a Tee ea alae cn Contains: Technical Skills for Hands &ABOUT GARY CHAFFEE Originally from upstate New York, Gary was educated at the State University of New York at Potsdam, (Bachelor of Science, 1966), and DePaul University in Chicago, (Master of Music, 1968). From 1968 to 1972 Gary was the percussion instructor at Western Tlinois University. In 1972 hejoined the faculty of the Berklee School of Music in Boston, Massachusetts, and was appointed head of the Percussion Department in 1973. During his stay at Berklee, Gary was instrumental in developing many new and creative programs for the department, as well as a number of highly successful performance ensembles. Since leaving Berklee in 1977, Gary has established himself as one of the finest player/teachers in the Boston area. He has performed with many top artists, including Dave Samuels, Pat Metheny, Mick Goodrick, Steve Swallow, Abe Laboriel, Jaco Pastorius, Mike Stern, Bill Frissell, John Abercrombie, Harvey Schwartz and Gary Burton. From the teaching side, a list of Gary’s students reads like a who's who of the contemporary drum scene and includes such people as Vinnie Colaiuta, Steve Smith, Casey Scheurell, Jonathan Mover, David Beal, Joey Kramer and many others. Gary is also in great demand as a clinician and has performed throughout the United States and Europe. His articles and interviews can be seen in Modern Drummer, Percussioner International, Drum Tracks, Rimshot (Germany), and Rhythm Magazine (England). Those interested in contacting Gary can write to him in care of GC Music, 16 White Oak Road. West Roxbury. MA 02132. telephone: (617) 323-1154INTRODUCTION 2.10.1... eee e cece eee nee n eee e eee e eee 4 EXERCISES ON FINGER CONTROL. Exercises On Individual Fingers Finger Combinations Fulcrum/Finger Mixtures ENDURANCE EXERCISE. For Singles . For Doubles. SINGLE STROKE-DOUBLE STROKE EXERCISES . Basic Rhythm Exercise Mixed Rhythm Exercises Ascending/Descending Rhythms Exercises Using Partial Subdivision . MULTIPLE NOTE EXERCISES . Three Notes Per Hand . Four Notes Per Hand Five Notes Per Hand. Six Notes Per Hand. Seven Notes Per Hand . Eight Notes Per Hand . HAND/FOOT COMBINATIONS Basic 16th-Note Exercises .. Combinations of 16th-Note Figures Exercises Using 32nds . 16th-Notes With Flams Basic Triplet Exercises Combinations of Triplet Figures. Triplets With Double-Time 16ths Triplets With Flams . Mixed Rhythms With Doubles. Mixed Rhythms With Singles . STICKINGS ~ Compound Stickings Stroke Motions . About the Accents. actice Procedureeeeseese eeeeeene weeesees wesesees Seeesses eeeeeese eeeesese sesvesee weesesce seeesese INTRODUCTION The materials contained in the TECHNIQUE PATTERNS book are designed to help students in developing a high degree of technical facility with the hands and feet. There are sections on finger control, single stroke — double stroke mixtures, combinations between the hands and feet, multiple note groupings (three or more per hand), as well as an extensive examination of sticking phrases in both the sixteenth note and triplet rates. The preliminary finger and endurance exercises should be done first. The remaining sections can be worked on in any order, depending upon the individual student's particular needs. Most of the examples are in the form of short exercises and are to be repeated many times. When initially working with a given exercise, use a moderate tempo setting. Once you become familiar with the materials that are involved, you can increase the rate to whatever level is feasible. As a general rule, you should strive to play these materials with * as much relaxation as possible. Try to keep your whole body as loose and as comfortable as you can, even when working in extreme situations. Good luck, and have fun!ocledad eee ee eee Beane ° EXERCISES ON FINGER CONTROL The exercises that follow deal with the use of the fingers and are broken down into three groups. The first group works on developing strength in the individual fingers. The second deals with the fingers in combination, while the third involves the fulcrum. The use of the fingers can play an important part in your overall hand technique. They are especially valuable in helping to control many of the nuance issues involved in the use of different types of materials. In most playing situations, the fingers are used collectively. The goal of these exercises is to help you develop a clear awareness of each of the fingers individually, so that when you do use them together, they will all be helping out. ‘When working with these materials, there a few important points to Keep in mind: a. Try to maintain your normal hand position when performing the exercises. b. When working with an individual finger, make sure that the other fingers are completely separate and are not touching one another or the stick. c. Try to get the feel of actually playing the notes with the individual fingers. If this is done correctly, there will be a minimum of wrist motion. ee pheevee eevee cove eevee evee Group A — Exercises On Individual Fingers These exercises work on developing strength in each of the fingers. Practice routine is as follows: a. Play each exercise through with one hand, then the other. Repeat this sequence four times! b. After working with each exercise individually, try combining them into one continuous routine. c. Play first at a slow tempo. Later, increase the tempo setting. a. The numbers underneath the notes indicate which fingers are to be used. Remember to keep the unused fingers away from each other and the stick. Dopo ae etc. Lononoonn a etc. HOM Mir, a ye TSI) OT) 8 333333 ete. 8 444444 etc. ees i e al aS3333 3333 hh 4444 ete, 5555 5555 wre wee wee wero 4 3 3 3333 3333 3333 3 44 4hh4 4444 4444 etc. 5 5 5555 5555 5555 3333 3333 3333 3333 Aha AAA 4464 4444 5555 5555 5555 5555These exercises deal with combining the fingers in succession, first in groups of fours, then threes, and finally twos. Play each exercise through starting with one hand, then the other. Repeat this sequence four times for each exercise. Work on all three exercises as a set, moving directly from one to the next with no pause. [ra pm eee eee etc, |. FA A), es, : : 8. ye 3 2 See eee L> FAA aT., (eee 5858583238 aaaaene sess ae On ees) "4 334455334455 etc. 3 ‘ ; 4