 3 3 rio ie iy oe A moat Sett Maca ta ta tat 4 I RO RLRL RAL RL R—RLALALRL 5 wey peCBy peta y poe y 2, a 10. 2 2 VW. , | HA oy ~-e ay Sel Site! Ie eee i LS ‘ I See etereteed arr : p Ae Te We Fe 2 ay 16, 6 JT El y fly tay foe e4 hate 1B me Mtacael | beeteer a e zs He jo Po 4 tee. rT RORLR RLAL R RULRLR R . RRLRLR RLRL 4 so), 1 PBL an RURLALAL RL HARDY poy py RURL AL ROL RL RLAL 0. bea be i mis A RLAL ReGen ae EXERCISES FOR MEASURED CLOSED ROLLS Based on Doubling 1/16 Note Triplets (13 stroke roll to a beat) (As Written) (As Played) 33 S : 3. 3 bee ae, Nafettiitetettchantctit peepee a ' 3. A 3 3 3 3 I. rT |. 4 : MPI by ney RUR URL (As Written) (As Played) (As oe (As Playeo) i S &- 3 33 RL RLA LAL F pail rl , “RUERL RLARL RRURL ALA LAL 3 iat 33 7 3, 3 33 7 MAG MEL pA 2 by fs Ay n 3. 3 12 3 3 Stes | REST ER OA a 3B Meal KZ FEAR a bd Phat Py EXERCISES TO DEVELOP THE LONG OPEN DOUBLE-STROKE ROLL (TWO ON EACH HAND) 2 oe 3 3 3 3 3 3 3 RR LL RRL EL RRLLRREERACLEL a 3 3 3 3 ga CAE eee alee) Celene ela Alaina ee mnen tier 5. 3 3 3 3 Ieee RRLELRREUELRREL maa aiaanianiaall 6 ch rh BS D j 3 3 2 3-4 3 RR ULL RRLLURALL # RRLCLARLUERALL RRLLARLERALL | a =3— ——3— I: RRLLRALL “ TRRULRARLULRRLL ° 1 5 3 3 3 3 =3s> 3 — RRLLRRLLRALL | RRLLRALLRALLARLL 3 3 3. 3 SS SS WOOT aa * R 110 COMBINATIONS OF SINGLES AND DOUBLES RLERLERLERLRCALIRARLERALERALE 2. ante Rene cy Gea cee RLRULRLRRLLRR RULRLALALRALELRALL PRURURRELRURLRALL | 3 3 3 3 polo omy PUR LR ULRL RARLULRR LER ALE eee Glens ey ROC) een 1 PRL R LR URL RRLLARLEARLLRALL | RA LCR RL RERLALRERLRERLRE nears) 3 3 3 PRLER CRE RUER ERE RALLERARLERALLRARLE RRL LRRUELA ALC REAL RERERUEALALRE 9. 3 3. 3 3 TRL R ERLE RACLARREL RLR CARL RALLRALL AR LCRA URLALRER CER AREL RLALARERE RERCRCRL RLALALAL! RALLAR LLARLL RURURL RURLRL Re PRALURRCLRALL te RURLALALAL RALERALLE ARLLAALE m1 EXERCISES TO DEVELOP THE LONG OPEN TRIPLE-STROKE ROLL (THREE ON EACH HAND) RRRLLL he ‘l I RRALLLRRRLLL RARLLLERRRCLE I RRR ULL RRALLLARALLL fl ARR RRRLLERRRLLL 3 3 3 3 lasaceracared eacaracqaceciraaaaesciqane ice I: Hl I LLLA iy Ie RRAL dl RARL ARAL 3 3 3 3 3 I: LLLRRRLLL 33 2 ; PARR ARLE CLARA ALLL RARE RAR LLL —3— -— 3 3 RAR LLL RRR LLL 3 3. 3 3. 3. 3 3. 3. KH LLL RRR LLL RRA LLL ARAL 1 —3I—r— 34 —375 I : 3 3 3. 3 3. 3. 3 3. 3 RRAL RRARL RRRL RRRL RRR Ir LLL R LLLR LLLR LLLR cool —3—-—3— 33 3 3 33 RARLLL RRALCUERARLLE ARALLERARLLL RRALLLCARALLLARRALL 2 COMBINING SINGLES, DOUBLES AND TRIPLES i 3 3 ce : RULRLRLERARARLELL RURLRUERRALCEL LORRULUCRAROLL RRLULRARULLLERAR RRRLLERRALLE RRLURRUCULRALE RURULRURURLRE LRLERULRLURRULARALLL RLRULRLRRLLRALLLARR RLERLALRLEARLAL ARARLLELAR RELL 1 RRRCLUERRALLE RRLCARLERALL ARRLLULARRLLL RRLLARLLRALL RURURLRL RURL RU RLRUARLRERL RALLAALURALL URRUUCRALL RLALALALRLAL RALLRALLERALL RARLLLRARLLL RAR CLE RR ALLL RALCARLLRALL RURUCRUERLRUAL ARALLLARRLLL AARLLURR RELL RURURLRLRLAL RRL i L a ry SAR AS Cerca Reiser eae ea Ranga eae naps DT RLRERULRLALR RAC UR RL ARAL RA LL ARAL LAA 113, PARADIDDLE STUDIES SINGLE PARADIDDLES FORM A (Diddles at the End) RURAL HTL FT TAA | "RURAL RLR AL RLEARARLRLL Ee eacarefie ene a ASO ned 3 3a 3 FORM B FORM C FORM D (Diddles at the Start) (Diddles in the Middle) (Connecting Diddles) Paraqrnacene hy cel | praca enact Note: Brackets underneath the sticking in exercises 9, 10 and 11 simply highlight the single paradiddle. Important: Replay exercises 1-11 and substitute the sticking of Form A with the single paradiddle stickings in Forms 8, C and D. The notated accents are only for Form A. When substituting the stickings in Forms B, C and D try placing accents where you feel they are most appropriate. 14 DOUBLE PARADIDDLES FORM A (Diddles at the End) RUALAR LALRLL ALALAR LRLALL RERLAR LRLALE a s3 Bas 3 fe 3 3 a dS ad 3 I: sea tecceecce ad li-ece tee deeede Al Weeteveeverece Al 1 = - a3 3 3 F RLRLAR LRUEREEL mies cael 8 9 0 - 1. > 3 3 3 = : RLELRLERALELREREL . RERERALREREL im =3>_ 3-353 jae Se, Py “ eee RLRLRRURLRLL RLALARL R me 3 3 arnep eee atas RaUeRere Re eRe eRbLas URLRALRURLL. FORM B FORM C FORM D (Diddles at the Start) (Diddles in the Midd'e) (Connecting Diddles) i : Weteets LRLLA 1 Ieterse tetete dl RLRURLERLRL FORME FORM F (Diddles off Center) (Diddles off Center) Tee LRRLAL 1 RURLLER LRLRARL Important: Replay exercises 1-13 and substitute the sticking of Form A with the double paradiddle stickings in Forms B, C, D, E and F. Remember, the notated accents are only for Form A. When changing stickings move the accents to positions you feel are most appropriate for the sticking in each different form. 5 TRIPLE PARADIDDLES FORM A (Diddles at the End) bo highs conrekeeareae Soy RURLRURR LRUERLALL = aR eo es Jes Jeo Jes a anata (DIDDLES IN VARIOUS POSITIONS) FORMB bieiterese el FORM D FORM C RURULRALRILRLEALERE 1 FORM E ALEARLALR LRRURLAL [TS RURULRLLERILRLALRAL FORM G an ay fay avee) Oa ee ues rnL Ter t ne Important: Replay exercises 1:11 and substitute the sticking of Form A with the triple paradiddle stickings in Forms 8, C, D, E, F and G. Don't forget to move the accents to positions you feel are most appropriate for the sticking in each different form, 16 COMBINING SINGLE AND DOUBLE PARADIDDLES (Only Form A is used, with the Diddles at the End) 1 2. Hea RLRLAR l PT TeLiLite tie ealatie ate iecare te 3 haste AULRUERR! LALLA LALA 1 ; - BERA ERE RER AE REREY CREEL RULRLRALAL REY RLRLER ALA 3 = itera) = RURR CARL YRER A CREURLRALREL Band: COMBINING SINGLE AND TRIPLE PARADIDDLES | . RLERALRERUEREL ANGRY en CAR ap eae ALRURURALRURLRLL RURARLALULRLRALRLE 4 rR (Gatien penne ane any aie a 3 3 3 3 3 3 3 3 3 Ua caiecnen ait RURURLAR CRE AUCROL 1 RURRURLUERUERRUERLERERLL ERLE . 3 3 3 3 3 3 3 MeO COMBINING DOUBLE AND TRIPLE PARADIDDLES 1 hts LRUALER LRUERLLE | RLALALRALRLALRLE 1 a =3> 3) a3 3 =i 3 3 ade 3 3 [ra aes e aaa RLRLAULRR terete ‘OMBINING SINGLE, DOUBLE AND TRIPLE PARADIDDLES Ny RURL RALALRLL RURL RLRRLALA RL RURRLRLL RURRURLL Note: Only Form A was used in the above exercises, with the diddles at the end. 18 PARADIDDLE— DIDDLES FORM A (DIDDLES AT THE END) 1 2 3) 3 3 3g Ser aeiten igesscrdl bitrates 4 RERRUUARLARLYG, t BLRALURLERREL pee, {———*— RLRALL TAR UR ALURURALL 1 3 3 PAR URAL aiacacaci ° aaianieladoraaiaal 8 3 3 a er ee) hetaatt g mannan pel ay 10. 33) 3 3 nS 3 3g 33 yt . Ariat aden aia 1 FORMB FORM C FORM D (Diddles at the Start) (Diddles in the Middle) (Diddles at both Ends) my pp Replay the above exercises and substitute the sticking of Form A with the paradiddle-diddle stickings in Forms 8, Cand D. Also, reverse all sticking in order to develop a left hand lead. 119 40 INTERNATIONAL DRUM RUDIMENTS Reprinted by permission of the Percussive Arts Society, Inc 701 NW Ferris, Lawton, OK 73507-5442 I ROLL RUDIMENTS A. SINGLE STROKE ROLL RUDIMENTS (3) Single Stroke Seven *(1) Single Stroke Roll (2) Single Stroke Four 3. 3 e a B. MULTIPLE BOUNCE ROLL RUDIMENTS (4) Multiple Bounce Roll (5) Triple Stroke Roll Se SS pt_q Poe teaiicaaaLil C. DOUBLE STROKE OPEN ROLL RUDIMENTS (8) Six Stroke Roll *(9) Seven Stroke Roll *(6) Double Stroke —_*(7) Five Stroke Roll 7 L Open Roll _ - : ty t recor *(10) Nine Stroke Roll *(11) Ten Stroke Roll *(12) Eleven Stroke Roll glet, sfh2R., pel A. | aaa R R RRL R LoLR Ll oLR ce *(14) Fifteen Stroke Roll (15) Seventeen Stroke Roll *(13) Thirteen Stroke Roll 13 15 = 15 = Z iffy pete, peiely LR L R be u RL R I! DIDDLE RUDIMENTS *(16) Single Paradiddle *(17) Double Paradiddle FAS » Sey 7 5 Ieee ered rear arene nee are ene eae RLRALRL (19) Single Paradiddle-Diddle (18) Triple Paradiddle * These rudiments are included in the original Standard 26 American Drum Rudiments. 120 TI FLAM RUDIMENTS *(20) Flam *(21) Flam Accent *(22) Flam Tap *(23) Flamacue Hlty pW; PARRA aly *(24) Flam Paradiddle (25) Single Flammed Mill *(26) Flam Paradiddle-Diddle wR, poe, SA, MORL RAALARLL CR RL RALLRE CRLARLUALARLLAR (27) Pata Fla Fla (28) Swiss Army Triplet = 3 ee OAR Fe pF Fy YOR L RRLLR L RRL UR ROLLER RL (29) Inverted Flam Tap (30) Flam Drag UROL LR Rt oR wi Wey ete Ue eee Cealaaan IZ DRAG RUDIMENTS *(31) Drag *(32) Single Drag Tap *(32) Double Drag Tap patal_ ya lal) y pala afar 4 TR RAL LTR Lona R TUCR LUR CARL AALS *(34) Lesson 25 (35) Single Drag-A-Diddle aR LE RR WR LL woe PR *(36) Drag Paradiddle 1 *(37) Drag Paradiddle 2 RURUR LAR CRRLAAL ALL *(38) Single Ratamacue *(39) Double Ratamacue 3. - 3 = 3 3 ya) AFT) CUR WIR LR CARL RRL ALOR *(40) Triple Ratamacue cae 3 B Ih fs By Se "Wh QA WR LOR Lo mRL RAL AAL ALOR All Rudiments should be practiced: Open (Slow) to Closed (Fast) and/or at even moderate march tempo. 121 n 2 Ww a a 5 - € D> a x EF = n 2 ac uu FB bE < a oO . x ° E n 5 5 I aaa LARLUR B A ot ce cx ce ae ca DOUBLING 5's (Eleven-stroke Open Rolls) 10 10 ea a a = ay [ ze ae “2 wwe oat ays a ceo a r+ D> as ae pe. ing s toc a ee oo a a ee . aD @ Wee Ws: ee 2 a ae ce oe & a ces cc = —_— = 14 ce 2 sae © co ao = ec Wh sc aa a ke es se aa bE fe Hee 7 ec «4 ws oe a ee ce = og ot Ihe 2 , ee ee aa a DOUBLING 7's (Fifteen-stroke Open Rolls) 4 LUERRLLRARLELRALE ll RA LLAARLURALL AR M4 i L RURULRLAR LRLALA 122 SECTION FOUR BASIC ROCK DRUMMING The material in this section is designed to develop the necessary skills for playing various forms of rock music. Included are the following topics: ROCK BEATS WITH EIGHTH-NOTES AND QUARTER-NOTES ROCK BEATS WITH 1/16 NOTE PATTERNS FOR SNARE DRUM ROCK BEATS WITH 1/16 NOTE PATTERNS FOR BASS DRUM. ROCK BEATS WITH 1/16 NOTE PATTERNS FOR SNARE AND BASS, ROCK BEATS WITH 1/16 NOTE TRIPLET PATTERNS ROCK BEATS WITH A 6/8 OR 12/8 FEEL SHUFFLE ROCK BEATS. ROCK BEATS WITH 1/16 NOTES ON THE HI-HAT ROCK BEATS IN 3/4, 5/4 AND 7/4 TIME DISCO ROCK BEATS TO DEVELOP HI-HAT SPLASHES ROCK BREAKS If additional material is sought, | suggest the following books: DISCO ORUMMING, THE MONSTER BOOK OF ROCK DRUMMING, FOUR-WAY INDEPENDENCE FOR ROCK DRUMMING, ROCK BREAKS IN A NUTSHELL, PARADIDDLE ROCK. SPLASHDOWN, THE TURTLE FACTOR, and THE HARDEST DRUM BOOK EVER WRITTEN. Alll the above titles are included in one large hardcover book entitled, THE COMPLEAT ROCK DRUMMER. A specific hi-hat part is not indicated. After completing pages 124-138 replay all exercises and incorporate the hi-hat in each of three basic patterns: On All Downbeats On All Upbeats On All Downbeats And Upbeats le | . +f I. Bot eee eee 123 ONE-MEASURE ROCK BEATS (The Snare on Two and Four) oop ipo, i Poe y = poop joy “TF tt oo oo cyt t pd ve d L Cymbal 2 ¥ 2 4 al od Ly SLi q | See, E et OS Bas rnnoaonkLiuiatrhLois Gt al al grap qr ql qr Gp db db gr gp gb qb Gh ch OOP ar dt ap at at ap at Grp OL OP OF oP ap ar er a di dbadbadraral ard Of oi gi gt org, gq oy Ee OP ag) cp ar dp at al ar ni YY ni 4 TWO-MEASUR E COMBINATIONS ono Onn a. Mya a ae Mo Te BA ye a an Cm TO MAF roy fA jt, my Tot FE pom Tt tor poe A A aS TT Cymbal Snare Bass Cymbal Base Snare Cymbal Top a i Tal fa _ 1 fA. Of ayia COO tat gg Ono oA op Pg tg (Ono oan 1/8 NOTE VARIATIONS FOR SNARE DRUM oe ey Cymbal ‘Snare t+ er poe ° ge poof Pt — ~yAno, re oh — , z PAPA poe Se. al Ir fi fa Fh po Ono (aes 4 oT 4 TTT 2 € TF TTF aa tyr Pe pease, on ne rot , pSeSe, ff f roo Ao, or E Y tT ann) 127 oy 1/16 NOTE PATTERNS FOR SNARE DRUM (Bass Drum Part Omitted) mom jp Fly Cymbal ‘Snare poo, pos. promo, Cymbal ‘Snare mare ; mommy, ke fT pT pa ff j ADSL AD, jy Cymbal ‘Snare cymbal Snare ace stor oles Cymbal Snare jaa, Cymbal ‘Snare 1/16 NOTE PATTERNS FOR SNARE DRUM (Bass Drum Part Included) Pe Sy g@ pA je oi] = | or FAS Hh, Cem oe Bass ADE, ep PS. 7 i + Bass } to e = jo Ty ey pe ALG y —t+— + 129 Saat oT , 1 ee ops a PTT yy -O ARLE, ro Feo T tT rt fea PATA yy ETL, f pT 4 “ “CU Tu Tt BS ao PALA w HEELS. (PATE, op ELIE, “TS 7 BT Y [ nee Aa por s eee co 2A, om 8 r rT Ss : 1/16 NOTE PATTERNS FOR BASS DRUM — (Snare Drum Played on the Count of Two) OA IN 2/4 TIME cm crm Srae i] ses ous a 3s [4 ove cvm cvm [ef Fy se rare [E Bas Bas Base Th ip If snare Hi 2 srare q i : 2] Snare 1/16 NOTE PATTERNS FOR BASS DRUM — IN 4/4 TIME (Snare Drum Played on the Count of Two and Four) ipo oe Cymtat I: Ty SG 2 ya rt rst MYA FFL gat i an ere a ee Pros [rpg t My 12 E at A 3 pt a I ee Ee ito yl = ae Te a poe GG, ye pp Toon, Too yp pou A ey peas. Sep od Ry a L- 7 i fi fA 7 yma I: a= = a) Z “4 o —— Ee aa y Bass Seema a 132 a OA, » ipa e ea ore OF ee pee oes Sele, ome eee) . cr oT a7 poo a OO Torro er pe PoP Oye pO oT, or to 4 : st + Bass oor ig a + pote sie. oyna poe | ce yr “ coe i bo ey oy or eo ey af ks r iP Pl cer aoe i HN n do Jo 4h + : “ g i io be il] Sse I: yy 3 2 ; ces is ee ots I: 7 | seine I yl I: oo a Let | EE corner oa M il 5. 13. 3 r Chis op cL Ci s BU BO BT eh eh 5 ff Cin a cl oh 92 eet SLD Oe ab Be Se Ho HEEL Zé f apap Cp ob 2 ci ct dl th ef = By GL a oo A a . 1 fl o | pe fT & p bob dh ia f] Gs 3 f cym. zl] soare fF ls 2 td ere rae ree crs DLL y om | oe oym. Sewe [Pe Bass pia DR ee-an% 7. 8 cym. cym Pel] scare [2 PP some: . Bass, rig A Bass 1 pada ay r 2 ES . Fl 6 | cxm ; Beep Sor a ee je ay cym. al] soore JE: . tas Bp ey Port 1/16 NOTE PATTERNS FOR BOTH SNARE AND BASS (IN 4/4 TIME) ,~oop oH, Snare ~ pao, T pos eee ped a oom TO PT oP roto po » po pce 2A Pa Ito 10. 3 ow OL J HA fo poo e@ pee —4 rt oy Oo re iA Cymbal E are _ I 7 Tet ne eo PPR s . 0 fam FE ar PES mm g aL Spee @ See ol ; A é os wt To par ela 1 137 Toro a Se ORR ee Om 2th ¢ pe OAD, = pA, cesta © Bee ey OAR, ee pom cota © Bea 7 : i] if rae IE Td ii im “l Popo top O Beeppee ABB = {LOR ass: Sa f av! Le or pe LT Cymbal ele) (eo cet ar PSB ee PLS, cr poss mrs 1/16 NOTE TRIPLET PATTERNS FOR SNARE DRUM Py ye ae ee “T poe art Cost pmb Bass A et TT ep rot EES 3 2 yep tye I: 3 snare fl: q 3ne = 15, Er a ey 3 1/16 NOTE TRIPLET PATTERNS FOR SNARE AND BASS i ye De O_O ci ro om oO eet PARTS OF 1/16 NOTE TRIPLET PATTERNS BETWEEN THE SNARE AND BASS 3 3 oy fl J Bass He yevarie a = RUCK COUKVINALION PHRASED 3/8, 3/8, 2/8 BH a ot oS iE ors = =. aE" FOO OD ep OG pe tT a or crt SOO FELT gee Foe aoa. 5 7 —~. pba ee ma og eRe Pe Se PAO Ry m8 va Hp _ AB pap Hie aaop_ som = iE A See OOO STITT iE = oT + 4% | 4% 5 + $ + Bass (OAD R yg PE Te ROCK WITH A 6/8 or 12/8 FEEL BASIC CYMBAL PATTERNS 1/16 NOTE PATTERNS FOR SNARE DRUM ee ep eee - 143 1/16 NOTE PATTERNS FOR BASS DRUM Cymbal Bass ‘Snare “ff 1 Cymbal ES ‘Cymbal. EH : qt See ‘Cymbal ‘Cymbal, 16. Bass ett ete Bass Pen preted = = ie | ‘Snare — ] snare fe 7] J , J cymbal: 21 Snare Bass 2. T 1 cymbal 2] pad cymbat 24 : “Hf “Srare Shore 2 wg cymes 28 is Syn ; Af “Sore Snare ee nee ¥ Bass 4 z ; 1/16 NOTE PATTERNS BETWEEN THE SNARE AND BASS roe Seas _- reas Pot eis pO gy SO, ee oa 1p BE aes 7 es le Eo SHUFFLE ROCK BEATS [tT Tt 3 3 3 3 > LI PIL] or E: pe ] or 3 3 3 3 fy 4 ¥ yma Die Bae ee a — 3 3 3 3 3 3 aay + cy + Bass 3 3 3 3 3 3 » So Pa Gal fa 1 oe Bass I fee Bass PIPE l yo Bass 3 3 3 3 tt tt pan : 14 12 Bass 1/16 NOTE CYMBAL BEAT WITH ONE HAND (For Slow Tempos) RARR ARARR 1 ‘Cymbal S ox IE - te i tuo Bas foetal) Bes oe et ra : qo je ger OEE EEE 4 ts a oto oer 18. Cymbal ‘Snare 2 Cymbal of] Sere EE 2 Tg ee PTT ye FO Ty Bey eg tee 1 ETE fA om °F cymes 2° SEL FER I: AH “Share IE Ff Snare fF ‘| : a. Bass - Bas Snare to tat mr Cymbal a] See 1/16 NOTE HI-HAT BEAT — ALTERNATING HANDS (For Medium Tempos) RUERL ALARL 1 HicHat Soe , fey eee | r 7S Bi . +5 bes bed 7 Hi-Hat vs EE Sowe UE Hisar Snace i ] Bass HiHat Snare Bass a 2 2 sae wi ita IE oe jae pee ye om we E - oT rT Se Ronn ene nein Laue moe 2 2 2s, Hi-Hat Hi-Hat IE qe EE il Eo om was - a Note: The last six beats are not with alternating hands. They have a strong Latin flavor, and should be played on the large ride cymbal rather than the hi-hat. 149 ROCK BEATS IN 3/4 TIME “i Siar pos me poe - 5 TID Snare ETT ITD pe pees pte Sy qo pd Ly om | SL ie Eo ee a a) pe A yep ESS, re rt REL REL i) oer Ik | & oy 1 PEE ors RULRLLRLLALL Pp pg te ROCK BEATS IN 5/4 TIME geo 2 Soe, i ToT ort ee we) roo es TO Tt 7 ‘Cymbal . groe | Soro! eer For an in-depth study of rock beats in odd time signatures, | suggest the book 3, 5, 7, 9, ROCK! ROCK BEATS IN 7/4 TIME 1 2 iE all: ay PFT OT OT I ett a ot ee Cea tee ees Oe ee = > = = > pa DISCO-STYLE TO DEVELOP HI-HAT SPLASHES HI-HAT SPLASHES ON UPBEATS The letter ““0" above a note means that the hi-hat cymbals should be opened on that note, and that note alone. Keep the hi-hat cymbals together on all other notes. POA ym pH, POON ym poo, pO yom pooiomo y, pO Ig oe FO pO Ig oe pO OOO ye tdoono , podoon yy. joo , pO. SST yw po.}, om y pe Dh dg pots Bs bid y be DT go Pode da ba by Note: Play the bass drum on every downbeat, and the snare on 2 and 4. 152 HI-HAT SPLASHES ON DOWNBEATS $OO OH yo. Tl pono POL ELE pe fp OO 4 POO yom pO POA BH yo pool om, pol OO gm gl OOO , HI-HAT SPLASHES ON UPBEATS AND DOWNBEATS pooon, we poo POOF ge pO pT Tg on pomdoh oo pol mpoirdl sd y BASS DRUM VARIATIONS WITH HI-HAT SPLASHES ON THE UPBEAT OF TWO (IN 2/4 TIME) “Atte “atin “yt =e os ast vl , =a “torr tak - Kee Ta =e rouge df l Snare Ee pe ra BASS DRUM VARIATIONS WITH HI-HAT SPLASHES ON THE UPBEAT OF ONE ae oe eee Fol gett Py: ei BASS DRUM VARIATIONS WITH HI-HAT SPLASHES ON THE UPBEATS OF ONE AND TWO a a nee a ee oe a wile Ay PPei Pei Ha we ee Fas = Ht a a ort OE i eh BASS DRUM VARIATIONS. WITH HI-HAT SPLASHES ONLY ON UPBEATS 1 an? vat 2 wi PE t pe ae ee a re . Late DIT gente DT one bd SPLASHES WITH A 1/16 NOTE HI-HAT RHYTHM (Played With One Hand For Slow Tempos) RRRA RARRA crt Bae BE ot = Ey Bae ere PT FER om A FER oe epg dS Fe pt SE yp A 7 = SPLASHES WITH A 1/46 NOTE HI-HAT RHYTHM (Alternating Hands For Medium Tempos) a oR sop jE ye [ee fa pe we jE qVF AE q He goss NE tI pee a oo le bh , 1 ROCK BREAKS ROCK BREAKS WITH 1/16 NOTES Play one measure of an ad lib rock beat before each exercise, tO OF Poy po a, CRERLRL oom i Cymbal ‘Shave Cymbal ‘Snare po oA pons, ey LRLRLR Lo LRUR o_O ARR LRURLALAL LRLRLALA Saas we . RLRLALALALE RLALR RLRL mS a RERL URURE 19, i pO AAT “4 py {| RLRL RLR RLRL ALAR a = * RURLC RERL RERL RLRE Cymbal Snare Cymbal ‘Snare Cymbal ‘Share cymbal ‘Snare Cymbal ‘Snare Cymbal ‘Snare Cymbal ‘Snare 158 10. 20. 2 pe A oy OLA POR 4 na, LRLLALLAL LRL ULRERLE ene RLRL RALR RURL LALR ini, ALLR CLLR RLLR LER RLUR LERL CALL ALLEL 1/16 NOTE. ROCK BREAKS WITH TIES Play one measure of an ad lib rock beat before each exercise. pO FAA ee pO pO A ek ae po FL nn po Gu aH POLE ee POLO RURLRL ROCK BREAKS WITH 1/16 +O OR, URL saad pono phy RLRURL 3.3 3 LRLALRLRL 3 3 LRLRL RURAL Oy Cymbal Cymbal Snare Cymbal ‘Snare Cymbal 159 4 d 2 NOTE TRIPLETS Apo mm. RURL 6 LOA oA LALALRL cies UL RURLALALAL il L RURLRLALALAL ROCK BREAKS WITH DOUBLE-STROKE OPEN ROLLS Play one measure of an ad lib rock beat before each exercise. goon, Cymbal Shave pono, po OA RLRLR anh Cymbal pO 4 RRALARLR poo0 hy RRL 5 ; oO CHERER 4 LRURLR RL po CAAA LRURL Ro j-O Ara 4 Al Snare Cymbal Snare Cymbal Snare cymbal Snare Fiancee 13, ip a ee 3 9 a pe A 7 Cymbal Snare Cymbal ‘Snare Tana athy can po aay R tet poons 4 rk a jo apa, LRURLRL pO 4 Cymbal ‘Snate Cymbal ‘Snare poo AA 4 po FR 4 Cr teatCl Ry Seee RRLLRRL RT ROCK BREAKS WITH A 6/8 or 12/8 FEEL POO RLAL A RULRL A RLAL OT {D_Fy RURLA RLALR " RURLRLALALRL )-_ LG RL LRU AL RLRLRALRLR H bhi Cymbal ‘Snare Cymbal Snave Cymbal ‘Snare Cymbal ‘Snare Cymbal ‘Snare Cymbal ‘Snare Cymbal ‘Snare Cymbal ‘Snare Cymbal ‘Snare Cymbal ‘Snare 161 RRURLRLALAL poof RULR RL LA jo AAs RULRLLERLLALL RULRRLRLLRRL LAL RULRAL po Ana RORLRL A RLAL LRLAL A ROCK BREAKS WITH HANDS TOGETHER AND Bae KICKS Play one measure of an ad lib rock beat before ea fa haar fr pad we se enters ore opt Bass drum notes, Replay each ex: 162 van lar the nte that ae written fr both hands together. ppt FB TH ee TS rt mE ap te Oy fe po mam, rp Bap rs I fi) 4-4 Gynt — : ty art “ iia 0 ae eum ee ee ee POLL AALA rr torte tO pts pve qo OT TG een et ONE-MEASURE ROCK BREAKS PHRASED 3/8, 3/8, 2/8 1+ 2+ a4 4+ Le2+a+ 1+ 249% 1+ 2¢ POLLO SE Sy RLRLERLE RERLERE REAR pOOO 0 .... Fa, fp) ies eee ee ee eee ie 163 SECTION FIVE BASIC JAZZ DRUMMING The first seven pages in this section present exercises to develop two-way independence between the cymbal and snare drum. No bass drum part is written, but the reader may play his bass on every beat, or replay each exercise substituting the bass drum for the snare part, Immediately following these first seven pages is one page devoted to developing three-way independence between the cymbal, snare and bass. Added material on this topic may be found in the following books: THE FANTASTIC JAZZ ORUM BOOK, EASY DRUM SOLOS FOR JAZZ COORDINATION, and FOUR-WAY INDEPENDENCE FOR JAZZ DRUMMING. The last several pages in this section show variations for the jazz cymbal beat, simple jazz breaks, and four-measure jazz Solos with and without bass kicks. These topics are covered more fully in the books, TAKE A BREAK, and JAZZ SOLOS IN A NUTSHELL. CYMBAL-SNARE COORDINATION BASIC SNARE PATTERNS 1 Si 3 5 3 3 Alt er HA oe be A 3 3 3 3 3 3 3 3 3 3 3 i fy 4 ot des : 4 TP Py ¥ ¥ hare ¥ cad - f 7 3 J 3 3 3 3 J 3 3 3 3 3 5 nba | v2 ’ J 3 3 3 3 3 3 3 3 3 3 3 f i" +E 4 4 Gym I; PI : yd z aie { TT ry E ! 7 a f q 3 3 3 3 10. 3 ;mbal y .! | ty AR 7 [SS ay Bae el — 7 TT a 7 oT OF n J 3 a 3 3 Ibe ee Dae iy J 3 3 3 3 J J 3 3 3 3 3 IL 1 get fe fad), 4 I graeme alata 1 Se pee bated 3 3 3 3 3 3 3 3 bt ed fl ! Ap cymbal, | Mere i Be Jj 3 3 3 3 3 3 3 3 3 3 3 ik 1 yn 4 I 4 eee ages 7 TF 7 J 3 3 3 3 3 19, Sy 3 20 = 3 I 7 a ae He 3 ff 3 3 3 3 3 165 COMBINATIONS OF BASIC SNARE PATTERNS Group One Cymbal ty Snare Cymbal bP 3 3 12 ), IK et ron f 3 3 3 3 2 lean I: pray cae Pas 3 ee ey a : 4 oy | Se ry ta o> it 3 A 3 3 8. 1 2 2 HE ihe Herd 3 3 a 3 a 3 3 3 0 3 —— Mile Gta om bp Z 3 3 g o 166 Group Three 7 3 3 a 3 a fie Pa ee He 3 fy Wye Ir : g 2 Soe! fk} ay 2 tty ia 4 3 3 a7 3 3 _ 3 4 Ke ; HH mts b asp flap peg 3 a 3 4 3 3 2 a 3 i I: 2 +7 on a 5 rr & : 4 3 3 3 3 3 3 9. 3 3 10. 3 3 I oT try tt rare ter : brit fl Group Fou 5 tity fy fo 3 | a | 2 : 3 3 3 3 3 3 3 7 3 3 bt a ee Re te 3 3 3 3 seers) 3 3 A 3 3 fe 3 3 hy BR Pe ete pte = Toy 3 3 3 3 3 3 3 5 3 3 8 3 3 aril ta = Meher 3 3 3 3 3 3 3 167 Group Five Cymbal int 2 G5 3 3 Boe be 3 3 3 3 6 3 3 Mare rt Bet cymbat = fl a Group Six 1 3 2 3 3 4k oe —H] ymbat I: Jy J , 4 = pL a 4 — 3 3 ‘3 : 3 A 3 3 a, 3 3 J 3 3 3 3 3 ' 5, | 3 3 6 3 3 hee er hee FH 3 3 3 3 3 3 3 = 7. { cS , 3 . 3 3 Ii aaih _ 4 5 Gymtal . | tet J me beet ; 3 3 3 3 3 3 3 Group Seven = terf Hep Pa A yet I: beef Heit Hat oe Roper fy A 3 = B 3. \ 3 Hope tri 3 7 7 Group Eight ihe Ft oe be TD be ai [4 oe 169 Group Nine — ber [a ' fa \ be . Cymbal k Snare Ha P ef Group Ten 1 2. Cymbal I: 3 3 3 4 2 Td 3 g 3 3 tht Hy fa 4 ‘Snare 170 = 2 3 : 3 J | | I aH bop? oS ba Af 7 t 7 4 77 i 3 3 of 7 TT 5 3 3 6 3 3 Sr Ge et A 3 3 3 3 3 3 3 7. 3 3 8 3 3 3 3 3 3 ae 3 3 3 3 3 3 [ 4, stg ¥ 4 Cymbal I 4, 4 #43 F| ST estore 3 3 3 3 3 3 3 3 Group Eleven 1 3 3 A 3 hte Pd ee hb EY 3 3 3 3 3 3 3 3 4 3 3 3 3 3 3 3 3 3 5. 2 | 3 e i 3 rt a et ee i 3 3 Ce 3 3 3 3 3 Group Twelve W 3 J 3 2. 3. 3 eR = Heft 3 3 3 3 3 3 3, cl 3. 4. 3 3. I beep ate fa bey fled 3 3 3 3 3 oo _ 3 5. 2 3 ‘ 3 él er A et ee te HA 3 3 3 3 3 3 3 3 Group Thirteen ji 3 3 a 3 3 be ae ie 3 3 3 3 3 3 3 I a 7 TPT | 3 3 3 3 3 3 3 3 3 3 3 I 4 A cymbal I: Jy rT ¥ rare 7 3 3 3 3 3 3 3 mm CYMBAL—SNARE-BASS COORDINATION 3 3. 3 jeg el iy £ ie 3 3 3 3 +1 1 Alp i i e tae E-AIDE- Gin i ih HIP 4 He Te [ft . | Ee “ w + + LL] + Lp E ae HDR H F- re h [ 4 ie ab ols abel ma «| [Lo To ar 172 VARIATIONS FOR THE JAZZ CYMBAL BEAT Hey Lo Ty Po ey pL ly Pde dy py ey PW addy pL ely Pee ely pL ly Pe ly py ly J-tec eal fall Lay ped fay Leal pide dg pel Gd ily 9 PLE Lod peo Ld eiedy PLL og pL LL ey fit tg pe Lely 173 SIMPLE JAZZ BREAKS Break b 2 3 5 3 i 3 ei 3 3 3 fat 3 3 3 A URURLRLRL Snare . LRLRL > SIMPLE JAZZ BREAKS CUTTING INTO 7 »- jp GL apd 14, oor pb |r) os Lily ft je pat Ly ff omtet pS rele es eo Jo eo leo 33 3 > u islets - 3 pL pad Ly oes ppolsb TT pd al Ley a LRLRL R “TH Snare r L RLRLRL R " 7 7 3 > 3 7 _ pL eae pL Lig om PLL IAB, pd. dy TRCAL Snare IF TRA A i LRLRLRLRL R om URALLARLL R 9. 3 = 3 1) pao > EE Ly om PLL aid Dy “ROR Note: This topic is explored in depth in my book, TAKE A BREAK. 174 FOUR-MEASURE SOLOS FOUR-MEASURE SOLOS WITHOUT BASS KICKS Precede each solo with four measures of ad lib jazz time. 3 1 3 3 RU R LAL RAL RL RRUER URAL RERLRLARE 2 3 3 3 3 7 ‘ ALR URAL AL RRUR URAL RER LL CRAL a 3 3 3 3 potty. FAAS yy Rou LoL oRRL RL RRULA LAARL AL LL AAL a 3 3 3 3 leeereren RL RL RLAL Rou R L RLARLAL Ra x tbtt) ty na, T

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