I

arm-
Essential Exercises for Improving Technique

Rod Morgenstein
Edited by Rick Mattingly

8erklee ~ress
Director: Dave Kusek
Managing Editor: Debbie Cavalier
Marketing Manager: Ola Frank
Sr. Writer/ Editor: Jonathan Feist
Writer/Editor: Susan Gedutis
Project Manager: Ilene Altman

IS BN 0-63 4 -00965-6

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 INTRODUCTION
Mer years of warming up exclusively on a practice pad before tearing into my drums, I was struck by the grand realization that
playing the drum set involves a dramatically wider range of body motions, movements, and coordination than a drum pad. Of
course, there is no substitute for a drum pad warm -up, as it is the definitive way to focus on hand, wrist, and finger development.
But what about the arm and body motions involved in moving from drum to drum, hand to foot, or reaching for a cymbal some
distance away?
It was in this moment of realization that the idea for Drum Set Warm-Ups was born - not to mention the fact that the drum set
is perhaps the only musical instrument on which warm -ups do not occur on the actual instrument itself. Imagine a guitarist or
keyboardist warming up exclusively on a slab of wood!
Consider this book a natural extension of your snare/pad warm -up book(s) and use it in much the same way. Pick a page and
play each exercise until it sounds and feels comfortable. String two or more examples together to create two-, four-, and eight-
bar phrases. Some exercises are straightforward and relatively easy to play, while others are quite challenging. So, if a particular
exercise is too difficult, move on to the next one and come back to the more difficult one at another time, or in the case of a
multi-limb exercise, leave off one of the parts (for example, a quarter-note bass drum or hi-hat foot part). It is not imperative to
go through the book in chronological page order, although it is suggested, initially, to go through the book this way.
Be more musical and less mechanical by varying the dynamic levels and tempos of the exercises. Most of the exercises are nOlt
intended to be applied note for note as cool fills or beats. In fact, some may seem downright unusual or even unmusical. RatheI~
they have been designed as drum set warm -ups to limber up the entire body (not just the wrists, hands, and fingers) and impro\
specific areas of drum set playing such as speed, power, control, dexterity, coordination, independence, accuracy, endurance,
and agility.
These exercises were designed primarily as patterns of movement. Some will be immediately obvious, but with others, you
may have to play them for a while before the pattern reveals itself. By having the arms and body moving in clockwise, counter-
clockwise, up, down, side-to-side, crossover, cross-under, and crisscross motions, a greater facility and command of the drum
set will be achieved, along with a dramatic increase in confidence.

NOTATION KEY
These exercises are written for a standard 5 -piece drum set, but with a little imagination they can be adapted to larger or smaller kits.

0
x x
II • Iii • • • )( @ *
• •
x x0
Bass Snare Cross- Stick Large Medium Small Hi-Hat Open Hi-Hat Hi-Hat Ride Cymbal Crash
Drum Drum Stick Shot* Tom Tom Tom Hi-Hat Pedal Splash Cymbal Bell Cymbal
R =Right Hand L =Left Hand R =Right-Hand Crossover L =Left-Hand Crossover B =Both Hands
* Strike left stick with right stick while left stick rests on drumhead in cross-stick position

ii
\,
 HSSON SUBJ[CT
1 One- Hand Sixteenths All stTokes played with the same hand

. high level of accuracy can be achi eved by focusing on one limb at a time. Play each exercise several times through with just the
ight hand and then just the left hand. Strive for an even, consistent sound, and try to strike each drum in the cen ter. Exercises
5 and 16 are especially challenging due to t he long reach from the hi - hat to the rid e cymba l.

RRRRRRR RRR RRR RRR RRRR RR RR RR RRR RRR

L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L

1 tj JJJJJJ JJj J JJj J JJ:11 9 @J JJ ] JJJJJJJ JJJJJJ:11

RRRRRRR RRR RRR RRR RRR R RRR RRR RRR RRR
L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L

2 tj JJJJ Jj JJ JJJJ JJJJ :11 10 @J

J ] ]- J J-JJJJ j 1J J1JJ,
• • 11
RRRR RRRRR RRR RR RR R RRR RR RR RRRRR RRR
L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L

3 tj JJJJJ] JJ JJJ] JJJJ :11 11 @J JJJ JJj JJJJJ JJj JJ:11

RRRR RRRRRR RR R RRR RR RR RRR RRR RRR RRR
L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L

4 tj j JJJJJJ J JJJJJJ J J :11 12 @J J j ] JJJJJJ ] ] JJJJJ:11

RRRR RRRRRR RR RRRR RRR R RRR RRR RRR RRR
L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L

5 tj JJJJj JJJJJJJj JJJ:11 13

II i JJJJJ ] j JJJJJJ ] j J:11
RRRR RRRRRR RRR RRR RR RR RRR RRR RRR RRR
L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L

6 tj JJJJJJ JJJJJJJJ JJ:11 14 JEj J] J J J JJ J JJ j j JJ JJ:11

RRRRRRR RR RRR RRRR RR RR RR RR RRRRR RRR
L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L L

31 i j JJJ j JJJj JJJ j JJJ:11 IJjJJJjJ J JjJ J JjJ,

7
15 Ji4 • • ·11

RRRRRRR RRRR RR RRR R R R R R R R R R R R R

L L L L L L L L L L L L L L L L L L L L L L L L L L L L

gJ JJJj JJJJJ JJj J] ] :11 J J J J J ~ J I J •~ J J

8 16 31 2 • :1" i

I
 USSON SUBJECT
2 Four Strokes Per Hand alter'nate in groups of four notes

In the fo llowing exercises, one band either repeats what the other hand plays or moves in a "mirror" image.

RRRR L L L LRR RR L L L L RRRR L L L LRR RR L L L L

1 Ii JJJJJJ JJJJJJJJJJ:11 9 Ii JJJJJJJJJJJJJJJJ:11

L L L LRRR R L L L LR RRR RRRR L L L LRR RR L L L L

2 Ii JJJJ J] JJJJJJJ] JJ :11 10 Ii j JJJ j JJJj JJJj JJJ:11

RRRR L L L LRR RR L L L L RRRR L L L LRRRR L L L L

3 Ii j ] JJJJ J] J] JJJJJ] :11 11 Ii JJJJj ] J JJJJ] j ] J{II

RRRR L L L LRR RR L L L L L L L LRRR R L L L LR RRR

4 II i JJJJJ1
• JJ JJ J1 1JJ.'11
•j• 12 Ii JJ ] JJJJJJJ] JJJJJ :11
L L L LRRR R L L L LR RRR RRRR L L L LRR RR L L L L

5 Ii j JJ] j ] JJ j JJ] j ] JJ :11 13 Ii J] J] J] ] ] J] J ] J ] ] ] :11

RRRR L L L LRRRR L L L L L L L LRRR R L L L LR RRR

6 Ii j ] JJJJ J] j ] JJJJJJ:11 14 Ii JJ] JJJJ] JJ] JJJJ] :11

R RRR L L L LRR RR L L L L RRRR L L L LRR RR L L L L

7 Ii JJJJJ JJ] JJJJ J JJ] :11 15 Ii JJ] JJJJJJJJJ JJJJ:11

L L L LRRR R L L L LRRRR RRRR L L L LRR RR L L L L

8 II i j JJJJJJJj JJJj JJJ:11 16 Ii JJ JJJ JJJJJ] JJ J] J:11

2
 l[SSON SUBJfCT
l Alternating Single St l'okes Hands alternate throughout

.'he following pages contain a variety of exercises played with alternating single strokes, with the hands mov ing in a variety of
lirections (cl ockwise, counte rclockwise, horizontal, vertical, crisscross, or combinations) . Some of th e exercises might sound
:omewhat routine, but the idea is to force the hands, arms, and body to move in every possible direction to increase one's com-
nand ohhe drum set.
RLR L R L R LR L R L R L R L
LR LR L R L R LR LR L R LR R L R L R L R LR L R L R LR L
LR L R L R L R LR LR L R L R

1 31 1JJJJJJj JJJJJ JJ JJ:11 9 i j JJ j j JJ JJJJj JJJ Jj :11

R L R L R L R LR L R LR LR L R L R L R L R L R L R LR L R L
LR LR L R L R LR LR L R LR LR L R LR L R L R LR L R LR

2 31 1JJ j j JJJJJJ Jj JJJ J:11 10 ij

JJ)'JJ)'JJ)'JJ')
~ ~ ~ ~ ~ ~ ~ ~ :11

R L R L R L R LR L R L R L R L R L R L R L R L R L R LR L R L
LR LR L R L R L R L R L R L R L R L R LR L R L R LR L R L R

3 31 1JJJJJJJJJJj j JJJJ:11 11 i j JJj j JJ JJJJj JJJ JJ:11

R LR L R LR L R L R LR LR L R LR L R L R L R L R LR L R L
L R LR LR L R L R LR L R LR LR L R L R L R LR LR L R LR

4 ¥4 JJJJJJJj JJJJ JJ Jj :11 12 ¥4 JJJJ JJJJ JJ Jj J JJJ:11

R LR L R L R L R L R L R L R L R L R L R L R L R L R L R LR L
LR L R LR L R L R L R L R LR L R LR L R L R L R L R L R LR

5 ¥4 JJJJJJJJJJ Jj JJJJ :11 13 ij JJJJ JJJJJJJJJJJJ:11

R L R L R L R LR L R L R L R L R L R L R L R L R L R LR LR L
LR L R L R L R L R L R L R LR L R L R LR L R L R L R L R LR

6 II 1Jj J JJJJ JJj JJJj JJ:11 14 ld JJJJJJJJJJJ JJj JJ:11

R LR L R L R LR L R LR LR L R L R L R LR L R L R L R LR L
LR LR L R L R LR LR L R LR L R L R LR L R L R L R L R LR

7
¥4 JJJJ JJJJ JJJJJJJJ:11 15 ¥4 JJJJ JJJJJJJJJJJJ:11
R LR LR LR L R L R LR LR L R L R L R L R L R L R LR LR L
LR LR LR L R LR LR L R L R L R L R L R L R LR L R L RLR

8 ¥4 j JJJ JJJJJj JJ JJJJ:11 16 ¥4 JJ JJJJJJJJJJJJJ J:11 '

3
 R L R L R L R L R L R LR LR L R LR L R L R L R L R L R L R L
LR LR L R L R L R L R L R LR
LR L R LR L R LR L R L R LR

17 g JJJJJJJJJJJJJJJJ:11 25 =g J J JJJ JJJJ J JJj JJJ:11

R L R L R L R LR L R LR LR L R LR L R L R L R L R L R LR L
L R L R LR L R LR L R L R LR LR LR L R L R L R LR L R LR

18 II i J J JJJJJJJJ JJJJJJ:11 26 g J J JJJJJJJ J JJj JJJ:11

R LR L R L R LR L R LR LR L R L R L R L R LR L R LR LR L
L R LR L R L R LR L R L R LR LR LR L R L R LR LR L R LR

19 g j JJ J JJJJJ J JJJ JJJ:11 27 :g J~~~J~~~J~~~J~~~ :11

R L R L R LR L R L R LR LR L R L R L R LR LR L R L R LR L
LR L R LR L R L R LR L R LR LR L R LR L R LR L R L R LR

20 :g j JJ J J] J J JJJJJ] JJ:11 28 ij JJJJJJJJJ]JJJJJJ :11

R LR L R L R LR L R LR LR L R LR L R L R LR L R L R L RL
LR LR L R L R LR LR L R LR LR LR L R L R LR LR L R LR

ltj j JJ J j JJ J J J JJJ J JJ:11 ltj

J ~~~ J ~~~J~~~Jj~~
21 29 :11

R L R L R L R LR L R LR LR L R LR L R L R L R L R LR LR L
LR LR L R L R LR L R L R LR LR LR L R L R L R LR L R LR

22 31 % JJJJ JJ JJJ] J J JJJJ:11 30 i j J~ J J J] J JJj ~ ~ J J] ] :11

R LR L R L R LR L R LR LR L R LR L R L R LR L R LR LR L
L R L R LR L R LR L R L R LR LR LR LR L R L R L R L R LR

23 II % J J ] ] JJJJJ J ] ] JJJJ:11 31 TI
~~~~~~~~J~~~jJ~~ :11
R LR L R L R L R L R L R LR L R L R L R LR L R L R L R L R L
L R LR L R L R L R L R L R LR LR L R LR L R L R LR L R LR

24 II % JJJ J JJJJJJ ] ] JJJJ:11 32 II %

J ~~~J~~~~~JJJ~~~
• :11

4
Ilthough Exercise 3 3 is n otated on the small tom, this single-stroke r oll should he played on a ll t he differ en t dr ums and cymbals
n your drum set hecause each s urface has a very d iffer ent feel.

R L R L R L R LR L R L R L R L R L R L R L R L R L R L R L R L
L R LR LR L R LR LR L R LR L R L R L R L R LR L R L R LR

33 @4 JJJJJ JJJJJJJJJJJ:11 41 i1 J J JJ JJJ JJJJJJ J j 3::1

R L R L R L R LR L R L R L R L R LR L R LR L R L R L R LR L
LR L R LR L R L R L R L R L R LR L R L R L R L R L R L R LR

34 JEtHH JJ JJJJJJJJJJ JJ:11 42 i1 JJJJj JJ J JJJJJJJJ:11

R LR L R L R LR L R L R L R L
L R LR L R L R LR L R L R LR R LR LR LR LR LR LR LR L
JJJJJJJ J i1 JJ] JJJ] JJJ] JJJJJ:11
35 t% JJJJJ JJJ= :11
43

R LR L R LR L R L R LR LR L
L RL R LR L R L R L R L R LR R LR LR LR LR L R LR LR L

36 JEt~ J J J J JJJJ J JJJJ J J :11 44 ¥J JJJJJJJJJJ] JJJJJ:11

R L R L R LR L R L R L R LR L LR LR LR L R LR LR L R LR
LR LR LR L R L R L R L R LR

37 t% JJJJJJJJJJ JJJJJJ :11 45 i1 J] JJJ JJJJ] JJJ J JJ:11

R LR L R LR L R L R LR LR L
LR L R LR L R L R L R L R LR R LR L R LR LR L R LR LR L

38 JEt JJ JJJJ J JJJ JJJJJJ :11

R L R LR L R LR L R L R L R L LR L R LR L R L R L R LR LR
L R LR LR L R L R LR L R LR

39 @4 JJJJ JJ J JJJ J JJ JJ J :!I 47 i1 JJJ JJJJ JJ JJJJ JJJ:11

R LR L R LR L R L R L R L R L R LR L R LR LR L R L R LR L
L R LR LR L R L R L R L R L R

40 JEt JJJJJJ JJ JJ JJJJJJ :11 48 31 i JJJJJJJJJJJJJJJJ :/1

5
 I

RLRLRLRLRLRLRLRL RLRLR LRLRLRLR LRL

LRLRLRLRLRLRLRLR

49 JEj JJJJJJJJJ JJJJ JJJ:11 57 JEt JJ] JJ J ] JJJ] JJ J ] J:11

RLRLRLRLRLRLRLRL LRLR LRLRLR LRLRLR
LRLR LRLRLRLRLRLR

50 J±j JJj JJJJJJJJJJJJJ :11 58 J±j J] ] ] JJJJJ] ] ] JJJJ:11

RLR LRLR LRLRLRLRL RLRLRLRLRLRLRLRL

LRLRLRLRLRLRLRLR

51 J±j J] ] J JJJJJJ ] ] JJJJ:11 59 J±j JJJJj JJJ JJJJj JJJ :11

LRLRLRLRLR LRLRLR R LR LRLR LRLRLRLRL

52 J±j JJJJj JJJJJJJJJJJ:11 60 Jij JJJJ JJJJJJJJ J JJJ:11

RLRLR LR LRLRLRLRL RLRLRLR LRLRLR LRL

53 J±j JJJJ JJ ] ] JJ] J JJ J] :11 61 J±j JJJJJ] ] J J JJJJJJJ:11

LRLRLRLRLRLRLRLR RLR LRLR LRLR LR LRL

54 II i J ] ] ] J] J ] JJJJJJJJ:11 62 31 i JJ] JJ] ] JJJ] J J J JJ :11

RLRLRLR LRLRLRLRL RLRLRLRLR LRLR LRL

55 J±j JJJJ JJJJ JJ J] JJJ{II 63 J±j

J ]JJJJJJJ]JJJJJJ.
~ • • • ."
LRLR LRLRLR LRLRLR LRLR LR LRLR LRLRLR

56 31 i J ] ] JJJJ ] JJJJJ JJJ:11 64 II i J JJJJ,l JJJ,l ] JJJJJ:11

6
 HSSON SUOJfCI
4 Double Strokes Two strokes per hand

)ouble strokes should have an even sound. Some exercises will require a crossover to facilitate t he sticlcings. It is tricky (a nd
;omewhat uncommon) to play double strokes with one stroke per surface, as in Exercises 17- 32. Go for a smooth, fluid sound.

RR L L RR L L RR L L R R L L RR L L RR L LRR L LR R L L
L LRR L L R R L L RR L L RR

1 Jg JJ J J JJJ JJJ JJJJ J J:11 9

JEj J JJ J JJJJJ JJ J JJ] ] :11
RR L L RR L L RR L L R R L L L L RR L LR R L LR R L LRR
L L RR L L R R L L RR L L RR

2 Jg JJJJ JJ J J JJ J J JJJJ :11 10 M JJ J JJJJJJJ JJJJJJ:11

RR L L RR L L RR L LR R L L
L LRR L LR R L L RR L LRR RR L L RR L LR R L LR R L L

3 Jg JJ J JJ J J JJ; JJJJ J J:11

RR L L RR L LRR L L R R L L
L L RR L L RR L L R R L LRR L LRR L LR R L L RR L LRR

4
ft )J )l )l J JJ JJ JJJJJJ J J :11 12 tg JJJJJJJJJJ JJJ J J J :11
RR L L RR L L RR L L R R L L RR L L RR L LRR L LR R L L
L L RR L LR R L L RR L L RR

5 g JJJJJJJJJJJ J J JJJ :11 13

II 1JJJJJ] JJ JJJJJJJJ:11
RR L L RR L LR R L L R R L L L LRR L LR R L L RR L LRR
L L RR L L RR L L R R L L RR

6 Jg JJJJJJ JJJJJJJJ JJ :11 14 ft JJJJJJ] ] JJJJJ J JJ:11

RR L LR R L LRR L L RR L L L L R R L L R R L L R R
L L RR L L RR L L RR L L RR

7 ¥J JJJ J JJJJJJJJJJJ J:11 15 ij J J ] ] JJ] ] J JJ J:11

RR L L RR L LRR L L R R L L RRLLRRLLRRLLRRLLRRLLRRLL
L LRR L L RR L L R R L L RR

B ¥J JJJJJ J ] ] J] J J JJJJ:11 16

7
 RRLLRRL LRRLLRRLL RRLLRRLLRRL LRRLL
LLRRLLRRLLRRLLRR LLRRLLRRLLRRL LRR

17 Jij JJJJJ JJ JJ JJ JJ JJJ:11 25 JEj JJJ JJJ JJ JJJ JJ:' JJ :11

RRLLRRL LRRLLRRLL RRLLRRLLRRLLRRLL
LLRRLLRRLLRRLLRR LLRRLLRRLLRRL LRR

18 U JJJ JJJJ JJJJ JJJJt il 26 II i j J JJAj Jj J JJ j J J{ II

RRLLRRLLRRLLRRLL
LLRR LLRRLLRRL LRR RRLLRRL LRRLLRRLL
LLRRLLRRLLRRLLRR

19 3Q JJJJJJJJJJJJJJJJ:11 27 JEt JJJJJ JJ JJ JJ JJ JJJ:11

RRLLRRLLRRLLRRLL RRLLRRL LRR LLRRLL
LLRRLLRRLLRRLLRR LLRRLLRRLLRRL LRR

20 3Q J] J JJ] J JJ] J JJ] J J:11 28 I j JJ JJ JJ JJ JJJJJJ JJ :11

RRLLRRL LRRLLRRLL RRLLRRL LRRLLRRLL
LLRRLLRRLLRRLLRR
LLRRLLRRLLRRLLRR

21 @4 J] JJJ JJ] J] JJJ JJ] :11 29 M J ] J ] JJJJJ ] J ] JJJ J:11

RRLLRRL LRRLLRRLL RRLLRRL LRRLLRRLL
LLRRLLRRLLRRLLRR LLRRLLRRLLRRL LRR

22 3Q JJ JJ j JJJ JJ JJJJJJ :11 30 I j JJJ JJJJJJJJJJJ J t il

RRLLRRLLRRLLRRLL RRLLRRL LRRLLRRLL
L LRRLLRRLLRRLLRR LLRR LLRRL LRRLLRR

23 U J] JJ J] JJ J] JJ J] JJ :11 31 JEj JJJ] JJ] J JJJJ JJJr l

RRLLRRLLRRLLRRLL
LLRRLLRRLLRRLLRR LLRR LLRRLLRRL LRR

24 @4 j JJ JJJJJ JJJ JJJJJ :11 32 ij J ] J] JJ] J j JJ] J] ] J :11

8
 l[SSON SUOJ[CI ... ~-~~~~
5 Paradiddles RLRR LRLL

'aradiddles can be oftremendous value on the drum set. Most ofthese exercises apply this rudiment in non-traditional ways.
,tress the fi rst note of each paradiddle in Exercises 7- 10.

R LRR LR L LR L RR LR L L
R LRR LR L LR L RR L R L L

1 g j JJ JJJJJJJJJJ J] ] :11 9 II i j JJJJJJJ J JJj JJ] 1m

LR L LR LRR LR L LR LRR LR L L R LR R LR L L R LRR

2
g J] ] ] JJJJJJJJ)J JJJ:11 10 lFj JJJJJJ] ] JJ JJJJJJ :11
R LRR LR L LR L RR LR L L R LRR L R L LR L RR L R L L

3 g JJJJJ] JJJJJJj JJJ:11 11 ij JJ JJJ] JJ JJ JJJ] JJ :11

LR L LR LR R LR L LR LRR LR L L R LR R LR L LR LRR

4 g J] J J JJJJ j JJ J JJJJ:11 12 ij J ] JJJ] JJJ ] JJJJJJ:11

R LRR LR L LR LR R L R L L R LR R LR L LR LR R L R L L

5
g JJJJJ] JJ JJJJJ] JJ :11 13 J±:J JJ1JJJJJJJJJJJJJ
•
.·11
R L RR LR L L R LR R LR L L

14 i j JJ ] ] JJJJJJ ] ] JJJJ:11

R LRR LR L LR L RR L R L L R LRR LR L L R L RR L R L L

7 g JJ] ] j JJ JJJJJJ ] JJ:11 15 II 1JJJJj Jj JJJJJJJJJ:11

LR L L R LRR LR L LR LRR R LRR LR L LR L RR L R L L

8 31 i JJJ J JJJJJ ] JJJJ ] ] :11 16 lFj JJ J Jj JJJ JJJ JJ]] J:11

9
 HSSON SUOJ(CI
II Slxteenth- Note ComblllatlOl1S Single strokes, double strokes, and Paradiddles

Strive for a consistent sound so that all of the stickings sound like a single hand playing continuous sixteenth notes.

R L R L R L R L R L R L R L R L R R L L R R L L R R L L R R L L
L R L R L R L R L R L R L R L R L L R R L L R R L L R R L L R R

1 M J J J J J J J J JJ J J J J J Ji J J J J J J J J JJ J J J J J J:!I
R L R L R L R L R L R L R L R L R R L L R R L L R R L L R R L L
L R L R L R L R L R L R L R L R L L R R L L R R L L R R L L R R

2 ltj J J J J J J J J J J J J J J J J1J J J J J J J J J J J J J J J J :11

R L R L R L R L R R L L R R L L R L R L R L R L R R L L R R L L

3 II i JJ J J JJ J J JJJJ J] J JIJJJJ JJJ J J ] J J JJJJ:11

R R L L R R L L R L R L R L R L R R L L R R L L R L R L R L R L

4 J J J J J JJ J JJ JJ JJ ] J 1J ~ •
I J J J J J J J J J J J J J :11
R L R L R L R L R L R L R L R L R R L L R R L L R R L L R R L L
L R L R L R L R L R L R L R L R L~L~R~R L L R R L L R R L L R R

5 ltjJJJJJJJJJJJJ J J J JIJ JJ J J J J J J J JJ JJJJ:11

R L R L R L R L R R L L R R L L R L R L R L R L R R L L R R L L
L R L R L R L R L L R R L L R R L R L R L R L R L L R R L L R R

6 TI J J J J J JJ J J J JJ J JJ JIJ J J J JJ J J J J J J JJ J J :11
R R L L R R L L R R L L R R L L R L R L R L R L R L R L R L R L
L L R R L L R R L L R R L L R R L R L R L R L R L R L R L R L R

7 Ii JJ J J J J j j JJ JJ J J j j IJJ •14• J J j j J J
R R L L R R L L R L R
L L R R L L R R L R L

8
ijJJJJJJjjJJJ J JJ 1

10
 R L R L R L R L R L R L R L R L R L R R L R L L R L R R L R L L

9 31 1J ] ] J ,J ] J J )J ] J J J J J J 1JJ J J J J J JJJ j J J J ] J :11

L R L R L R L R L R L R L R L R L R L L R L R R L R L L R L R R

10 3Ej J J J] J J ] ] J ] J ] J J J ] 1J J J J J J j J J JJJJJJJ :11

R L R R L R L L R L R R L R L L R L R L R L R L R L R L R L R L

11 i j j J J J JJ J J J J J; J J J J 1j J J J j J J J JJJ J j J J J :11
L R L L R L R R L R L L R L R R L R L R L R L R L R L R L R L R

12 i j J ] J J JJJ J J J JJJ J J J 1J J J J J JJ JJ J J J J J J J :11

13 ij . . I· :11

L R L L R L R R L L R R L L R R L R L L R L R R L R L R L R L R

J J J J J J Jj j? I ) J 4 4) J JJ J J J JI J I 4 ? ? J ? ??
14 ij = ~ • "" • "" "" • • • 1 = = • • "" "" "" "" "" "" :11

R L R R L R L L R R L L R R L L R L R R L R L L R L R L R L R L

15 II 1J J J J J J J J JJ J JJ J J J 1JJJ J J J J] J J J J JJ J J :11
L R L L R L R R L L R R L L R R L R L L R L R R L R L R L R L R

16 Ii J JJ J J J] J j J J J J J JJ j J ~ JJJ J J J J J J j J J J :11
1

11
 HSSON SUOJ[CI !
1 Thrce-Noleipatterns

Use the hi - hat or bass drum quarter - note patte rn to help define the pulse ofthe rhythms below.

RL RLR LRL RLR L

LR LRL RLR LRL R RLR LRL RLR LRL

~
~ ~~ ~ r~
~Fl
1
3Q F' f r j :11 9
3Qp fE
RLR LRL
r
RLR LRL
:11

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RL RLR LRL RLR L

3
f
3g f
JftJ ~ JJf J+J
f J
:11 " 3Qf3 FE
RLR

fB f ll
LRL RLR LRL

LRL R LR RLR LRL

" M FE fB fTI VII

R LR L R LR LRL RL

R LRL RLR LRL RL

L RLR LRL RLR LR

6 3Q r~ D~ fA ~ 13 ~ -111
R LR L R LR LRL RL LR L RLR LRL RLR

:g~ m Jj~ HI "3Q rffl~m!m!

I I I
m l l
LRL R LR LR L RLR

" 3QrmrmrmrfPll
12
 l[SSON SUOJ[CI
I One - Hand Triplets All strokes played "'ith the same hand

t is a good idea to play quar ter notes on the hi - hat or bass d rum to help define the p ul se, especially on Exerc ises 13 and 14.

R R R R R R R R R R R R R R R R R R R R R R R R
L L L L L L L L L L L L L L L L L L L L L L L L
3 3 3 3 3 3 3 3

1 gJ ~ J J ~ J J ~ J J ~ J :11 9
§T1 ~
Ii
I
Ii ~ J ~ J J J J I J ~ :II Ii

R R R R R R R R R R R R R R R R R R R R R R R R
L L L L L L L L L L L L L L L L L L L L L L L L
3 3 3 3 3 3 3 3

2 gJ ~ ~
Ii
J~ ~ J~ ~ JJ~
Ii Ii :11 10 §T1J J J •I J I J ~ ~ ~ J :II
I
Ii
Ii
Ii

R R R R R R R R R R R R R R R R R R R R R R R R
L L L L L L L L L L L L
L L L L L L L L L L L L 3 .J
.J .J 3 3 3 3

~ J ~ j JJ J ~ j JJ
3 gJ I
Ii
J~ ~ J •I ~ J ~ ~
:11 11 §T1 ~ Ii J :11
R R R R R R R R R R R R R R R R R R R R R R R R
L L L L L L L L L L L L
L L L L L L L L L L L L 3 3
3 3 3 3 3 3

gJ ~ J J J ~ J ~ J ~ J ~ :II J ~ ] J ~ JJ ~ ] J ~ J
4 Ii 12
§T1 :11
R R R R R R R R R R R R R R R R R R R R R R R R
L L L L L L L L L L L L L L L L L L L L L L L L

:
3 3 3 3 3 3 3 3

gJ J ~ J ~ ~ ~ J ~ J~ ~ ~ J :11
§T1 ~ ~ ~
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J~ JJ
5

R R R R
L L L L
R R
L L
Ii

R
L
R R
L L
R
L
R
L
R
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:11 13
I
R
L
R R
L L
R
L
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R
L
R
L
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R R
L L
R
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R R
L L
R
L
3 3 3 3 3 3 3 3

~ ~ ~ ~ J ~ J J ~ J :11
6 gJ J ~ J J J J J ~ J J J :11 14 §T1 ~ ~

R R R R R R R R R R R R R R R R R R R R R
L L L L L L L L L L L L L L L L L L L L L
3 3 3 3 3
3

gJ J J J ~ ~ J ~ ~ J J J ~~ J J J JJ J JJ ~
3

7 15 112 :11
R R R R R R R R R R R R R R R R R R R R R
L L L L L L L L L L L L L L L L L L L L L
3 3 3
3 3 3

g J JJJ JJJ ~ ~ J ~
J 16 -gJ JJ~
3

JJJ~ ~
8 Ii :11 :11

13
 mSON SUOJ(CI
I Three Strokes PCI' ~and Hands alternate in groups of three notes

In the fo llowing exercises, one hand either repeats what the other hand plays or moves in a "mirror" image. Exe rcises 5, 6, 9,
and 10 each involve a crossover, indicated by the sticking appearing in bold type .

R R R L L L R R R L L L R R R L L L R R R L L L
3 3 3 3 333 3

1 gg J J J J J J J J J J J J :11 9 II i J J J J J J J J J JJ J :11
L L L R R R L L L R R R R R R L L L R R R L L L
3 333 3 3 3 .,....;,3--.

2 JEt J J J J JJ J J J J~JJ :11 10 II i J J J J J J J J JJ J J :11

R R R L L L R R R L L L R R R L L L R R R L L L
3 3 3 ~3--. 333
3

3 JEt J J J J J J J J J J J J :11 11 JEt J J J J J J J J J J J J :11

L L L R R R L L L R R R L L L R R R L L L R R R
3 3
3 .J 3 3
3
J JJ~
J ~ J I J J J J J J J :II J J J J -I ~J J J :11
3
I .;
Ii
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4 @ij Ii 12 Ii
Ii

R R R L L L R R R L L L R R R L L L R R R L L L
3 3 3 3 3 3 3 3

J ~ ~ J I
J I
J
J J :11
I I
J J J J J J J J J J J :11
JEt J
Ii Ii Ii Ii
5 Ii 13 @j
L L L R R R L L L R R R
L L L R R R L L L R R R 3
3 3 3 .,....;,3--.

6 Ii J J J J J J J J J J J J :11 14 II i J j J j j J J J J J J J :!I
R R R L L L R R R L L L R R R L L L R R R L L L
3 3 3 .,....;,3--. 3 3
3 3
I ~
7 JEt j J J J J J J J J J J J :11 15 31i JJ Jj
." J~ JJ~ Ii
Ii
I
Ii
:11

L L L R R R L L L R R R L L L R R R L L L R R R
3 3 3 3 3 3 3 3

8 JEt J J J j J J J J J J J J :11 16
MJ
I I I
Ii Ii Ii J J J J J ..~ ~ J :1'I Ii

14
 lUSON SUBJ(CT
10 Triplets "'itll Alternating SlOgle Strokes Hands throughout

rhe followi ng pages contain a var iety of exercises played with alternating single strokes, with the hands moving in a variety of
lirections. 1t is a good idea to maintain quarter notes on the bass drum or hi -hat to define the pul se. especially in Exercises
;3-48 and 53- 56, where you are playing two notes per surface . Some exercises involve crossove rs, indi cated by the sticki ng
lppearing in bold type .
R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R
3 3 --".;3;,...., 3 3
3
i
gJ J J J J J J J J J • J :11
I'"

1 9 • •
R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R
3 3 333 3
3 3

2 ij J J J J J J J J J J J 10 ij J J J j J J J J ~ J J J :11
R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R
3 3 3 3 3 3

3Q J J J J j J J J J j J ~
3

3 ij •i J J J J J J J J J J J :11 11 :11

R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R
3 3 333

4 JJJJJJj J :11 12 3Q J J J j J J J J J J j J :11

R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R
3 3
3 3

ijJjJjJJJJ J J J
3

jl3t JI J3 J J J J J -.31 J J
- J
- - J
5 13 ~ === ~ • ~ :11
R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R
3
~3~
3
3

-J J
3
JJ J
6 ij J J J J J J J j J J J J :11 14 i
• J :11
R L R L R L R L R L R L RLRLRLRLRLRLRLRLRL
L R L R L R L R L R L R LRLRLRLRLRLRLRLRLR
3 3 3 3 3 333

7 31 j j J J J J J j J J J J J :11 15 1 2ffimffimmna
R L R L R L R L R L R L
L R L R L R L R L R L R
333

8 II - ~ •~
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15
 i,
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R L R L R L R L R L R L L R L R L R L R L R L R
L R L R L R L R L R L R 3 J :1 3
3 3 3 3

~• J j j
17 gJ •~ J J J J J •~ J J J J :II 25 g Jj JJJj J J :11
R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R
3 3 J 3 3 3
3 3

18 gJ J J J J J •~ J J I ~
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it
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3 .J J
3 3 3 3

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3

19 it
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R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R
3 3 3 3 L R L R L R L R L R L R
3 3 3
J J J J JJ J J ~ J J ~ gJ ~ J ., ~
:1

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R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R

g;
3 3 3 3 3 3 3 3

gJ ~ J I I ~ ~ ~ I
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it it

R L R L R L R L R L R L
L R L R L R L R L R L R
it
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R L R
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~ ~ ~ j ~ ~ ~ ~ j g!i J ~ j ~ J J~ ~ ~
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R L R L R L R L R L R L R L R L R L R L R L R L
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it
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R L R L R L R L R L R L
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r RLRL RL R L

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J J j J j J J J ~ .~I
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24 ®j "g gJ J ~ J J~ J j f ~ J!I
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 R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R
3 3
3 3 3 3 3 3

~ ~ J J JJ
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R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R
3 3 3 3
3 3 3 3
~ J j J J J J --1 I J J • :11 j ~ j J~ ~ ~
•j j JJ
I I
34 ¥j iI! iI!
iI! 42 II % iI!
:11

R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R
3 3 3 3 3 3 3
3

I iI!I iI!I J~ ~ ~ I ~ j J J :11 !j J J j J

J J I
• J j JJ I
35
U iI! iI!
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iI!

R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R
3 3 3 3 3 3 3
3

¥j ~
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R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R
3 3 3 3 3 3 3 3

37
u J J Jj j I
iI! J J j J ~ ~ :II 45 Jfj J J J J J ~
j iI!
~
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j 1
iI!
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R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R
3
3 3 3 3 3 3 3

J J J j j j ~ J
I j I I 1
J j ~ JJ J
38
U iI!
• J :II iI! 46 JEj J iI!
I iI! iI!
iI!
I J • :11

R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R
3 3 3 3 3 3 3 3

J j ~ J J J J j JJ ~ j J ~ ~ J~ j J
39 ¥j J iI!:II iI! 47 !j J J J J :11 iI!

R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R
3 3 3 3
3 3 3 3

40 II %
J J ] J J J 1 I J JJ J
:11
iI! iI!
48 Jfj J j J JJ J j J
J J J J :1: \
17
Although Exercise 49 is notated on the hi - hat, this single-stroke roll should be played on aU the different drums and cymbals in
your drum set because each surface has a very different feel.

R L R L R L R L R L R L
L R L R L R L R L R L R
3 3 3 3 R L R L R L R L R L R L
3 3 3 3
JJ J JJ J JJ J JJ J JfjJ J ~ J ~ J J J ~ J ~ J :11
49 gg :11 57

R L R L R L R L R L R L
L R L R L R L R L R L R R L R L R L R L R L R L
3 3 3

J j j Jj j
J

lI iJJ~
3

50 Jg J J J J J •~ :11 58

R L R L R L R L R L R L
R L R L R L R L R L R L
L R L R L R L R L R L R J 3
3 3 3

Jfj J ~ ~ J JJ J J •~ J JJ :11
3 3 3

~ i ~ ~ •i ~ ~ ~ •I J j j :II
51
ti if 59

R L R L R L R L R L R L
L R L R L R L R L R L R R L R L R L R L R L R L
3 J 3
3 3 3 3

JJ J JJ J JJ J ~ ~ ~
3

J J ~ J J j J J JJ j
52 3g :11 60 Jfj • J :11
R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R
3 3 3 3 3 3
3 J

J ~ J J J ~ J •I J J Jfj J J j J J J J J J J J J :11
53 3g • • J J :11 61

R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R
3 3 J J J J
3 J

54
ti J J J J J ~
• JJ ~ J j j
:11 62 II i J J J J ~ ~ J J J J~~~ :11
R L R L R L R L R L R L
L R L R L R L R L R L R R L R L R L R L R L R L
J
3 3 3 3

55
ti J ~ ~ J j •I J J j J J J :1
1 63 JEj J j ~ j JJ J
R L R L R L R L R L R L
L R L R L R L R L R L R LRLRLRL R LRLR
3 3 3 3 J J

~~m~~~ J J J J J J :1 1
3
3

56
ti J J J J J J 64 Jfj J J J J J J J JJ J J J:11
18
 USSON SODJ[CT
11 Two - BarTriplet Comblllatiolls Hands alternate throughout

The followi ng exe rcises combine one, two, and three strokes per surface. Keeping a quarter- note pulse with bass drum or hi - hat
is reco mmended, especially in Exercise 9 , where the pattern in measure two implies a three-agai nst- four polyrhythm.

R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R
J 3 3 3 3 3
3

JJJ~ JJ~ ~ ~ JJ ~ J ~ ±l
3

1 gg • ~ I
Ii J~ ~ JJ =1
Ii
I
I
Ii

R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R
3 3 .J .J 3
3 3

JJ~ ~ J~ J~ ~ JJ
3

2 ggJ ~
Ii ~ JJ J J J~ J~ Ii
~ J :11
I

R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R
3 3 3 3 3
3 3

~ •I ~ ~ J~ ~ JJ
3

3 gg J J J J •=1 J J ~ I
J J JJ~ ~ J :11
R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R
3 .J 3 .J .J 3
3

4 ggJ ~
Ii JJJ J J~
3
~ J~ ~ J •~ j I
Ii ~ ~ JJ ~ I
.;
j I
Ii
:11
I

R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R
3 3 3 3 3 3 3 3

5 gg J ~ ~ J~ ~ J~ ~ J~ ~
I
J~ ~ J~ ~ J ~ ~ J~ ~
:11

R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R
3 3 3 3 3 3
3 3

6 ggJ J J J ~ ~ J J J "
I I
it ~
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JJ I J JJJ ~ JJ~
it ~
:11

R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R
3 3 3 3 3
3 3

JJJJJ JJ~ ~ J~ J J J~ J ~ ~ JJ J
3

7
JI4 J ~ ~
I
Ii
II

R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R
3 3 3 3 3
3 3

J J J J J J J J J IJ J J J ~ ~ J J j J ~ ~
3

8 :t i J J J :11

19
 R L R L R L R L R L R L R L R L R L R L R L R L
3 3 3 3 3 3 3 ~3....,

9 1\ I J J J J J J J J J J J J 1J J J j J J J J J J J ~ :11

L R L R L R L R L R L R L R L R L R L R L R L R
3 3 3 3 3 3 3 3

10 II i J J J J J J J J J J J J 1j J J J J J J J ~ J J J :11
R L R L R L R L R L R L R L R L R L R L R L R L
3 3

11 II f J j J J J J J j J J J J 1j j J J j J J j JJ~ J :11

L R L R L R L R L R L R L R L R L R L R L R L R
3 3 3
3 3
JJJ 3
J J ~ J J J J~
J~ J
3 3

12 II i J~ ~ JJJJ~ ~ 1
7l
:11

R L R L R L R L R L R L R L R L R L R L R L R L
3 3 3 3 3 3 3 3

. 13 1\ i J J J J J J J J J J J J 1J J J J J J J J J j~J-"'J :11

R L R L R L R L R L R L R L R L R L R L R L R L
3 3 3 3 3 3
3 3
J J ~ JJ J ~ J J J JJ J J J J J JJ
14
II i I~ J ~ J J :11
R L R L R L R L R L R L R L R L R L R L R L R L
3 3
3 3 3 3
3
JJ JJ~ J ~ J ~ IJ ~ J ~ J ~ 3
JJJ
15 II IJ~ ~ ~ ~ ~ :11

L R L R L R L R L R L R L R L R L R L R L R L R
3 3
3 3 3 3

16 II fJ J J J j JJJJJ J J 1J J J J J J J J J J j J :11
20
 . .

[[sSON SUBJ[CT
12 Triplets with Mixed Stickings RRL
LLR
RL L
LRR
RLRRLR
LRLLRL

These exercises combin e single and doub le strokes in various comb in ation s that ar e pop ula r an d useful when p laying triplets.

R R L R R L R R L R R L
R R L R R L R R L R R L .J 3
3 .J 3
J~
3 3 3
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J I J JJ J J ~ • J J :II
I
1 Jgj 1
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L L R L L R L L R L L R
R R L R R L R R L R R L 3 .J 3 3
3 3 .J 3

2 II i J JJ J J J J J J J J J :11 10 ¥4 J J JJ J J J JJJ"""';;"""
J J :11

R R L R R L R R L R R L
R R L R R L R R L R R L L L R L L R L L R L L R
3 3 3 3
3 J 3 3

3
Ii J J -I J ~ J ~ ~ J J
• J iI
J :11 iI iI 11 ¥4 J J J J
J J J j J JJ :11
J

L L R L L R L L R L L R R R L R R L R R L R R L
3 3 .J 3 J.J .J .J

4 Ii J JJ J J JJ j j J JJ :11 12 ¥4 J J J J J J J •I •-I J J J :11

L L R L L R L L R L L R L L R L L R L L R L L R
3 3 3 3 3

J J I J •-I J J ~ I J J J J J J J :11
5 II i iI :11 iI
iI

R R L R R L R R L R R L
L L R L L R L L R L L R L L R L L R L L R L L R
333 3 3 3 .J 3

Jgj J J J J J J J J J J J J :11 J I ~ ~ J
iI J J J •~ ~ J J :II
6 14
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L L R L L R L L R L L R
R R L R R L R R L R R L
3 3 3 .J

J ~ J I J i ~ JJ J
7
MJ " J :11
iI
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L L R L L R L L R· L L R R R L R R L R R L
333 .J .J 3

i J J3 j J J J oJ J JJ J~JJ :!I ~ ~
8 II iI 16
M; ]
I I" ]J J :11
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21
 R L L R L L R L L R L L
L R R L R R L R R L R R R L R R L R R L R R L R
3 333 333 3

17 II I J J J J J J J J J J JJ :11 25 II I J J J J J J J J J J J J :11
R L L R L L R L L R L L
L R R L R R L R R L R R L R L L R L L R L L R L
3 3 3 3 3 3 3 3

18 II I J J J J J J J J J J J J :11 26 II I J J JJ JJ J JJ J JJ :11
R L R R L R R L R R L R
R L L R L L R L L R L L L R L L R L L R L L R L
3 3 3 3 3 3 3 3

19 II I )l J J )l J J )l J J)l J J :11 27 II I JJ JJJ J JJ JJJ ] :11

R L R R L R R L R R L R
R L L R L L R L L R L L 3 3 3 3
3 3 3 3

20 II I J J J J J J J J J J J J :11 28 II I J J JJ J JJ J JJ J J :11
L R R L R R L R R L R R RLRRLRRLRRLRRLRRLR
333 3

21 II I J J J J JJJ J ] J ] J :11 29 II! iTIiTImmmm: 11

R L L R L L R L L R L L L R L L R L L R L L R L
3 3 3 3 33 3

22 II I JJ J J J J J J J J J J :11 30 II I J J J J J J J J J J j J :11
R L L R L L R L L R L L R L R R L R R L R R L R

I~j J ~ j J ~ j J ~ j J :11
3 3 3 3

23 II I JJ J JJ J JJ J JJ J :11 31 II

L R R L R R L R R L R R
3 3 3 3

24 II I J J JJ J J J J JJ~JJ :11
22
 l(SSON SUBJ[CT
II OneSlrokePerSurface Alternating sticking throughout

These exercises keep the arms in constant motion. Exercises 5, 6 , la , and 12 invo lve crossovers, in d icated by the sticking
~ppearing in bold type.

RLRLRLRLR LRLR LRL R L R L R L R L R L R L

3 3 3 3

9 3Q J J J J JlJ J JJ J J :11
L R L R L R L R L R L R
LRLR LRLRLR LRLRLR 3 3 3 3

10 II i j J J J J J j J J J J J :11
RLRLRLRLR LR LR LRL R L R L R L R L R L R L
3 3 3 3

11 M J J J J J J J J J J J J :11
L R L R L R L R L R L R
LRLR LRLRLR LRLRLR 3 J 3 3

12 Ii J J J J JJ J J J J J J :11
R L R L R L R L R L R L
RLRLR LR LRLRLR LRL 3 3 3 3

5 t! JJJj Jj JJJJJj Jj JJ:11 13 JLj J J J J J J J J J J J J :11

L R L R L R L R L R L R
LRLRLRLRLR LRLRLR 3 3 3 ~3.....,

14 -g J J J J J J J J J J J J :11
R L R L R L L R L R L
RLRLRLR LRLRLR LRL

7 ggJJJJJJJjJJJJJJJlj 15 :g J ] J JJ J J J ] J j JII
L R L R L R R L R L R
LRLRLRLRLR LRLRLR

8 II i J JJJJJJ JJ ] JJJJJ J:11 16 M

J ]JJ]JJJ]JJ. II
 usm SU8J[CT
14 Comhinatio~ Eighths and Sixteenths Alternating sticking throughou t

!
Note th e right - hand crossover in Exercise 2 on beat 3.

RLRLRLRL RLRL R LRLRLRLR L R L

R R R R R R R R RLRL R LRLRLRLR L RL

1 Ii j J J J j J J J 1j J J J J J J J J J J J J J J J :11
R L R L R L R L RLRLRLRLRLRLR L RL
R R R R R R R R RLRLRLRLRLRLR L RL

2 Ii J J J J J J J J 1J J J J J J J J J J J J j J J J :11
L R L R L R L R L R L RL R L R L R L R L RL R
L L L L L L L L LRLRLRLRLRLRL RL R

3 @4 J J J J J J J J 1j J J J J J J J j J J J J J J J :11
L R L R L R L R LRLRLRLRL RLRLH LR
L L L L L L L L LHLRLRLRL RLRLI~ LR

R L R L RLRLRLRLR L R L R L R L R L R L
R R R R RLRLRLRLR R R R R L R L R L R L

5 @4J J J J JjJJJJJJ IJ J J J j j J j J JJj :11

L R L R L RLRLRLR L R L R L R L R L R L R
L L L L LRLRLRLR L L L L L R L R L R L R

@4 JI""""'"-:J~J~J JJ J J J J J J J J J :11
6

R L R L R L R L RLRLRLRLRLRLRLRL
R R R R R R R R R L R L R L R L R L R L R L RL

7 3Ej J ] J J J J J J 1J J ] ] J ] J J J J J J J J J J :11
L R L R L R L R LRLRLRLRLRLRLRLR
L L L L L L L L LRLRLRLRLRLRLRLR

J]JJJ J J J J J J J J J J :11
8 g • •

24
 .'- ·~77 -;; -

l[SSON SODJICI
15 Combination Tnplets and Sextuplets Alternate sticking th roughout

R L R L R L R L R L R L R L R LRLRLRLRLRLRLRLRLRLRL
R R R R R R R R R R R R RLRLRLRLRLRLRLRLRLRLRL R L
J J J J 6 6 6 6

1 M In ill In ill IJJJJJJJJJJJJJJJJJJJJJJJht

R L R L R L R L R L R L R L R L RLRLRLRLR L RLRLRLRLRL
R R R R R R R R R R R R R LRLRLRLRLRLRLRLRLRLRLRL
J J J J 6 6 6 6

3 Ej In ill ill II] JJJJ JJJJJJJJ JJJJJJJJJJ]]

1 :11

L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R
L L L L L L L L L L L L L R L R L R L R L R L R L R L R L R L R L R L R
.J J J .J 6 6 6 6

4 g ill In JTI [J] 1 J] JJJ JJJJ J JJJ] JJJ J JJJ JJJ:11

R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L
R R R R R R R L R L R L R L R L R L R R R R R R R L R L R L R L R L R L
3 3 6 6 3 3 6 6

5 ¥jJ J J J J J JJJJJJJJJJJJ 1J J J J J •I JJJJJJJJJJJJ:11

L R L R L R LRLRLRLRLRLR L R L R L R LRLRLRLRLRLR
L L L L L L LRLRLRLRLRLR L L L L L L LRLRLRLRLRLR
.J 3 6 6 J J 6 6

6 g J J J J J J J] JJJJJJJJJJ1J J J J J J J] J]J ] J] J] JJ:11

R L R L R L RLRLRLRLRLR L R L R L R L RLRLRL R LRLRL
R R R R R R RLRLRLRLRLRL R R R R R R RLRLRL R LRLRL
J .J 6 6 J J 6 6

7
ill J JJ JJ] ] JJJJ] ] JJ ill J JJ JJ] ] JJJJ] ] JJ 1 :11

L R L R L R LRLRLRL R LRLR L R L R L R LRLRLRLRLRLR

L L L L L L LRLRLRLRLRLR L L L L L L LRLRLRLRLRLR

8
iJ
JJ JJ J j JJ j JJJ JJJJJI JJ-if
JEt J j J J.j JJJ JJJJ-- 1 -
iJ - •
_I

25
 SU8J(CT I
11
LESSON
Bass Drum and Hi-Hat Endurance Straight sixteenths and triplets on bass dmm and hi - bat pedal

Tbis chapter contains strength, coordination, and endurance - building exercises for the bass drum and hi - hat pedal. Although
the band patterns are written on the snare drum line, they can be played many different ways, including both hands together on
different surfaces. At first, you can omit the quarter-note pulse on the hi-hat or bass drum if that is too difficult.

, IiWrWrr8rWr il

1H i Uti Uti Uti Uti li

"Ii !rmr&hGhG"
Iirnd8d8rtUr " 12

5 3Q rrrf~ rrrnrr~~.rr~ M!m!!!mHff "

I :11 13

6 ¥j tr cf !r rf!r rf~rr fll M ffrftMffrWrf" 14

, Ii rr~~r~FrsrrRIl " , ! !wmW~fmf"

, Ii ffrrE£crffrrffrr " "M~rrrHtimdMIl 26
 rrrr ~ rrr ~ rr r~ rrr tj EUr rUr rtf rmr l
17 g ;
:11
25

"tj ~ r~ rfr;r~ r~ rfr;,II 26 tj rffl rEB UN HTI I

4!r&!r&r~ rctil "tj~rmcmrG~rtjll
19 E

"4FUrFUrUtrRr "tj !d!r!r! rlli

"tj ECc~ !Cc~ !L ~ Ec ~IIC C rWr!rWHn l 29 ffij

22 i ~e C~ ~e c~ ~c r~ ~c c~II
Ii ncmen! cmc~ I 30 ffij

tjrcHrrHrr8!c8 1F1 mmcmmwil

23
11
31

24 th rBe rBr rBe rll ffldcr nlEm

#j " ffij
l1

27
33 II t ~ [ r~ [ r ~ [ r ~ [ r :11
3 3 3 3

r [r [r [r r_r_r_r
r-3--' r-3--' r-3--' r-3~ r-3--' r-3--' r-3--' r-3~

34 II t ~ [ ~~~ ~~~ ~~~ ~ :11 42 II i ~_r ~~ r ~~ r ~~ r ~ :11

3 3 3 3 3 333

i~_r:~r ~_f:~~ ~_f:~~ :~ f:~~ ~~ ~ f~~ ~_r:

r-3~ r-3--' r-3--' r-3~ r-3--' r-3--' r-3--' r-3~

35 II :11 43 II ~ ~~ ~_f:
if: ~i :11
3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3

36 II t ~ r f ~ r f ~ r f ~ r f :11 «II i~ ~ ~ ~ f ~ ~ f ~ f~ ~ :11

3 3 3 3 3 333

r-3--' r-3--' r-3--' r-3~ r-3--' r-3--' r-3--' r-3--'

37 II i r~ r~ r~ r~ :11 45 II i r~ r~ E ~ E~ :11
3 3 3 3 3 3 3 3

'-3-' '-3-' '-3-' '-3-' '-3-' '-3-' '-3-' '-3-'

38 II i~ r. ~ ~ ~ r ~ r :11 46 II i ~ r ~ r ~ r ~ r :11
3 3 3 3 3 3 3 3

39 II I ~ ~ f~ ~ f~ ~ f~ ~ f
3 3 3 3
:11 47 II I ~ ~ ~ ~ ~ ~ f~ ~ ~ ~ ~
3 333
:11

r-3--' r-3--' 3

28
 l[SS~N SU8J[Cl .. . '~-,
11 Alternating Feel Singles, doubles, and Paradiddle variations between the bass
drum and hi- hat pedal

'his chapte r contains a variety of patte rn s played between the bass drum and hi - hat peda l. Doub le bass playe rs ca n substitute the
econd bass drum for the hi - hat. On each page, apply the sticki ngs shown in the first exercise to a ll of the exer cises . You can
eave out the notated accents at first, but ultimately they help define the underlying pulse .
RLRLRLRLRLRLRLRL
L R L R :>L R L R >-L R L R >-L R L R
::> :>- :> ::> >-

t m~m~fWfm " JLjmmmW~W I I

1
9
II

>- >- :> >- >- >- >- >-

2 JLj~wmwmW I I lO JLjmmmwm~
> :> >- >- >- > ::> >-

3 JLj~wwwmW I I 11 JLjmmmw~m l l
::> >- >- :> >- >- ::> >-

4 *iWfwwmw" 12 JLj~WfwmwfP
ff? rc:: !:! }II JLjfwmmmm "
::> >- >- ::> ::> :> >- ::>

5 II l}W1~w~~m~r 13

mmmWI "JLj ~ fa Of Wmmil

>- >- >- >- :> >- >- >-

, II 3~ W

JLj fmmmffl Wil

>- >- > :> >- ::> ::> >-

7 ij~wmwmWII 15

>- >- >- >- >- >- :> >-

8 1I! ~wmmmm l l 18 JLj ~wmmmW II

29
 R L R L R L R L
L R L R L R L R

17 II I ~ rfrfrfr~ LfrfLfr :11 25 II I f ~ r~ [f rf ~ r~ [fr

L L :11

18 II I ~[~r ![!r![~ r! !r c :11 26 II I ![frfr~ r![frf ~ r L :11

19 II I ~ [ ~ rf !r~ !rf[ ~ r
c c :11 27 II f fr![~ rf fr![~ r
I L L :11

20 II i ! fr~ fr! fr! fr

L L L L :11 28 II I ![!rf fr!r!rf fr
L L :11

21 II f fr~ c~ rfrfr!r~ r
I L :11 29 II I f frf[ ~ rf frfr!r
L L :11

22 II i ![~ rf fr!r~ rf frL L :11 30 II i !r!r~ fr![!r! fr

L L :11

23 II I f[ ~ r! frf[ ~ r~ fr
L L :11 31 II I f !r! fr![frf[!r
L L :11

24 II I ! frf[~ r! frf[!r
L L :11 32 II I f[ ~ rf fr!r fr![!r
L :11

30
 R L R L R L R L R L R L
L R L R L R L R L R L R
:> 3 :> 3 :> 3 :> 3 :> 3 :> 3 :> 3 :> 3

~ ~ ~ f ~ ~ ~ f ~ f ~ f ~II
3 3 3 3
41 3Ef f f f
.J
~ f m~ ~ ~ ~II
3 3 3

:> 3 :> 3 :> 3 :> 3 > 3 > 3 :> 3 ::> 3

M lIi ~UUUUfUII
3 3 3 3
42 H t~uuuunfl 3 3 3 3

Mf Uf UUff nil
:> 3 :> 3 :::> 3 :> 3 :> 3 :> 3 > 3 > 3

35 Jij 1= ~ ~ f ~ ~ ~ ~ fr""""'!""'UII ~
3 3
1=
3 3 3 3 3 3

I t~ nUf UUnil «MU uno unil

:> 3 :> 3 :> 3 > 3 :::> 3 :> 3 ::> 3 :> 3

36
3 3 3 3 3 3 3 3

M fU Uf UUUII i UUnnunil
:> 3 :> 3 ::::> 3 :> 3 :::> 3 ::> 3 :> 3 :> 3

37 4H
.J 3 3 3 3 3 3 3

t~U U~ UUnil t ~ UUUf Unil

:> 3 :> 3 :> 3 ::> 3 ::> 3 ::> 3 > 3 :> 3

38 II 46 II
33 3 3 3 3 3 3

:> 3 :::> 3 > 3 :> 3 :> 3 :> 3 :> 3 :> 3

39 Mff~ ff~ f f ~ f f ~II 47 3Ef f f ~ ~ ~ f ~ ~ f ~ f ~II

3 .J 3 3 3 3 3 3

~ M nn~ n~ nUll 3 33 3

31
 R L R L
L R L R

49 II I fer ~ r r ~ r r ~ r r :11 57 II I fer ~ [ r ~ [ r ~ c r :11

3 3 3 3 3 333

50 II I ~ r r ~ r r ~ r r fer :11 58 II I ~ [ r fer fer ~ [ r :11

3 3 3 3 3 333

52 II I ~ [ r ~ [ r ~ [ r ~ [ r :11 60 II I ~ [ r ~ [ r ~ [ r ~ [ r :11
3 3 3 3 333 3

53 II I fer fer fer fer :11

3 3 3 3

54 II I ~ [ r ~ [ r ~ [ r ~ [ r :11 62 II I~ C r ~ c r ~ [ r ~ [ r :11
3 3 3 3 3 3 3 3

55 II I f [ r f [ r ~ [ r f [ r :11 63 II I f [ r fer ~ c r ~ [ r :11

3 3 3 3 3 3 3 3

56 II I~ C r ~ r r ~ cr ~ r r :11 64 II i f [ r ~ [ r ~ r r ~ r r :11
3 3 3 3 3 333

32
 HSSON 8UBJ[Cl
11 Foot Warm - Ups All R, all L; alternating starting with R, alternating starting
witb L

Each of the bass drum and hi - hat pedal figures on the following four pages is to be played with the fou r accompanying hand pat-
:erns listed above, each of which should be played for seve ral measures in order to esta blish a convincing groove . Accenting the
:Iownbeat of each quarter note will help make the bass drum/ hi - hat notes sound equa l in vo lume and inte ns ity.
:> :> :::> ::>

1 ~ m~ JJJ~ JJJ r~
J JJ :1]

, 3ij~J~J~J~J~J~J ~ J~JII

:> ::> ::> >~

5
3Q ~ .
J JJ'. J~ .JJfJJJJ J JJf~
. ~ . ~ ~ . ~ II
I

::> :> :> >i=;::::;~

! ~ ~ J~ ~ ~ J~ ~ ~ JU ~ J~ I I
6 >
/J 4(/JJ(/JJ(/JJJ
Jgl _. ~ ~ .
:
~ ~ . ~ ~ . ~ II " 31
'----=~ ~ ~ =I

15 M W#WWWU I
16 3F1 ~ J@iWnW J@I
33
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v v v v v v v v

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v v v v v v v v

v v v v v v v v

v v v v v v v v

v v v v v v v v
 "¥j ~ ,J ~ , J r' J r' J I
> 3 > 3 > 3 > 3 >- 3 > 3 :> 3 > 3

33
i
:g J J ~ J J ~ J J J J :11 i
I I

34 ¥j Hnnn;n;11 ¥j j :n:n:n;;11
~ 3 ~~ 3 ~ ~3~ ~3 ~
42

~ 3 ~~ 3 ~ ~3~ ~3~

3Hi i ~ n~n~n~bu 43 ¥jiin~n~niill

~3 ~ ~3 ~ ~3~ ~3~ ~ 3 ~~ 3 ~ ~3~ ~3~

> 3 :> 3 > 3 > 3 :> 3 > 3 :> 3 :> 3

Ii f if nun n~II
36 ~ f i Ui Ui Udll 44 II
333 3 3 33 3
> 3 :> 3 :> 3 :> 3 > 3 :> 3 > 3 :> 3

37 tl;~iE?;a;~11 * ¥j~u;uiuiU I
'----- 3 ----.J ~ 3 --' ~3~ ~3~ '----- 3 ----.J ~ 3 --' ~3~ '----- 3 ~
:> 3 :> 3 :> 3 :> 3 :> 3 :> 3 :> 3 :> 3

3B II! a~ a~ a~ a~II
~3~ ~3~ ~3 ~ ~3 ~
46 Ii UH; ;u;U:11
~3 ~ ~3~ ~3~ ~3~

:> 3 :> 3 :> 3 > 3 :> 3 :> .1 :> .1 ,;> 3

39 31 i ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~II
3 J 3 3
¥j ~ F~ f F~ ~ ~ ~ ~II
47
3 33
E C
3

" II i ~ ni 8H~ @;11

3 ~3~ L- 3 ~ L- 3 -----.J
"¥j ~ indi i ~ b;11
3 ~3~ ~ 3 -----1 L- 3 ~

35
 ~ 3 ~ 3 ~ 3 ~ 3

58 II t j ; ~ j ; ~ j ; ~ j ; ~ :11
L-3----..:..JL-3----.:..l L-3~ L- 3 ---.:....J

~ 3 ~ 3 ~ 3 ~ 3

59 II t ~ P~ ~ ~ ~ ~ p~ ;~p~ :11
L- 3 -----1 L- 3 -----1 L- 3 --' L- j -----1

~ j ~ j ~ j ~ j

3 3 3 3

~ 3 ~ 3 ~ 3 ~ 3 ~ j ~ j ~ 3 ~ j

B;~ ;~ ;
~ 3 ~ 3 ~ j ~ 3 ~ 3 ~ j ~ j ~ j

54 II t~; :11 62 II t~ ~ ~ ~ ~ ~ ~~~ :11

L-3-----1L-3-----1L-3-----1L-j--' L-j-----1L-j-----1L-j-----1L-j--'

55 II i ~~~~~~~~~~~~
j 3 3 3
:11 63 II I ~~~~~~~~~~~~
333 j
:11

~ 3 ~ j ~ 3 ~ 3

l - 3 --.J 3 L- 3 -----1 L- 3 -----1

36
 HSSON SUHJ(CT ~ "?:,~~ ~,,~~,-~<. ~

1 ~ Alternati ng Snare Dmm/ Foot Alternating snare drum/ foot patterns

Pay atte ntion to the specified sti cking, as it changes from measure to measure. The hand part is written on the snare line but can
be played on different sound surfaces o r played with both hand s togethe r on the sa me o r diffe rent drums (for example, right
hand on fl oor tom and left hand on snare). To ga in fU liher ind epend ence and co ntrol , play quarter notes with the hi - hat foot in
Exerci ses 1, 3, 9, and 11 , and quarter notes on the bass drum in Exe rcises 2 , 4, 10 , and 12 . II' you have a doub le bass pedal, sub-
stitute th e Jeft bass for the hi - hat in Exe rc ises 8, 15. and 16 (or on any ofthe exampl es that use hi - hat pedal).
R R R R R R R R L L L L L L L L
L L L L L L L L R R R R R R R R
~ ~ I ~
I • J J J • J J I JJ I J I • J J I J I • I J I J J J I I
II 1• J J J "'1 ~
1
• " • • • • • • •

R R R R L L L L R R L L R R L L R L R L R L R L
L L L L R R R R L L R R L L R R L R L R L R L R

-II ipJ ipJ ipJ ipJ IipJ ipJ ipJ ipJ IJJJJipJ ipJ ipJ :1
R R R R R R R R L L L L L L L L
L L L L L L L L R R R R R R R R

2 3g J J J J J I J J J J J J J J J J I J J •"'1 J J J •~ J •-1 J •~ J J J f}4

X

R R R R L L L L R R L L R R L L R L R L R L R L
L L L L R R R R L L R R L L R R L R L R L R L R

31 lJalJalJalJallJalJalJalJallJalJalJalJa:1
R R R R R R R R L L L L L L L L

3 j J J j
L L L
~ J j J J J J j •~ •~ j •"'1
ttd9 J J •I J iJ J J J
•
"'1
•
L L L L L R R R R R

+±j J J
R R R

RRRRLLLL R R L LR RL L R L R L R L R L
LLLLRRRR LLRRLLRR L R L R L R L R

II PP PE pp PYtPF R PE PEl j JJJj JJJj JJJj JJJ:1

R R R R R R R R L L L L L L L L
L L L L L L L L R R R R R R R R

4 :g j J ] J j J ] •~ j J ] J j J I JIj •~ ] J j J ] J J J ] J J J J ~ I X

nnnn.1I
RRRRLLLL RRLLRRLL RLRLRLRL

31 jJ]~jJ lJj3]3jW
j3jJj Jj3] 3jJj JJ3]3 1
1

37
 ,I
I
I
I
1

R R R R R R R R L L L L L L L L
L L L L L L L L R R R R R R R R

5 :g J ] J] J ] J ] J ] J ] J] J ] IJ ] J ] J] J ] J] J] J] J ] 1
R R R R L L L L R R L L R R L L R L R L R L R L
L L L L R R R R L L R R L L R R L R L R L R L R

31 ipj ipj {f1 {f11ipj {f1 ipj {f11JjjJ JjjJ JjjJ *lll
R R R R R R R R L L L L L L L L
L L L L L L L L R R R R R R R R

6 ij j J ] J j J ] J j J ] J j J ] J IJ J] J J J] J J J] J J J] J 1
R R R R L L L L R R L L R R L L R L R L R L R L
L L L L R R R R L L R R L L R R L R L R L R L R

II PPPVPPJJpll'PPPPVP] JlJtPPPPPpp :11

R R R R R R R R L L L L L L L L
L L L L L L L L R R R R R R R R

7 ij J ] J ] J ] J] J ] J ] J ] J ] IJ ] J ] J ] J ] J j J ] J j J] 1
RRRRLLLL RRLLRRLL R L R L R L R L
LLLLRRRR LLRRLLRR L R L R L R L R

II 1pj1pj1pj1pjI1pj1pj1pj1pj1J] J] J] J] J] J] J] J] :11

R R R R R R R R L L L L L L L L
L L L L L L L L R R R R R R R R

8 ij J] j J j J j J j Jj J j J j J Ij J j J j J j J j J j J j J j J 1
R R R R L L L L R R L L R R L L R L R L R L R L
LLLLRRRR LLRRLLRR LRLRLRLR

II j JjJ jJjJ jJ]J jJjJIjJ]JPF jJjJ jJjJIPFPFPFPF:II

38
[t is espec ially helpful to count the dotted- quarter - note pulse (1 , 2 ,3, 4) out loud when playing the exe rcises on thi s page so that
you feel the patterns in 12/8 .

RRRRRR LLLLLL RRRL LL RRLLRR LRLRLR

9 ¥f iPJiF] JJhPJiF] lJhPJiF] iPJiP] iPJiF]

LLL LL L RRRRRR LLLRRR LLRR LL RLRLRL

II imiF] imimlimimlimimlimim:1
R R R R R R L L L L L L R R R L L L R R L L R R L R L R L R

1
0
II Will PJ [Link] [Link] [Link] PJ ill PJI ill PJ ill PJI ill PJ ill.~1
LLLLLL RRRRRR LLLRRR LLRRLL RLR L RL

II fPJfPJIfPJfPJIfPJfPJIfPJfxffilfflPJfflPJ:1
R R R R R R L L L L L L R R R L L L R R L L R R L R L R L R

11 II W mimilmimilm8hPJilPJimilPJJ]mil
LLLLLL RRRRRR LLLRRR LLRR LL RLRLRL

31 mimilmimilmimilmimilmimi:1
R R R R R R L L L L L L R R R L L L R R L L R R L R L R L R

12 38* ffiill ffiilll 0ffl0ffll0ffl 0ffllffifflPJffllffifflmffll

"" x ~ ~ x x x x x

LLLLLL RRRRRR L L L RRR LLRRLL RLRLRL

I BJffl BJffllffifflmffllmffli
x x x x x x ffllffifflm ffllmfflEJffl:1
x x x x

39
 R R R R R R L L L L L L R R R L L L R R L L R R L R L R L R

13 II Ii iiJiilfxPJ8tPJliJ2]fxPJliefilfeijl

R R R R R R L L L L L L R R R L L L R R L L R R L R L R L R

14 II Ii J2]@J2]ijl IfPJfl J2]ilfl J2]iFfJ@1 fJiFPJil

L L L L L L R R R R R R L L L R R R L L R R L L R L R L R L

II xPJiFliF1PJ'FJil rJiJ3JiIXPJimi1 :Q]ij@ :1

R R R R R R L L L L L L R R R L L L R R L L R R L R L R L R

15 II Ii 'fJim1ifJ@jJJl iFJijJJ1ifJim1'jim1
L L L L L L R R R R R R L L L R R R L L R R L L R L R L R L

II 4J3;BJ,PJ1ixPJff]1ifJ@f]1 iPJfe1iPJfPJ :1
R R R R R R L L L L L L R R R L L L R R L L R R L R L R L R

16 II Ii FJffliJil FJfflFJil1f3JfflFJil FJfflFJilX8JfflFJil

L L L L L L R R R R R R L L L R R R L L R R L L R L R L R L

II fJfflei 1fJffl1]i 1PJ,ei1PJffliJi1xPJii]1] :1

40
 l[SSON SUBJ[CI
20 Hand/Foot CombmatlOns with SIxteenths Coordination between hand s and feet

In Exercises 1- 32 , if you are not playing any hi - hat notes with th e hands, tap quarter notes with the hi - hat pedal to achi eve
greater inde pend ence .

R R R R R R R R R R R R L L L L
L L L L L L L L

1 JEj
- -_._-----
JjJ1J1J1JjJjJ1Jj] 9 *l J] J ] J] j ] JJj Jj ] J]:11
R R R R L L L L

10 ij J] J] J] ] ] J] JJJ] J] :11
R R R R R R R R
L L L L L L L L L L L L R R R R

3 tj JJj ] j ] J ] J] j ] j ] J ] :11
R R R R R R R R
L L L L L L L L

4 Jg JJJJj ] J ] J] J] JJJ] :11 12 ft J] J ] J] J ] J] ] ] JJJJ:11

R R R R R R R R
L L L L L L L L
R R R R L L L L

5 II i J] J] J] J] J] J] J] J] :11 13 II %J JJJJJJ JJ] J] J] J ] :11

R R R R R R R R
L L L L L L L L L L L L R R R R

6 =g J ] J] J] J ] J] JJJ] J] :11 14 xt8#h JI IJ J] J] J] J]

I :11

R R R R R R R R L L L L R R R R
L L L L L L L L

7 =g JJ] J JJ] J JJ ] JJJ] J :11 15 j j J] ] ] JJJJ J] J] J] J] :11

R R R R R R R R
L L L L L L L L R R R R L L L L

8 =g JJ] J JJ] ] JJ] JJJ] ] :11 16 M J] J] J] J] J] J] J] Jlil

41
 R R L L R R L L
L L R R L L R R R L R L R L R L
L R L R L R L R

17 II t J~ J] J] J~ J j Jj J jJj :11 25 II t JJJJJJJ JJJJ JJJ~ ] :11

R R L L R R L L
L L R R L L R R R L R L R L R L

18 II t J] J] J ] J] J] J] JJJJ:11 26 II t JJJJ JJJJJ] JJ JJJJ:11

R L R L R L R L
L R L R L R L R

27 II t j ] J] J] J]J] J] J] ~ ] :11
R R L L R R L L
L L R R L L R R R L R L R L R L
L R L R L R L R

20 II t J] J] J] J] J] J] J] J] :11 28 II I JJJJJJJJJJJJJJJJ:11
R R L L R R L L R L R L R L R L
L L R R L L R R L R L R L R L R

21 II t JJJJJ] J] JJj JJ] J] :11 29 II I J] J] j JJJJJ J] j JJJ:11

R R L L R R L L R L R L R L R L
L R L R L R L R
L L R R L L R R

22 II I j ] JJj J~ Jj JJJj JJJ:11 30 II I Jj Jj Jj J] Jj J j J] ~ ] :11

R R L L R R L L R L R L R L R L
L L R R L L R R L R L R L R L R

23 II t j JJJj JJJJ]J] J]J] :11 31 II I JJ] ] JJ] JJJ] ] ~ J] ] :11

R R L L R R L L R L R L R L R L
L L R R L L R R L R L R L R L R

24 II I j JJJJ] ] J j JJJJ~ ] J :11 32 II I JJ ] ] JJ] JJJ] ] ~ J] J:11

42
 R R R R R R R R R R L L R R L L

i ii
L L L L L L L L L L R R L L R R

33 jHj J] J J] J J)J J JJJ1:11

x x J 41 3Ej JJJ] JJJJx' J1J] JJx' J1:11 x x
R R R R R R R R
L L L L L L L L R R L L R R L L

Pi JP]JP ]JP].I
L L R R L L R R

34 MJ 42 II 1J] J] J] J] Jj J] J] J] :11
R R R R R R R R R R L L R R L L
L L L L L L L L L L R R L L R R

35 M ,I] J1 Jill JJJl J~ JJII i i i illd] 11

" :g J J J JJJ1J
R R L L R R L L
R R R R R R R R L L R R L L R R
o

:g j Jl Jj J1Jj Jl ~ jJiJ I
L L L L L L L L

44

R R R R L R L R L R L
L L L L R L R L R L R

37 gg J] Jq P1 qJ j J] j :11 45 II 1J] J] J] J] J] J] J] J] :11

R L R L R L R L
R R R R L L L L L R L R L R L R
L L L L R R R R

38 II i J] J] J] J] J] J] J] J] :11 46 :g J P]J]J Jl'~JJiJP] .11

R L R L R L R L
R R R R L L L L L R L R L R L R

i
L L L L R R R R

39 gg )J J1)J 1J1Iii] Iii] Iii] Ii ] :11

R L R L R L R L
R R R R L L L L L R L R L R L R'
L L L L R R R R

40 Jij JJ] JJJ] JJJ ] JJJ] J:11

43
.ese exercises consist of two consecutive sixteenth notes on the bass drum. Try to give equal emphasis to both bass drum
'okes as there is often a tendency to accent one or the other.

RL RL RL RL
LR LR LR LR LR RL LR RL

49 II I JJJJJJJJJJJJJ! JJ:11 57 II I JJ! JJJJ! JJ! J~ JJ! :11

RL RL RL RL RL LR RL LR
LR LR LR LR LR RL LR RL

50 II I J! ] ] JJ] ] Jj JJJ! JJ:11 58 II I J]JJ j J! ! JJJJJJ! ! :11

RL RL RL RL RL LR RL LR
LR LR LR LR LR RL LR RL

51 II i Jj JJJJJJJ! JJJJ] ] :11 59 II i J] JJJ] JJJJj JJJJ! :11

RL LR RL LR RL LR RL LR
LR RL LR RL
LR RL LR RL

52 II i JJJJJJ] ] JJ j j JJ] ] :11 60 II I J] j JJ] JJJ] JJJ] j J:11

R LR LR LR L
L RL RL RL R
RL LR RL LR

53 II i ~ J~ ~ ~ J~ ~ ~ J~ ~ ~ J~ ~ :11 61
II i J] ; JJ] ] JJ] ; JJ; ; J :11
R L R L R RL LR RL L
L R L R L L R R L L R R

62 II i J; ; JJJJ! J] ] j JJJ! :11

R L R L R L L R RL LR
L R L R

55 II j
I JJJJ J] ] j J JJJJj J:11 63 II i JJJ] JJJ] JJJ] JJJIII
RL RL RL RL RL L R. RL LR
LR LR LR LR

56 II I j JJ J j JJ J j JJJ j JJJ :11 64 II I JJJJJJ J] JJJJJJJ] :11

44
When striking two drums together in Exercise 67 , use whatever sticking fee ls th e most coml'oI1abl e.

R L R L R L
R L R L R L R L L R L R L R
o

65 Ii jJ j}J j}J j jJ j :11

R L R L R L

74 Ii i fJ B? PJ
R R L L R R L
:11

L L R R L L R

75

R L R L R L R L R L R L
L R L R L R

1
o

1 ~ J J 11) J ~fJ1.
j j . r ~ ~ S ~ ,II
68

R L R L R L
L R L R L R R L LR R L LR

69 Ii ~ Pl
r r Dr DI
R
U :II
L R L R L
77
¥j rfflr?JrfflF?J 1
0 R L R L R L

70
r:1 r I ...,

I
R L
r R
r
L R
r L R L L R R L R L
o o o

J po-
r r:1
71

r r r r
R L R L R L

" ¥j rR! rmrWpn l1

45
 R L R L R L
L R L R L R

81 II I J] ] JJJj JJJ] ] J] J] :11 89 II l l l l lj l

I J J Jd JEj d JJ :11

R LR R LR RL RL R

82 II I j JJ] j JJ] JJ] JJ] J] :11

R L R L R L

83 II I ~ JJJ~ JJj ~ ] J] ~ JJJ:11

R L R L R

84 II I JJ] ] JJJJJJ] J:J J:11

R L R L R L
L R L R L R

l
RRL RRL RRL

85 II I J]] J JJJJJ] J ] J====J

] ]:11 93 II I )J ] J] )J ] J )J ] J~ ~ J~ J:11

l J]JJj J] J] J]
L RLR LRL RLR R L RL RL RL R L

86 II I ~ Jj j ~ ] JJ~ Jj j ~~JJ:11 94 II I )J J )l )l :11

R LR RLR R L R L

95 II I j JJ] j JJ] J] J] J] JJ:11

RL RL R LR LR L
LR LR L RL RL R RL LR R L LR

88 II I JJJ] JJ] j JJ JJJJ] {II 96 II I j JJJj J JJJJJ.J j JJJ:11

46
Make sure to fo ll ow the specified sticking patterns. Exercise 6 will sound more effective if the left - hand strokes are ghosted
(played quietly) . Try to play quarter notes with the hi - hat foot in exercises that do not include a hand st roke on the hi - bat.

R L R L R L R L RL RL RL RL RL RL
L R
J
L R
J
L R
J
L R
J
LR
J
LR
J
LR
J m
LR
J
LR
J
LR
J

1 tj ~ j ~ ~ j
JiI iI ]J j
I
iI
I iII
J I
iI
:1)
i 9 lj PJ P] JJ] u JJ] illil
R L R L R L R L
L R L R L R L R R L L R R L L R
J J J J
J J J J

2 M J j ] J j ] J j ] Jj ] :11 10 ij j J J J J J j J J J J J :11
R L R L R L R L
L R L R L R L R R L L R R L L R
J J J 3
J J

~ J j ] J =1 J ] J ~ J ~ J :II
J J

3
Ii J J I
J J iI
iI
DI 11
Ii ~ ~ J iI
1

iI
=1
iI

R L R L R L R L
L R L R L R L R R L L R R L L R
J J J J J J J

4 II i J j J J ~ J J j ] J~JJ :11 12 lij J j

] J~ JJ JJ iI
1

J I :II
iI

R L R L R L R L L R R L L R R L
J J
J J J J
J J] Jj J ] J J J :11
Ii J J J~ J J J J
1
iI
5 13
¥1 iI
I

R L R L R L R L R L L R R L L R
J J

Iijjj J J] J J J~ J JI ]~
J

6
:11
,, :qJJjJjjJjjdbl
R L R L R L
L R L R L R R L R L L R L R
3 J

J j 15 Ij J j j J J ] J JJJ JJII
RL RL RL RL RL RL R L L R R L L R
LR LR LR LR LR LR J

8 II 2 4].rJ] ill 4] ri] 4111 16 3Ej

I
iI
J j J JJJ j j J JJII
47
 R L R L R L R L
R L R L R L R L L R L R L R L R
3 3 3 .......
3 ....

17 II i J j J j j J J j J j j J :11 25 II I J J J J J J J j J J j J :11
R L R L R L R L
R L R L R L R L L R L R L R L R
3 3

18 II I J j J J J JJ j J J j J :11 26 II I JJ J J ] J JJ J J ] J :11
R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R
3 3 3

19 II i J j J J j J J J J J j J :11 27 II I J J J J ] J J j J J j J :11
R L R L R L R L
R L R L R L R L
L R L R L R L R
3 3 3 .......
3 ....

20 II I J j J J j J J j J J j J :11 28 II I j ] J J J JJ j J J ] J :11
L R L R L R L R L R L R L R L R

21 II I J j JJ j J J j JJJ J :11 29 II I J JJ J~ J J ~ ] J ~ J :11

R L L R R L L R R R L L R R L L
3 3 3 3 3 3 3 3

22 II I j J J j J J j JJ j J J :11 30 II I J J J J j J J J J J j J :11
R R L L R R L L
R L L R R L L R L L R R L L R R

I j JJ J ~ J j JJ J ~ J :11
3 3 3 3

23 II I JJ J J J J j J J J J J :11 31 II

R L L R R L L R
R R L L R R L L
L L R R L L R R
333 3

24 II I J j J J j JJ J J Jj J :11 32 II I J ] JJ ] J j ] J J ] J :11
48
Sextuplets can be felt with a 2 -note pulse or 3 - note pulse . For this reason , each ofthe following eight patterns is represented
with two different hi - hat foot patterns, (a) on the e ighth no te, defining a 2 - note pulse, an d (b) on every other sixtee nth note (th
eighth - note triplet), defining a 3 - note pulse. These exercises can also be played with a quarter-note hi - hat pulse. It's a good ide
to accent the qua rte r- note pulse, especially in Exercises 38a, 38b , 39a, and 39 b.
R R R R R R R R R R R R R R R R R R R R R R R R
L L L L L L L L L L L L L L L L L L L L L L L L
6 6 6 6 6 666

33a ft ~JJJJJ~JJJJJ~JJJJJ~JJJ4I 33b 3g ~J~J~Jaj~j~J~j~J~J~J~J~J:11

R R R L L L R R R L L L R R R L L L R R R L L L
L L L R R R L L L R R R L L L R R R L L L R R R
6 6 6 6 6 6 6 6

34a ft JJJjJJjJJpJJJJjJJjJJ£I 34b tdJljJjJjJJJjJJJjJJJjJl1

R R R L L L R R R L L L R R R L L L R R R L L L
L L L R R R L L L R R R L L L R R R L L L R R R

".:g J]JJJ]jijJJJ#JJ]jiJ& '" i j J~l]~HJ5JJm~JJ'J5].1I

R R R L L L R R R L L L R R R L L L R R R L L L
L L L R R R L L L R R R L L L R R R L L L R R R

36, mMjJJJiJJ]giJJJWWu 36b ij JJIm'm~MJJJmJU"

R R R L L L R R R L L L R R R L L L R R R L L L
L L L R R R L L L R R R L L L R R R L L L R R R

'":gjijJJjiJJJjMjJ]j]JjJJ" '" M Jjj'JJJjJJ'mJ#JJWlm·"

R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R

38,~JijJJWJJ]~JJJJJ~i. 'H j jJiJjJiJ~J~jlJJJ~JiJJj."

R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R

39a II ! ~YjJJJiJJJjjJJJ]jjJ. '00 i j ~MW~#J~J~JlmjM]Jl"

B B B B B B B B

4O, ¢~iJ ]jiJ J~JdH~ Jilt 40b 3 1

! iMJJJj~jmM]JJmJjJ"
49
ontinuingwith triplet figures, the following patterns involve two consecutive notes on the bass drum. Try to give equal empha-
.8 to both bass drum strokes as there is often a tendency to accent one or the other. As in previous exercises, try to keep a quar-
:r-note pulse with the hi-hat foot in examples that do not include a hand stroke on the hi -hat.
R R R R
R L R L L L L L
L 3 R 3 L 3 R 3 3 3 3 3

41 I I J ] ] J ] ] J ] ] J ] ] :11 49 II i ~ J~ ~ J] ~ J~ ~ J~ :11

R L R L
R L R 3 L L R L R
3 3 3

~ ~~ ~~ ~~
3
J 3 3

I J~ ~ ~ ] ~ ~ ~ ~ ~ ~ :11
3

42 II ~ ~ :11 50
II I~ ~ ~
R L R L
L R L R R L
3 3 L R

J ]]~ j j J ]]
3
3 3 3 3 3

43 II I J J J :11 51 I I j :t J j ~ j J :t J ~ ~ j :11
R L R L R
L R 3 3
3

~ ~~ ~
J
3
~
r--3--' 3 r--3--' 3

44 II I~ ~ ~ :t ~ ~ ~ ~~ ~~:t :11 52
II I~ ~ ~ ~
:t
~ :11
R L R R L R
R L
L R L R L L R L
3 3 3 3 3

~~ I i J ~ J ~ :11
J] J] J] J]
J r--3--' r--3--' 3

45 II I :t ~ ~ :t ~ ~ ~ ~~ :11 53

R L R L L R L R L R

III~j]3:0~jJJ ~
L R L 3 R 3

46 II I J j J J ~ JJ ] ] J J j :11 54 :t :11

R L R L R L R L
L 3 R 3 L R 3 L R L R

47 I I J ] ] J ~ J J j J J............
] ] :11 55 II I J j J j JJ j j J J~ J :11
R L R L R L R L
3 3 3 3 3 3 3 3

48 I I J ] ] ~ ] ] J ~ ] ~"""""'J] :11 56 I i JJ J@JJ@JJ1. .J. . .]. :11

50
With the exception of modern jazz drumming, the hi - hat pedal is most often used as a timekeeper. These exercises have been
designed to strengthe n the hi - hat foot's independe nce by having it play on some of the more synco pated parts 01' tbe beat.

R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R
3 3 3 3 3 333

57 tg J J xj J J ] J J xj J J xj :11 65 II i J ] J J ] J J ] J J j J :11
3 3 3 3

58 I I I I
tg J J J J J J J J :11

R L R L R L R L
R L R L R L R L

q]J 1
L R L R L R L R
333

59 Jg J J J J J ] J J ] J j J :11 " Ii Jj 1J j j J .11

R L R L R L R L R L R L
L R L R 3 3 3 3

60

R L
3

Jg j J ] J J ]
R L
3 3

j J ] J J ] :11
R L R L
3

68 Jg I I I
~ J J J J JgJ :11
L R L R L R L R R L R L R L
3 3 3 3

J 1J J 1) J 1J J 1) i J JI J 1JJ j j J ]lll
61 tg ~ ~ ~ ~ :11 69 II
R L L R R L
L R L R L R L R L R R L L R
3 3

62 Ii ),1] J JI ),1] J JI .11 " Ii J j 1J 1J j j 1 J

R L R L R
n L
·11

R L R L R L R L
L R L R L R

I I I
3 3 3 3
3 3 3 3

63 g ~ J J J J J ] J J :11 71 JEtd ] J J J ] ~ ] J J J ] :11

R L R L R L
R R R L R L R L R L R

IJ J IJ J xR j £j !
3 3 3 ,..;3;;.......,

64 3ij :11 nIij jJJ JH] JJjJII

51
 ,
mSON SUOJ(CI ,
22 Accents i Accenting every part of the beat

!
be ability to place accents anywhere desired, whether on the stronger parts of the beat or the more syncopated parts of the beat,
; a tremendous asset to all styles of drumming. Keep a quarter - note pulse with either the hi- hat or bass dru m to ensure that the
ccent is being placed correctly. For more impact, ghost tbe unaccented notes. In add iti on to improving coordi nation , these
xercises will stre ngthen one's overall time concept.

RLRLRLR LRLRLRLRL RLRLRLRLRLRLR LRL

:> :> :> >- ::> :> >- :>-

1
lFj j JJ] j J J] j J J] J~J
J] :11 9
:g JJ] JJJ] JJJ ] JJJ JJ:11
RLRLRLR LRLRLRLRL RLR LRLRLRLRLR LRL
:> ::> ::> >- >- ::> :> :>-

2
JEj j J J] j J J] j J J] J~J
JI II 10 :g JJ] JJJ ] JJJJJJ~J
] { II
RLRLRLRLRLRLR LRL RLRLRLR LRLRLR LRL
:> :> :> ::>-

3
Ii j JJ] j JJ] j J J] j JJ] :11
RLRLR LR LRLRLR LRL RLRLRLR LRLRLR LRL
:> >- :> :>
~~=>
~ > > >
4 Ii J~J
J] j JJ] j J J] j JJ] :11 12 31 i JJ] JJJ] JJJ] • JJ] J:11
LRLR LRLR LR LRLRLR LRLR LRLRLR LRLRLR
:> :> :> >~~~

5 31 i JJJJJ]JJJ]JJJ] JJ:11 13 :g J] JJj ] JJJ] J • J] J J:11

LRLRLRLRLRLRLRLR LRLR LRLRLR LRLRLR
> > > ~>
:j:::;::~

6 :g j JJJ j JJJ j JJJ j JJJ:11 14 :g J] JJj ] JJj ] JJj ] J J:11

LRLR LRLRLRLRLRLR LRLR LRLRLR LRLR LR
>- :> ::> :>-

7
:g j ] JJj ] JJj ] JJj ] JJ:11
LRLRLRLRLR LRLRLR LRLRLRLRLR LRLRLR

8 Id ]J5j ] J5j ] J5J]J5 :11 16 :g j ] J5j ] JJj ] J5j ] JJ:11

52
 R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L

17 g JJ J] JJ J] J5J] J5J ] J JJ] J JJ] J J JJJ J JJ

1 :11

R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L
>- :> >- >- :> >- >- >-

18 g J J J] J J J] JJ J] J J J] 1J J J] J J J] J J J] J J J] :11
L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R
>- >- :> >- >- >- :> >-

19 =nj J ] JJ J ] JJ J ] JJ J ] J J J ] JJ J ] JJ J ] JJ J] JJ :11
1

L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R
:> :> :> » >- :> :>

20 Jij J ] JJ j ] JJ J ] JJ J ] JJ1J ] JJ J ] JJ j ] JJ J] JJ :11

R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L
>- :> ::> >- :> ::> ::> >-

21 g j J ] J j J ] J j J ] J j J ] J1j J ] Jj J ] J j J ] Jj J JJ :11
R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L

22 g JJ ] J j 5] Jj J JJ j J ] JIJ J £J j J] J j JJJ j J ] b
L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R
:> >- >- >-

bn
:> :> ::> :>

23 M J ] J JJ ] J JJ] J JJ ] J JIJ ] J JJ] J JJ ] J JJ ] OJ

L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R

24 M J] J JJ JJ JJ] 5JJ ] JJ J] J JJ JJ JJ JJJJ ] J J

1 :11

53
 RLRLRLRLRLRL LRLRLRLRLRLR RLRLRLRLRLRL

25 "i CfrrrfCfrrrf :11 33 lIirrf[frc[f[fr :11 41 lIifcHCfrc[rff :11

6 6 6 6 6 6

RLRLRLRLRLRL LRLRLRLRLRLR RLRLRLRLRLRL

:> :::>

26 "i rfrrrf[frrrf :11

6 6
34 II iC[Qcrr cHCrr :11
6 6

RLRLRLRLRLRL LRLRLRLRLRLR LRLRLRLRLRLR

27 "i rrfrrf[[fc[f :11

6 6
35 lIirrHfrC[Hfr :1
6 6
43 II if [[ [crf [f[ cr :11
6 6

RLRLRLRLRLRL LRLRLRLRLRLR LRLRLRLRLRLR

28 "i [Hr[f[f[r[f :11 36 lIicHrrfcHr[f :11

6 6 6 6

RLRLRLRLRLRL RLRLRLRLRLRL LRLRLRLRLRLR

29 "i [frcff[frcff :11

6 6

RLRLRLRLRLRL RLRLRLRLRLRL LRLRLRLRLRLR

30 "i [frrrf[f[rrf :11

6 6
38 lIifiH[ffi[Hf :11
6 6
46 lIin[[fcrf[rfcr:11
6 6

LRLRLRLRLRLR RLRLRLRLRLRL LRLRLRLRLRLR

31 "i rHrfrrHrfr :11

6 6
39 lIiccf[rfccffrf :11
6 6
47 lIi[rHrrf[Hcr:1
6 6

LRLRLRLRLRLR RLRLRLRLRLRL LRLRLRLRLRLR

32 IIi cf[r[rcffrfr :11

6 6
48 lIinr[[cpf[[[rp:11
6 6

54
 R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L

49 ¢f f rr rf ff rr rf Frrr rf Frrr rf Ff f r rf Ff f r rf
6 6
1

6 6
1

6 6
1

R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L

31 Ff rrrf Ff rrrf Ff rr ff rf rr f firf rr rf rf rr rr

6 6
1

6 6 6 6
:11

R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L

50 ij f[rrrf rrrr rf Ff frrf r[ rrrfir[ rr ff rf rr rr

6 6
1

6 6 6 6
:11

L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R

51 ij rr[ r [ rrr[ F[ r rf[r[ rr f f rf r r rrF[ rr rrr[ r

6 6
1

6 6
1

6 6
1

L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R

31 r r[ f f rr r[ f[r r r[ rrrr rf rrrIr r[ F[ rr r[ r[ r:11

6 6
1

6 6 6 6

L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R

52 =H t rrf F[ rrf [ Ff r rrrr[ rrr[ f [ r rrf FrrrrrF[ f:11

6 6
1

6 6
1

6 6

55
 R LR LR LR LR LR L R LR LR LR LR LR L R L R LR LR L R LR L

6 6 6 6 6 6

R L R LR LR LR LR L R LR LR LR LR LR L R LR L R L R LR LR L

rrrr E[ [ 6fir E[ f rrr E[ [ ffir E[ f 6rr E[ [ 6r:11

:> :>

II r E[ 6 6
6 6 6 6

R LR LR LR LR LR L R LR LRLR LR LR L R LR LR LR LR LR L

54 II i ~ E[ [ 6rN r[f 6r1rEf [ 6rr E[ [ 6r1r E[ [ [ rr E[ [ 6~ :11

6 6 6
6 6 6

LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR LR
:> :>

6 6 6 6 6 6

LR LR LR LR LR LR LR LR LR LR LR LR LR L R LR LR L R LR

II [ 6[ fEr r 6[
6 6
rrr 1[ r[[rr[[[[rr1[ [ f [ Er[ [ f [ Er
6 6 6 6
:11

LR LR LR LR LR LR LR LR LR LRLR LR LR LR LR LR LR LR

56 /I ! 6 6
r[
i 6f [ Er [ [ [ [ Er 1r 6 Err 6[ fEr 1[ 6[ [ Err 6[ [ Er:11
6 6 6 6

56
 R LR LR LR LR LR LR LR L R L R L R L R L R L R L
:> 3 > 3 ::> 3 > 3

57 Jij JJJ JJJJJJJJJJJJJ :11 65 @l J ] J j JJ J ] J j J J :11

LR LR LR LR LR LR LR LR L R L R L R L R L R L R
:;:::- 3 > 3 :> 3 > J

58 tj JJJ3J] JJ j JJJJJJJ :11 66 g J J J J J J J J J J ] J :11

R LR L R LR L R L R LR LR L R L R L R L R L R L R L
>- .1 >- .1 .1

59 jj JJJJJ·JJJ]JJ ]JJJ I 67 gg J J J J J J J j J J J bB
LR LR LR L R LR LR L R LR LRLR L RLR L RLR
> 3 > 3 :> 3 :> 3

00 jj J] J) JJJj J] JJ ] j Jj .1 68 ®i J J J J J J J J J J J J :11
R LR LR LR LR L R LR LR L R L R L R L R L R L R L
3 3
:> J >- >- > ,....;,.3"""I

61 Jij J3]JJJ ] JJJJJJJJJ:11 69 g J J J J J J J J J J J J :11

L R L R L R L R L R L R
LR LR LR L R L R LR LR LR 3 3
> .1 >- >-:> 3

62 @l JJJJJJJ Jj J3JJJJJ:11 70 gJ J J J J J JJ J J J J :11

R LR LR LR LR L R LR LR L R L R L R L R L R L R L

63 JC! JJ mJJ ~ JJJJj3 JJ.1 71 @l

> 3 >-

J J J J J JJJJ JjJsH
.1

L R L R L R L R L R L R

nJ]JJJJJSJJJJ1j
LR LR LR L R LR LR L R LR
.J 3
>- 3 >- 3 >- >- >-

j ~ ~ J J~ J ~
i
64 Jd 72 J
g J J I iI!
i
.;
:)II

57
 R L R L R L R L R L R L R L R L
! >! >
Jj ] Jj ] J j J Jj ] :11
3 3

73 II I 81 II I J JJ j JJ j J J j J J :11
R L R L R L R L R L R L R L R L
333
> 3 ! > 3 !
74 II I J J JJ J JJ J JJ J J :11 82 II I JJJ JJ 5J JJ J j J:11
R L R L R L R L R L R L R L R L
> 3 > 3 ! ! ! ! 3 > 3 >

75 II I JJ JJJ J JJ JJJ J :11 83 II I J J J JJ J J J J J J J :11

R L R L R L R L
333

76 II I Jj ] J J] JJ ] J 5] :11
R L L R R L L R
R R L L R R L L
3 > 3 > 3 > 3

I J j J J j ] Jj ] Jj ] :11
>

77 II 85 II I J J J J J J J J J J J J :11
R L R L R L R L R R L L R R L L
3 3

78 II I f j J~ 5] ~ J ] f j J :11 86 II I J~ J J~ JJ ~ J J j J :11
R L R L R L R L
3 3 > 3 >

79 II I j J 5J ] J JJ J J j 3:11
R L L R R L L R
3 > 3 > 3 3
R R L L R R L L

80 II I J J J J J J j J 5j J J:11 88 II I f j 3~ j 5f j 3~ j 5 :11

58
 l(SSON SUDJ[CT
2l' Quick Snaps Accenting one note of a double stroke

Aso lid , quick-snapping motion (predominantly on the snare but by no means limited to it) is extremely important in many
styles of drumming including funk, fusion, and swing. So me of these grooves are complex and should be played slowly at first.
Where stickings are not indicated, play cymbal or hi -hat with one hand and drums with the other.

RR RR RR RR
LL LL LL LL
::> ::> ::> ::>-

1 ¥lMMMFPlll
RLLRRLLRRL LRRLLR
LRRLLR R LLR R LLRRL
::> ::> :> >-

2 'ij [f[f[f[f l
RL LRLLRLLRLLRLLL
LRRLRRLRRL RR LRRR

,geJ999II
>- :::> ::> >-

RRLLRRL RRLLRRL

I pll
> >0 3 ::> 3 ::> 3 3 ::> 3 :::> 3

12 " ~ ~ JJ~ j J~ JJ ~ JJ ; JJ
RLR R LR LLRLR R LRLL RLRRLRLLRLRRLRLL
> >
::> ::> :::>::> 0::> 0 >-

dj ~p~~m~p~p l
:11

RLLRLRRLLRRLRLLR RLLRLRRLLRRLRRLR
:::>::> :::>:::> »:::> ::>::>::>

RL LR L LR LRR L L

~~ ~ ' ~ d
,g ZrFi' 59
 HSSON SUBJ[Cl
24 Flam Rudiments Flams. Flam Taps. Flam Accents. Flam Paraddidles.
Swiss Triplets

'lam rudiments can provide un ique sounds and t extures on the drum set. Exercises 1- 8 consist of Flams , Exercises 9- 12 are
l am Taps. Exercises 13- 16 are Flam Accents . Exercises 17- 24 are Flam Paradiddles and Exercises 25- 32 ar e Swiss Triplets. Be
ure to place the grace note on the specified drum, as it is not always played on the same surface as the main stroke.

LR RL LR RL LR RL LR RL LR R RL L LR R RL L
RL LR RL LR RL LR RL LR RL L LR R RL L LR R

1 ij dd d ddd d d :11 9
JEt S J -:) I
it
~ Ja J :11

L R R L L R R L L R R L LR R L LR R RL L LR R RL L

2
ttd ddd dddd :II 10
JEt .d Jd J.d Jd J :11

LR R L LR RL LR R L LR RL LR R RL L LR R RL L

3 3Ej .; lJ.=~t d d.J :II

d.;lJ ~
£t 11
JEt .z) Jd ~ .z!~ Jd ~ :11

LR RL LR R L LR RL LR RL
R L L R R L LR R L L R R L LR LR R RL L LR R RL L

3Ej -cd .~ eJ J -cd .~ g J . !'I .d Jd ~ .d Jd ~

4
:11 12
JEt :11

LR R L L R R L L R R L L R R L LR LR R LR LLR LRRLR L
R L LR R L LR RL LR R L LR

¥t£iTI .>ill 4E em
> 3 > 3 > 3 > 3

5
JEt r) deJ ~ :g rJ .~~ ~ ,
:11 13 :11

LR RL LR RL LR RL LR RL
L RLRRLRLLRL RR LRL

6
RL LR RL LR RL LR RL LR

JEt tJ sJ .z) r~ sJ .~) d :11 a 14 II

~ 3
i .:fJJ §.
:> 3
g;J ~ 3 m
.: ro t~
>- 3

:11

R LR LLR LR R LR L L R LR
L R R L LR RL LR R L LR R L
~ 3 ~m ~m ~ 3

7 JEt ·; B ·5 0 .:1i1 .:1i1 :11 15 II % .: ill 1EH tv- .:fJJ :11

LR R L LR R L LR R L LR RL LRLRRLRLLRLRRLRL

aJ J d~j dJ
RL LR RL LR RL LR RL LR :> 3 ::> 3 > 3 ::> 3

8 JEj :) :11 16 JEt dJ] .JD ·dE .JD :11

60
 LRLRRRLRLLLRLRRRLRLL LR R L L R R LLR R L L R R L
3 3 3 3

25 3Ej tfEtJll:fE:JTI :11

LRLRRRLRLLLRLRR R LRLL L R R L L R R LLR R LLR R L
3 3 33

26 3Ej .;lTIffDffJlifD :11

LRLRRRLRLLLRLRR R LRLL LR R L L R R LLR R L L R R L
3 3 3 3

27 tttfEfffJtfEt!TIeB
R LRLL L RLRRRLRLL L RLRR R L LR R L LR R L LR R L LR
3 3 3 3

20 31 t .dJJl:Jffld JJJ:)ffl :11 28 @j .:[Link] :11

LRLRR R LRLLLRLRRRLRLL RL L R R L L R R L L RRL L R

3 3 3 3

29 @j ·:fIJ·J1JffIJdJJ :11

R LRLLLRLRR R LRLLLRLRR R L L RR L L RR L L RR L L R
3 3 3 3

30 ®tt;:[Link] :11

L R R LLR R LLR R LLR R L

LRLRR R LRLLLRLRRRLRLL 3 3 3 3

23 gtj .zlUj.;!]].:) JJJ.~!jjlll 31 @j .; lIJ.;;OJ.;;;Ql.:;rn :11

R L LR R L LR R L LR R L LR
L RLRRRLRLL L RLRR R LRLL 3 3 3

32 3d .Jh-:[Link].:£E :11

61
 l[SSON SUOJ[CI
2 ~ ParadIddle VariatIOns Par"did,i1e-Did,i1es. Double Paradiddles. Triple Paradiddles

RLRRLLRLRRLLRLRRLLRLRRLL
LRLLRRLRLLRRLRLLRRLRLLRR RLRLRRLRLRLLRLRLRRLRLRLL
6 6 6 6 6 6

1 =rEi lLLLLLlJJiJJJJJJJJJJJJJJJ:11 9 :q Jjjj,LlJJJJJJJjjjlljJJJJJ :11

RLRRLLRLRR LLRLRRLLRLRRLL LRLRLLRLRLRRLRLR LLRLRLRR
6 6 6 M=6~~

2
¥l JJJJJJJJjjJJJJJJJJJJjjJJ:
11 " 3d JjJJJMjJJJJjJJJMjJJjIl
RL RRLLR LRRLLRLRRLLRLRRL L
LRLLRRLRLLRRLRLLRRLRLLRR RLRLRRLRLRLLRLRL RRLRLRLL
6 6 6 6
6 6 6 6

3
:q jJJJjjjJJJjjjJJJjJJ~JJJ~jlll 11 :q jJjJJJJ]J)JJjJjj,UJ]J)JJ :11
RLRRLLRLRRLLRLRRLLRLRRLL
LRLLRR LRLLRRLRLLRRLR LLRR RLRLRLLRLRLRRLRLRLLRLRLR
6 6 6 6
6 6 6 6

4
:q jJJJjjjjJJJJjJJJjjJjJJJJ:11 12 II % ~)JJJJJJ)]J~)JJJJJJ)]J:I I
RL RRLLRLRRLLRLRRLLRLRRLL
LRLLRRLRLLRRLRLLRRLR LLR R R LR LRLRR LR LR LRLL
6 6 6 6

5
:q JJjjJJJJJJjjJJjjJJj) JJJ111
RLRRLLRLRRLLRLRRLLRLRRLL RLRLRLRRLR LRLRL L
LR LRLRL LRLRLR LRR

14 II % JJ J] JJJJJ JJJJJJJ:11
RLRLRRLRLR LLRLRLR RLRLRLL
6 RLRLR LRR LR LR LR LL

7 15 :q JJ JJ JJj JJJ J J j JJJ:11

RLRLRRLRLRLLRLRLRRLRLRLL R LR LRLRR LR LR LRL L
6 6 6 6

¥j JJjJJJJjJJJJJJJJjjJJJjJJ:
8
11
62
 l[SSON SU8J[CT
21 Cymba l C"aslllng Striking cymbals on opposite sides of the kit

The arms will get a solid workout r each ing for tbe various cymbals and hi - hat . Practice tbese exercises with and without the bass
drum reinforcing tb e cymbal notes. If your setup includes two crashes. alternate between them in the examples that in clude two
crasb notes. When practicing fo r power, lay into the r ide cymbal with the sh oulder of t he stick and go for a "sloshy" sou nd on the
h i- hat.
R L R L R L R L R L R L R LR LR LR LR LR LR LRL
3 R LRR LR L LR LRR LRL L

1
uS J• •~ J •~
3

•~

R L R L R L R L R L R L
3 3

J J J •~ J J :11 9 lfj sJ ] ] JJJJ JJJ ; JJ JJ :11

R LR LR LR LR LR LR LRL
.J R LRR LR L LR LRR LRL L
3

J S] ] J J J :11
3 3

2 =njJ J J J •~ 10 -g JJJJJ JJ JsJ ] ] J J JJ :11

R L R L R L R L R L R L R LRL RLR LR LR LR LR L
3 3 R LRR LR L LR LRR LRL L
.J 3

3 gJ ~ J S~ ] JJ J S] J-oo
• • 11 -g JJJJsJ ] ] DJJJS] ] ] :11
R L R L R L R L R L R L R LR LR LR LR LR LR LRL
3 3 3
R LRR LR L LR LRR LRL L
3

4 gJ J J S] ] S] ] J J J :11 12 31 i JJJJJJ] JS] ]]S]]]:11

L R L R L R L R L R L R LR LR LR LR LR LRLR LR
3 LR L LR LRR LR LLR LRR

5
as 3 3

J J J •~ J J J J J •~ J :11
L R L R L R L R L R L R
3

13 -g sJ ] ] JJJ JJJJJJ J JJ :11

LR LR LR LR LR LR LRLR
3 3 LR L LR LRR LR L LR LRR
3 J

6 3EjJ J J J J JSJ J J J J :11 14 31 % JJJ] JJJ JS] ] ] JJJ{ I

L R L R L R L R L R L R LR LR LR LR LR LR LRLR
3 3 LR LL RLRR LR L LR LRR
3 3

7 @X] J J J J J 3J ] D J J :11 15 31 i JJJJSJ ]]JJ] J3J] ] :11

L R L R L R L R L R L R LR LR LR LR LR LRL RLR
3 3 LR L L RLRR LR LLRLRR
3 3

8
uJ J J 3] ] 9] ] J J J :11 16 -g JJJJSJ ]]JJJJj JJJ:11
63
 R L R L R L R L R L R L RLRLR LR LR LR LR LR L
3

17 II I J j J J j J J j J J ] §:11 25 II i JJJJJJJJ JJ J JJ] ]i :11

L R L R L R L R L R L R L R LR LRLRLR LR LRLR

18 II I J JJ J j J J j J J j§ :11 26 II i 9JJJJJJJJJJJJJJ9:11
R L R L R L R L R L R L R L RLRLR LRLRLR LRL

19 II I JJJJ j §J J J J j § :11 27 II i
I JJJJJJJ JJJJJJJ i :11

L R L R L R L R L R L R LR LR LR LRLR LRLRLR

20 II j
I J JJ J §J j J J §:11 j 28 II i 3J] JJJJJaJ] ] JJJ2=11
R L R L R L R L R L R L
R L R L R R L R L R L L R L RLRLRLR LRLR LRL

21 II i5 j ~ J j J5j ~ J j J :11 29 II i~ ]]i

i ~ ] ] 3~ ]]3~ ]] :11

R L R L R L R L R L R L

22 II i5 j j 5j ~ 5j ~ 5j ~ :11

R L R L R L R L R L R L

23 II i ~ j3~ j3~ j3~ j3 :11

R L R L R L R L R L R L

24 II i ~ ~ 3~ ~ 3~ i 3~ i3 :11

64
 lUSON SUBJ(Cl
21 Cymbal SmashIng Striking cymbals with alternate hands

In addi tion to developing speed and power , the foll owing exercises will be of tremendous h elp in stre ngtheni ng the left side of
the body. Every success ive ride/ crash/hi - hat stroke should be played with the opposite hand. Stickings above the notes refer to
cymbals; stickings below the notes refer to drums.

R L R L R L R L R L R L R L R L

1 31 % Jj Jj Jj Jj :11 9 gEt JJ3JJJ3]JJ3JJJ3] :!I

L RR L L RR L L R R L L RR L

L R L R L R L R R L R L

" 3E1 J j ] dj ] J J ] dj ] 1
L R R L L R R L
R L R L R L R L R L R L
3 3 3 r"""'T3...,
R L R L R L R L

3 II ! Jj JdJj Jj JdJ j :11 11 JIj Jj3] Jj3j JJ3]JJ3] :11

L R L R LR R L L RR L
RLRLRLRLRLRL R L R L R L R L R L
6 6 6 6 6 6 6 6

4 i j Jj3jJjdjJj3jJ]3jJjd]Jj3lll 12 JIj JJj3JjJJj3JjJ]3jJjdjJj3ll

LR R L LR R L
R L L R R L L R
R LR L R LR LR LR LR LR L 3 3 3 3

5 II % J33~ J33~ J33 ]J33~ :11 13

M J j ] dJ ] J j ] dJ ] :11
R L R L R L R L

6 3E1 JjdjdJlj J]3] j j nil

R L R L R L R L R L R L
3 3 3 ,.......;.,..3...,

, 3E1 J dj d ddJdd~ dd ll
R L R L R L R L

8
16 :gd j dJ j JdJ J dJrl1
L R R L L R R L L R L R

65
 l[SSON SU8J(CT
28 Rolls Closed and open rolls

he rolls on this page should all be played as closed (multipl e- bounce) rolls . Exercises 1 and 9, which each show the roll being
layed on a single surface, should be played on every sound surface in your drumset, as each surface has its own touch and feel
od will require slight alterations to make the roll sound smooth and even. Keep time with quarter notes played very softly on the
ass drum.
R L R L R L R L R L R L
RLRLRLRLRLRLRLRL L R L R L R L R L R L R
LRLRLRLRLRLRLRLR
-~
k k
_l- _)kr'_ k
_)L
1 :IE$' ~ ~ ~ :11 9
)t-

RLRLRLRLRLRLRLRL R L R L R L R L R L R L

j .k
.k
1.
~z ,
J:
2 10 31 i :11
RLRLRLRLRLRLRLRL R L R L R L R L R L R L
3 3

RLRL RL RLRL RLRLRL R L R L R L R L R L R L

333 3

4 12
if thE}1-!
31 % ,~ ~i~ ~ ~~~:I I
t!~I:+

R L R L R L R L R L R L
RLRL RLRLRL RLRLRL 3 3 3 3

5 ij it {JA1Aiil tbtl!!:11 13 M .bl1.bl1fJ}JfJ:

t~ gIl
{ )<:;}'c!<::;"; )<:;:<1 1

LRLRLRLRLRLRLRLR L R L R L R L R L R L R
3 3 3 ~3......,

6 14 lFj tl} ttl At!: it!. 1

;1;:1 ~-':;~~I ~-.:; ~ ·1

LRL RLRLRLRLRL RLR

7 ij i Q} £} &1 £tll 15

RLRLRLRLRLRLRLRL L R L R L R L R L R L R
333 3
! i1 .b 1 1 ! it .b 1 ).
8 16 II %~ __.J;;~ tlf>~--.J;;~ tll-:II
66
The following exercises combine closed (multiple- bounce) and open (double-stroke) rolls. Make sure to distinguish between
the crisp, staccato, military sound of an open roll and the smooth, connected, concert sound of the closed roll. Play Exercises 17
and 23 on every drum and cymbal in the drum set.
RR LL RR LL RR LL RR LL RR LL RR LL
LL RR LL RR LL RR LL RR LL RR LL RR
R L R L R L R L R L R L R L R L 3 3 3 3
L R L R L R L R L R L R L R L R

~ ~ t 1J,1£:111:1£11
17
"I t ~ 23 ~I~II~--------------------------~

R L R L R L R L R L R L
RRLLRRLLRRLLRRLLRRLLRRLLRRLLRRLL L R L R L R L R L R L R
LLRRLLRRLLRRLLRRLLRRLLRRLLRRLLRR

iliiiiliiiliilli :11 ! ! ~ !
" II :11

R L R L R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R L R L R

18 III t t ~ t":..
~I 24 III ~ ~ t ~ ~I
RR LL RR LL RR LL RR LL RR LL RR LL
RRLLRRLLRRLLRRLLRRLLRRLLRRLLRRLL LL RR LL RR LL RR LL RR LL RR LL RR
LLRRLLRRLLRRLLRRLLRRLLRRLLRRLLRR 3
3 ,....3........

IJ ill 111 1i ill 1111 :11 J J J JI J~ ~ ~ :11

RRLLRRLLRRLLRRLL R L R L R L R L RR LL RR LL RR LL R L R L R L
LLRRLLRRLLRRLLRR L R L R L R L R LL RR LL RR LL RR L R L R L R

19 lit Jll1Jll1!- _1 -:11 25

III J j J ..... 3~~j 1_ _1--. ~II
L ......

RR LL RR LL RR LL R L R L R L
R L R L R L R L RRLLRRLLRRLLRRLL 3

20 "I m;t~JJ1JJJ(11 26 :11

RRLLRRLLRRLLRRLL R L R L R L R L R L R L R L RR LL RR LL RR LL
LLRRLLRRLLRRLLRR L R L R L R L R 3 3 3 3

21 "I JJJ1J1JlfJES :11 27

III LUi)S':! 1}1 1} :11
RR LL RR L R L RR LL RR L R L
R L R L RRLLRRLL R L R L RRLLRRLL 3
3

22 28 z
JIll :,1
67
 l[SSON SU8J(CI
21 Drags and Rul'f~ 3-,4-, and 5-Note Drags and Ruffs

Pay special attention to tbe stickings in tbe fo ll owing exercises .

L LR RR L L L R RR L
RL R LR L RLR LR L RLR L LRLR RLR L L RL R
>- >- >- >-

~~
1 JEt .,~ :: ~ ~~ ~ : .. ~ 9

L L R RRL LLR RR L
R LR L R L RLR L R L LRL R RLR L L R LR R LR L
>-

JEt ED >" j~ .-d~ =~J

>-
J
2 JEt .V ~

10 0;;;:;;; .. .. . /

LLR RR L LLR RR L
RL R L RL R LR LR L LR L LR L L R L LR L
>- >-

3
:rj :H 11 JEt rnA
LL R RR L LLR RR L
RLR L R L RLR LR L RRLLR LLRR L RRLL R LLRRL
>- R L R LR LRLR L RLR LR L RLR L

.:d >- :> :> :> >-

4 =Hj ej 12 JEt0):~~~)G??)?)
RRLLR LLRR L RRL LR LLRR L
RLRLR LRLR L RLRL R LRLR L
R R L L R R L L >-

JEt .z:J :~) .:-mJ G~

>- >-

itt
>- >-

5 JEt §~ ·dd -at 13 :11

RR L L R LLRR L RRLLR LLRRL

L R L R RLRL R LRLR L RLRL R L RLR L
>- >- >- :> :> ::> :>

~ ~ "+j ~ ~ "+j !~ " " J

6
JEtJ J o I
14 JEt ~ ~ "Jd
-=-- -=-- -=-- -=-- :11

LRLR RLRL L RL R RLR L RRLLR LLRR L RRLLR LL RR L

>- >- 0> 0>-

(u) {TI ) ~ d) {TI )

7

LRLR RLRL LRLR RLRL

>- RRRLL L RRRLLL
0> >- >-

~J ~ i ...
>-

8 Jijd !::::!:J' .( ...

- .-=)
...
>-

-=-- 16 J¢! OBg 11 rEJJ :l],t

68
 HSSON SUBJ(CT . . ~ .. -" . .. ".. -"
l0 Flat F1ams Both hands strikiJ1g together

A useful tech ni que invo lves playing both hand s together with equal vol ume, either striking the same surface in uni son or simul·
ta neously striking two different surfaces. These are not the sa me as regular Flams in that there are no grace notes; each hand
should play at the same vol ume an d intensity leve L

L L L L etc.

1 gg i i j j i j ; j i i ; j i i j j :11
R R R Retc. R R R R etc.

B B B Betc. B B B B etc.

2 ¥J JJJJJ~J
JJJJJJJ JJt il 10 II i J]J] j JJJJ] J] JJJI II
B B B Betc. RLR LRL RLR LRL

3 11 ¥4 Jl~ J.J~ l~ Jl~ J.J~ l~ :11

LRL RLR LRL RLR

B B B B etc.

4
II i Jtl JJ~J
JJJJJ JJJJJ:11 12 31
R R RR RR R R

L L L L L L L L L L L
B L B L B L B L B L B L B L B L

5 ¢BJdJ~J~J~J~J~J$a
R R R R R R R R
13 ¥J JdJ] Jd] dJ] JdJ
R R R R R R R R
llh
R R R

R L L R L R L L R L L R L R L L

6 Ii ~ Jl~ ~ JId ~ JlJ ~ JId :11 14 -g ~ ] J] ~j i j j ] J] tj ~ j :11

L R R L R L R R L R R L R L R R R L R R L R R L

B B B B B B B B

7
ij rJ ~ ~ R
r
bj
:1·1

L L L L L L
B L L L B L L L L L L L

8 ij Jd ~ J JJ~ i ~ ~ ~ ~ :11 16 TI ~ J ] ] J 1] ] J 1] ] :11

R R R R R R R R R R R R R R R R

69
 R R R etc. L L L etc.
3 333

17 jj J J dd J J J J J J J hl
L L L etc.
25 31 i ~Mm~MJ~J~J~)J~Jlm.1I
R R R etc.

B B B etc. B B B etc.
3 33 3 6 6 6 6

18 JI4 J J J J J J J J J J J J :11 26 II I JjJjJjJjJjJjJjJ JjJjJjJJl1

B B B etc. B B B etc.
3 3 3 3

19 JI4 J J J J J J J J J J J J :11 " iQ JJj'JjJJJJJJjJJJJJjJJJjJJll

B B B etc. R L L R L L R L L R L L

2O ld~jJf]J~jJf J J ld jJiJB~Ja~JjJiJa~JaUIl
3

:11 2B
L R R L R R L R R L R R

B L B B L B B L B B L B B L B B B L B L B B B L
3 3 3 ,......;;,..
3 ""'I 6 6 6 6

21 II i J ~ J J ~ J J ~ J J ~ J :11 29 II i JJ~jJjJjJj~jJJ~JJJJJJJ=JII
R R R R R R R R

L L L L L L L L

30 "f.L J J J ~ ] ~ J] J 1JII
R L R R R L R L R R R L R R R R R R R R
R L R L R L L L L L L L
3 3 B B B B B B B B

~ ~ ~ ~ ~ ~ J ~ JdJ~
33 3 3

23 II i :11 31 II I J J J J J J J J J J J J :11
L R L R L R R R R R R R

L L L L L B L B L B L L L R R L L L L R

24 jj J~ ~ ~ ~ J sj i J J ~
R R R R R R R R R
:11 " 'I i JJJJ 1J 1 Jj l
R L
~
L R R R
~~ R L

70
 Hands or patterns move in opposite directions

In th e foll owing exe rcises, one hand or pattern moves around the drum set in a clockwise motio n and the other moves counter -
clockwise. It's almost as if one is a "m irror image" of the other.

R R R L L L R R R L L L R L R L R L R L R L R L R L R L
R L R L R L R L R L R L R L R L L R L R R L R L L R L R

Ij J J J J J J J J J J J j
333 3 R R R R L L L L R R R R L L L L

1 :11 2 ltj JJJJJJJJJJ JJJ] JJ :11

LLLLLRRRRRLLLLLRRRRR RRRRR LLLLL RRRRR LLLLL

LRLRLRLRLR LR LR LRLRLR RLRLR LRL R L RLRLR LRLRL

3 3d )JJJ] J] JJjJ JJJJ J]JJJII 4 II i ~JJJyJJJJHjJJjJJJJJ~

R L R L R L R L R L R L R L R L R L R L R L R L
R L R L R L R L R L R L L R L R L R L R L R L R

5
gg J ] J J •I J J •I J~~j
J J 1J ] J J J J J ] J J ] J :11
R L R L R L R L R L R L R L R L R L R L R L R L
R L R L R L R L R L R L L R L R L R L R L R L R
3 3 3
3 3 3

J J J 1 j J I J
J J JJJ JJ J
6 31i J J • • • I 1

L R L R L R L R L R L R R L R L R L R L R L R L
L R L L R L L R L L R L R L R R L R R L R R L R

7 gJ j
J ~ J J ~ J J ~ J ] J J ] Jd JJ J J ] J ~ J J ~ J ~ J j J :11
L R R L L R R L R L L R R L L R
L R L R L R L R R L R L R L R L
3 3

IjJ J J J J
3 3 3 3 3 3

~ J ~
~ J ~ J
d J ~
J J J ~ J41
I 1

8
J J
it
it
it

RLRL RLRL RLRL LRLR LRLR LRLR

R L R L L R L R R L R L L R L R R L R L L R L R

9 g J ] j J JJ J j j ] J j J J j I) JJ J ] j J J J j J J J J JII
RL LR RL LR RL LR RL LR RL LR
RL RL RL RL RL LR LR L R LR LR

10 II i J J J J j J J j ] d j ] J j ] I) J] j j ] J j ] J j J ~ ~ JII
71
 R LR LRLRLRLR LR LRL R L R L R L R L R L R L

11a 3ij JJJJJJJJJJ] JJJJJ:11 11Hffi J J J J J J J J ] ~ ] J :11

LRLR LRLR LR LR LRLR L R L R L R L R L R L R
- - - - -----
12a JEj J] J] JJJJJJJJJJJJ:11 12b 31 ~ J] ~ ] J ] J] JJ J~ :11

R LR LRLRLR LRLR LRL R L R L R L R L R L R L

----- -----
13a 3ij JJ ] J JJJ JJJ JJJJJJ:11
LR LR LR LR LR LR LRLR L R L R L R L R L R L R
----- - - - -I J
14a Iid JJJJJJJJ JJ ] J JJJ :11 14b 31g
J J J J ] J J J ~ ] • :11

R LR LRLR LR LR LR LRL R L R L R L R L R L R L R L

15a Ii JJ] JJ] ] J J ] ] ] J] J] :11 15b 31§ JJ ] J j JJJJ] J] J ] :11

RLRLR LR LR LR LR LRL R L R L R L R L R L R L R L

1Ga 3ij J ] J JJ J)l JJJJJJJ£WI 1Gb i~ J ] J J )J j J J JJ j J ] J :11

LR LR LR LR LR LR LR LR L R L R L R L R L R L R L R

17a 3ij
JjJJ JjJ]JJJJJJ1J
• :11 17b *§
JjJJ JjJ]{JJJJJ :11

RLLRLLRLLRLL RRLRRLRRLRRL
LRRLRRLRRLRR LLRLLRLLRLLR

'80 Ii [Link] ,1
72
After you ca n play each pattern individually. combine the a and b versions of each exe rcise into a 2 - bar pattern. Crossovers are
indicated by stickings in bold type.

L L R R R L L L R R R L
3 3 3 3

19a 1 j J J: l J J: l :11 19b II i

~
I
J: l J J: l :11
R R L L L R R R L L L R

L L R R R L L L R R R L
6 6 6 6
----
20a i j J J 1] 1] J j 1 j 1 j :1 20b 31
i J J 1J 1J J J 1•~ 1J :11
R R L L L R R R L L L R

L L R R L L R R

J l ~ l ~
21a l j
R R L
J
L
:1 21b 3 1
iJ R R L
J
L
:11
L L R R L L R R

1J ~ ~
22a II iJJ
R R L
•~
J J :11
L
22b 3 1
i I
R
J1J ~ JJ R L L
•I :11
R L R L R L R L R L R L R L R L R L R L R L R L
6 6 6 6

23a l j J JJ J J J JJ J J J J :11 23b 3 1 ; J J J J J JJJ J JJJ :11

R L R L R L R L R L R L R L R L R L R L R L R L
9 9 9 9

24a II i pjCjJijlljJij#l11 24blj pj Cj Jij 11j Jij Cj :11

R L R L R L R L R L R L R L R L

JJJ ~ JJ •~ J ~ J J J J :11
2sa l j J :11 2sb 3 1 ;J J

R L R L R L RL R L R L R L R L

26a l j JJ] ] JJ]] JJ] ] J] ] ] :1 26b II ; JJ] ] JJ]] JJ]] J] ] I I

73
In colum n a, play each pattern with and without the notes in parenthesis.

R R L L R L

'''!if [ t ~ d' r ll
L L L
F
L R R R R
"'ij tr r I r f
L
3
L L R
3
R R
:11

R R L L R L

''"!i rr[ rit [r[trrj' ~ [rll 28b ij *~ [ rL

- - -c-E
L
-
L6 L
-----
L L L L R R R R R R
R R L L R L

lc [ cf L[d r l
J J J, J
29a
!' !' !' !' 29b i j
-----
r 6
L L L L R R R R L L6 L R R R
R R L L R L R L

3O' 4f f
L L
tr ~ rtf
L L R R R R
:11 3Ob3d Err r rr Fr FIr F
L L L R R R L L L R R R
3 3
:11

R R L L R L R L

3d &fr[rr r[rfr& frrrfrbrfr il

31a
31b
6 6 6 6
L L L L R R R R L L L R R R L L L R R R
R R L L R L R L
J 1 J ,J,
3"3d trrfJrrfrUfrf,[CEdr l
32a
!' !' !' !' I oJ
6 666
L L L L R R R R L L L R R R L L L R R R
L L R R R L R L

33.;q~ r t' r r r i f :11 "b" IEeR f r r 333

Fh Ir f :11
R R R R L L L L 3
L L L R R R L L L R R R
L L R R R L R L

3" ~ ~ rbrtrbrrrtrEt [r l
;
R R R R L L L L
34b " ! trrfrr~frrr&fCErrCLrfrll
6 6
L L L R R R L L L R R R
6 6

74
The exercises on this page featu re patterns that use progressively fewer notes .

L R L R L R L R L R L R
L L L R R L R R R L L R
R L R L R L R L R L R L
R R R L L R L L L R R L

J ~ ~ ~ ~ Jl
,
t-
i
~ J J ~ b
it
35 II it :II
L R L R R L R L L R L R L R L R R L L R
R L R L L R L R R L R L R L R L L R R L
R R R R L L L L R R R L L L R R L L R L
L L L L R R R R L L L R R R L L R R L R

~ j J Jj ~
J J~ ] ]
36 II J
j
it
I Jj ~ it
I J~ JJ
j
it
I n FJ :II
R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L

37 II J ] J J J J J J J J ~ j Jl ) J J J J ] J J J J J j ~ t D h:1 1 it

R L R L R L R L R L R R L R L R L R R L R R

38 II
J ] J J J J ] J ] J I
J I J] J fJ it
it
it
I
] J JJ it
it
I
J] ] JJ
I

L R L R L R L R L R L L R L R L R L L R L L

II J J J J ] J ] J J J J ] ] J J J J ] J J J ] J J ] Gh :11
RLRLRL LRLRLR RLRLR LRLRL RLRL LRLR R LR LRL RL LR R L

R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L

40 31 J]JJJJJ]JJJJ] JJJ]J iJ mJJJJJJJ JJJ] JJJJJ]J nh :11

.g a
R R R R L L L L R R R L L L R R L L R L

41 II J] ~ ] J] J] J] j ] J] J] J] ~ ] J] JJj ] J] J] ~ JJ] J] :11

75
 [[SSON SU8J[CI '
l2 Crossovers : One hand crosses over the other

I
Crossovers can add visual excitement to a live performance. Like many of the exercises in this book, these examples put the
hands, arms, and body through chall enging, unusual, and somewhat uncomfortable motions in order to build greater command
of the d rum set. Foll ow the stickings carefu lly to ensure that both arms are receiving eq·ual benefits from these exercises. The
crossovers are indicated by bold type.
LR L RLR LRL R LR
R LR LR LR LR LRLR LR L

1 ®l J j j j J j j j JJJJ Jj JJ:11 9 ®l JJ j JJ] J ] JJ• JJJJ] :11

RLRLRLRLRLRLR L RLR L RL
LR LR LR LRLR LRLR LR
555 5

2 ®l j J J j JJJJ j J J J j J J J :11 10 3fi JjjJJjJJjjJjjJJjJJjl11

R L R L R L R L R L R L
3 3 RLRLRLR LRLRLR LRL
3 .J

J JjJ J J J J j j •~ j :11 ¥i ~ ~ ~ i j iii j iii j iii :11

3
®l 11
LRLR LRLRLRLRLRLR
L R L R L R L R L R L R
3 3 RLRLRLRLR LRLR LRL

4 ®l J j J J J J j j J J J J :11
LRLR LRLRLR LR LRLR

R LRLRLR LRLRLRLRL RL RL RL RL RL RL RL RL

5 I I JJJj Jj JJJJJj JJJj :11 [Link]

LRLR LR LR LR LRLRLR R L R L R L R L R L

®l JJJ JJJJ JJJJ JJJJJ:11 j J J J j J J J )0

6 14 lj :11
R LR LRLR LR LRLR LRL L R R L L R L R

7 III J] J ] JJ JJJ ] ] JJJ] J:11 15 311

J )1 11 ~ : JJ :11
R L L R R L R L
R L R L R L R L R L R L
3 3 3 3 RLRLRLRLRLR L RLR LRLRLRLRL
J]]JJ]JJ] J] 36J 3 3 3 3 3 3

8
®l J :11 16 ¥i OJ· WWI J)JJ]JJ)JEJ:11
76
 nmN SUOJ[CI
II Use Your Imagination V::lTiations on an idea

The patterns on this page show how a variety of exercises ca n be created from a single idea-in this case, Exe rcise 1 1 on page 76 .
The sky's the li mit, so let your imagi nation fly. Note, Exe rcise 7 should be played as co mbinatio n Flat Flams and press rolls.

R L R L
R L R L R L R L 3 .J .J 3

~ J; Jj J; Jj J: Jj J; J:11
I
1 tj
L R L R L R L R
2 31 I j •I •I j •I •I I •I •I j •I j :II
L R L R

R L R L R L R L R L R L R L R L
333 3 .J 3 .J 3

3 ;g J J j j J j J J j j J j :11 4 ltj j j j j j j j I~ j j j j :II

L R L R L R L R

R L R L R L R L R L R L
R L R L R L R L ::> 3 > .1 > 3 ::> 3

5 ;g j ~ JJj ~ JJj j JJj j JJ:11 6 II I ~ iijjjjjjjjj :11

L R L R L R L R L R L R L R L R L R L R

R L R L R L R L R L R L R L R L

7 ;g j t t t j t t t :11 8 ltj i i i Ji i i J :11

L R L R L R L R

R L R L R L R L R L R L R L R L

9
;gj j j j j j j j :11
j j j j :11
L R L R L R L R L R L R L R L R

R L R L R L R L R L R L R L R L
.J 3 3 3
3 3 .J

11 ;g J J j j J j J J j j ]]JJ ]]JJ

RRLL RR L L RRLL RRLL

RR L LRR L LRR L L RR L L 6 666

12 3ij JJJJj JJJJJJJj JJJ:11 13 ttdJJJJJjJJJJJJJJJJJjJJJJJl1

RL RL RL R L
R L R L R L R L R L

14 3ij hJiJJJJiJJjJ~JJ~Jh}1 1
L R L R L R L R
15 fI I JJ]JJJ. Jj JJ]JJJJ:1
77
 l[SSON SOBJ[CT
34 Combinations Summary of previous chapters

We conclude with 2 - and 4 - measure combinations and variations of previous exercises, which provide a balan ced workout in and
of themselves as th ey incl ude techniques and patterns from throughout this teA1. As an added challenge , dynami c markings
(including crescendos and decrescendos) accompany these exercises. Using dynamics adds a wider dimension and emotion to
music. However, be sure you can play the patterns correctly before attempting to add the dynamic markings .
R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R

1
J J J IJ j j j J j j j J J J J J J J J :1
1
'lfIf
RLRL R LRLRLRL RLRLRLRLRLRL R LRLRLRL R LRL RLRLRL R LRLRL
33333333 3333

2
3ij )OlOlOlDJlmmmmlmmmmlmmmm :11
m!p

R R L L R R L L R R L L R R L L R R L L R R L L R R L L R R L L

:g J J J ll) J J J I J J J •i •i •
- - IJ ] -J J] J J J] J J J] J J
1
1
3
p

R R L L R R L L R R L L R R L L R R L L R R L L R R L L R R L L

31 Jj j j Jj J j Jj j j Jj j j I J Jj j J Jj j J Jj j J Jj j :11
LRLRLRLRLRLR LRLRLRL R LRLR LR LRLRLR L RLR LRLRLRLRLRLR

>~ >~ >~1~~ >~~

:g fflm~ ml- mmmlffllTI- ) IffllTI-
> 3 3 3 3 3 3 > 3 > 3 > 3 > 3

4 :11
f
R R R R R R R R R R R R R R R R L L L L L L L L L L L L L L L L

5 :gJ J J ] JF=F=+=lJ
- ] JJ J ] JJ J ] I J] J J J] J J J] J J J] J J I
I

lllp

R R R R L L L L R R R R L L L L R R R L L L R R R L L L R R L L

rJ J J ] J ] J J J J J JJ JJ J I JJ J JJ J JJ J JJ j JJ JJ :11
f ff
3 3 m
L L LRRR L L L RRR L L LRRR L L L L L L L L L RRRRRRRRR
3
3 3 > 3 > 3 > 3 > 3 > 3 > 3

6 mm Imm )m lmmmlmmm:11
pp IIlf
78
 R L R L R L R L R L R L R L R L R L R R L R L L R L R R L R L L

J J J •I j •I J J J J J J J j J J J J J J J
.

7
Ii p• 1 J J J J •I j J •I •
cresco
1

d
R L R L R L R L R L R L R L R L R L R R L R L L R L R R L R L L

II J JJJ J j J J j J J J J j J j I ~ J JJ 3] ] ] ~ J J JJ] ] ] :11

------------------------------------------------------------ ff

p
f
LR RL LR RL LR RL LR RL LR RL LR RL LR RL LR RL

9 :11
111p f
R L R L R L R L R L R L R L R L R L R L R L R L
3 3 3 ~3T-~

10 I !~
~
!-Lll~ !\ 7~~ b l !\ J:~
J: f ,~f <~~ c;;:o .......
7 ---h
~
pp
RR LL RR LL RR LL RR LL RR LL RR LL RR LL RR LL RR LL RR LL RR LL RR LL
3 3 3 3 3 3

J JJ J } 1 J JJ IJ J 1 j
3

II J II I. I.
II 1l J J ±j 1l :11

ff pp

R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R
3 3 3 3 3 3 3 3

11 II i J~ •I J •I ~ J ~ J J J ~ IJ J ~ J ~ J iii
1
•
I
~ J~ J :II
ppp f

12 II i U U U U I U U U U 1U U U U I U U U U :11
o 000
1nf acce/. poco a poco
79
13
, L L L L R R R R L L L L R R R R

gJ J JJ J JJ J • •-1
L L L L R R R R L L L L R R R R

J JJ J JJ1JJ]JJ JJ J J J JJ J JJ J :11
f 'P
R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R

14 II I J J J J J J J J J J J J J J J J IJ J J J J J J J J J J J J J J J 1
ff 'P
R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L
L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R
>-

II J J J J J J JJJ J J J J J JJ1J J J J J J J J J J J J J J J J :11

ff 'P
RLR L RLR L R L RL RLRLRLRLRLRL RLRLRLRLR L RL RLRLR L RLRLRL
3 3 3 3 3 3
33 m3mmm 3 3 m 3 3

15 JEt HtWillilllm ill I)OOhWmml)willmill:11

f m'P
R L R L R L R L R L R L R L R LR LR R L R L R L R L R L R L R L R L R L R L
6 3 6 3

16 Jij JJJJJJJJJJJJJJJ JJJJ IJJJJJJmJ JJJJJJs~~J 1

6 6 6

'P'P'P fff f 'P

R LR LR L R L R LR LR L R LR LR R L R L RLR L R L R L R L R L RLR L
6 6 6
~3=,..,

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mp f
R R R L L L R R R L L L R R R L L L R R R L L L
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ff 'P'P

80
 R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L
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81
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83
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84
Exercises 48 and 49 ca n be played with various sticki ng ideas from Lessons 27, 30 , and 32.

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85
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86
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f p

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60 I~J J] ] j ] JJJJJ] J J ] J j ] JJ j j JJ
ppp cresco - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
R L R L R L R L R L R L R L R L

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87
 RRLLRRLLRRLLRRL L RRLLRRLLRRLLRRLL

61 i j J ] J J J ] J J J ] J J J ] )l J 1 J] J ] J] J ] J] J ] J] J ] I

mp
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31 j J JJ j J J J j J JJ j J J J 1JJ ] J JJ ] J JJ ] J JJ ] J :11
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Flat Iiams (both hands)

33 33 3 3 3 3 333333 3 3

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f
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R L R L R L R L R L R L R L R L

II JJ J J J J J J JJ J J J J J J J ] J ] J J J J J J J J J ] ] ] :'1 1

ff' decresc.

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33 333 33333

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pp 'Ilif
88
Rod Morgenstein is widely respected for his contributions to the
worl d of drumming. He is a founding member of the gro und -
breaki ng progressive rock-fusion group the Dixie Dregs, who have
received Grammy nominations for Best Rock Instrumental
Performance for six of their recordings. The band , touted by The
Philadelphia Inquirer as "possibly the most important, and certain-
1y the most technically advanced instrumental group in progres -
sive fusion ," continues to record and tour. From 1983-86 Rod
also recorded and toured with Dregs guitarist Steve Morse in the
Steve Morse Band. Rod's unique style of drumming bas earned
him Modern Dmmmer magazine's Readers Poll awa rd for Best
Progressive Rock Drummer numerous times.
Rod is an original member of the heavy metal baod Winger,
whose recordings have reached gold and platinum status around
the world . The band received an American Music Award nomina -
tion for Best New Heavy Metal Band in 1989. He has also recorded
Photo councsy of Premier Percussion
on solo projects by Kip Winger.
Oiller projects that Rod has been involved with include: the
Rudess Morgenstein Project, a power duo featuring Rod and
Dream Theater keyboardist Jordan Rudess; Platypus, which fea-
tures Dream Theater bassist John Myung, King's X guitarist Ty
Tabor , and keyboardist Derek Sherinian; and jazz-fusion jam band
Jazz Is Dead, which featuTes bassist Alphonso Johnson, guitarist
Jimmy Herring, and keyboardist T Lavitz. Rod was also part of a
select group of drummers chosen to play on the Buddy Rich tribute
CD, Burningfor Buddy.
A graduate of the University of Miami (Flo rida) with a Bachelor
of Music degree, Rod is velY involved in drum education. He has
performed at hundreds of clinics and drum festivals around the
world. He authored the audio cassette/ book packages Grooving In
Styles/Filling In the Holes, and Double Bass Drumming (Cherry Lane),
the instructional video Putting It All Together (Warner Bros.), and
co-authored with Rick Mattingly the book/CD package the Drumset
MlLs;,cian (Hal Leonard). He has also been a co lumnist for Modern
DmlJ1lJ1er, Rhythm (UK) and Sticks (Germany) magazines.
Rod is an Associate Professor of Percussion at Berklee College
of Music in Boston.

89
 berklee
press
Berklee Press Publications feature material developed and recorded at Berklee College of Music.
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Berklee Basic Guitar by William Leavitt A Modem Method for Keyboard by James Progris Blues Improvisation Complete by Jeff Harrington
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A Modem Method for Guitar by William Leavitt Mastering the Art of Brushes by John Hazilla
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by Rich Appleman FOI'I MOI'I1l: IN ~OR""TI ON. 511:1[ YOUI'I [Link] .. L MU S I C D~"L '-':I'I.
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Prices subject to change without notice. Visit your local music dealer or bookstore or go to [Link]
CONTENTS
LESSON SUBJECT PAGE
1 One- Hand Sixtee nths . .1
2 Four Strokes Per Hand .. . . . . ... 2
3 Alternating Singl e Strokes .... . . . . . . . . . . . . . . . . .. . .. .. . . .. . .. . . . . .. ...... 3
4 Dou bl e Strokes .............. . ... . ...... . . .... . . . ... . . . . .... .. . .. . . .... 7
5 Paradiddl es .......... . .......... . . ................ . . . . . ....... . ...... 9
6 Sixtee nth - Note Combinations ... 10
7 Three - Note Patterns .................. . 12
8 One- Hand Triplets ........ . . ........ . . . . . 13
9 Three Strokes Per Hand. . ...... . . . . .. .. .. .... 14
10 Tripl ets with Alternating Single Strokes . .15
11 Two - Bar Triplet Combinations ......... . .... . .. . ................. . . . . .... 19
12 Triplets with Mixed Stickings ........... . ..... . . . ............. . ... .. ...... 21
13 One Stroke Per Surface ....................... ... ................. . ....... 23.
14 Combination Eighths and Sixteenths ... . ............................ . . ..... 24
15 Combination Triplets and Sextuplets .... . . . .... .. . . ... . ..... . . . .. .. . . ...... 25
16 Bass Drum and Hi - Hat Endurance ..... . . .. . .. . . . .. . ... .. .... .. ... . . . .. . ... 26
17 Alternating Feet .................... . . . .. . . .. . . . . ... . . . . . .. . .. .. . . .. .... 29
18 FootWarm -Ups ..... . ....... . .... ..... . . .. .. . . .. . .. .. . . .. ..... .. . .... 33
19 Alternating Snare Drum/Foot ............. . .. .. .. . . . . .. .. .. . .. . .. . ... . . ... 37
20 Hand/ Foot Combinations with Sixteenths ... . . . .. . . . . . . . . .. .. . . . ... .. . . . . ... 41
21 Hand/ Fo ot Combinations with Triplets ...... . . .... .. . . .... .. . . .. . ..... . . .... 47
22 Accents . . ........................... . . .. . . .. . ... . .. .. . ... . ... .. . .. . ... 52
23 Quick Snaps ....... .. . . . . ... . . . . ..... . .. . . .. .. . . . . . ..... . .... . . . . . . . .. 59
24 Flam Rudiments ....... . . . ... . ... . . .. . . . . .. . ... . ........... . .. .. .... 60
25 Paradiddl e Variations . . . . . . . . . . . . . . . . . . .. . .. . . . .. . ........... . ........ . . 62
26 Cymbal Crashing. . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . .... .. ..... . ......... 63
27 Cymbal Smashing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ...... . 65
28 Rolls . . . . . . . . . . . . . . . . . . . .. ..... . . . . .. . . . .................... .66
29 Drags and Ruffs . . . . .... . . .. ................. . .. . ... . . . ... . .... . .... 68
30 Flat Flams ...... . .......... . ....... . ........... ... .............. . .. 69
31 Mirror Images .... .. . . ......... . . ........ . ...... . ..... . . .............. . . 71
32 Crossovers .. . ........ . ........ . ...... . . . . .. . ... . .... . . . . . . ... ... . . .... 76
33 Use Your Imagination . . . . . ....... . . ...... . . . ...... . . . .... . . . . .. . . . .. . . ... 77
34 Combinations ......... . ...... . . . .. . .. .. . . . . . . . . . .. .. ... ... ... .. ........ 78
About the Author .... . . . . . .. . . . . . . . . . .. .. .. .. .. . .. .. .... . ... . . ........ . . 89

111
 "I
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'""
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 Berklee Practice Method
Berklee Pradice Method leriel: Druml
Get Your Band Together
Get Your Bond Together by Ran lavage, COley Icheuerell. and the Berklee faculty
Make your band better. or prepare yourself to join one. Improve your intuitive sense of timing
and improvisation, develop your technique and reading ability, and master your role in the
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50449429 Book/CO ................. . ............. . ... . ............... .\14.95
Beyond the Bockbeat
from Rock & funk to lozz & Latin
by Larry finn
Learn how to take any basic rockJfunk drum beat and morph it into jazz and wo rl d music feels.
Improve your chops, expand your versatility, and develop your own style. The accompanying CO
features over 90 play-along tracks to test out your morphing techniques as you groove with a
Berklee band in all contemporary styles.
50449447 Book/CO ................................ .. ... , ..............119.95
Drum let Worm-UPI
Build Your Itamina, Conlrol, and Agilily
by Rod Morgemlein
Step away from the practice pad! Legendary drummer Rod Morgenstein reveals his wa rm-up
method designed to limber up your entire body. Develop and improve your speed, power,
control, coordination, independence, accuracy, endurance, and agility. Increase your
confi dence, and gain a greater fac ility and command of the drum set.
50449465 Book .... . .................. , ................ , . , . , ...... 112.95
Mallering the hrl of Brulhel
by lon Hozi lla
This in-depth workshop, complete with helpful diagrams and a practice CO, will heiR drummers
master the art of brush playing. It features to essential concepts, 32 brush patterns, r ythm
table exercises for dexterity, coo rd ination exercises for time playing, and signature stro~es in
the styles of legends like Buddy Rich, Ph illy Joe Jones, and Elvin Jones. The CO provides the
ultimate practice accompaniment, enabling drummers to play along with 34 bass groov trac ks.
50449459 Book/ CO ... , . , ..... ......... ....... , ............... , ..
The Reading Drummer - lecond Edition
r. .
~
119.95

Learn the BOliC! of Reading Drum Notation

by Dove Vale
If you want to take your drumming to the next level, you must know how to read drum music!
Ideal for both beginners and pros, this workshop includes everything you will nee~ to make
sightreading drum notation easy and natural. Fe atures more than 50 lessons comhlete with
general practice tips, steady learning progression from reading quarter notes ~~ sixteenth-note
triplets, and practice rhythm s containing accents, flams, rolls, ruffs, tempo, an ~ m eter changes.
50449458 Book .... ......... .......... ".,., ..... .... ..... .. _......... 19.95

for more inlormalion abaul B"klee Prell or Berklee College 01 MUlic, cL eI UI:
1140 Boylslon Sired I
Bosfon, MA 02215-3693
wlwlber kI,epres [Link]

IMIberklee
FlIpress
Vuil your local mUlic dealer orbookllore. or ~ 10 ~[Link]

~ HAL·LEONARD~
... c o PORATION
7777 W . [Link].\ RD. P,Q . B ol< 1 3elll "' ,~ w"uK "'. WI ~32 1 3

Prictl CItId avoilchilily lubjed 10 chang~ wilhoul nalice.

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 u.s. $12.95
ISBN 0-634-00965-6