THE STAFF consists of five lines and four spaces All music is usually written upon a staff. ELEMENTS OF MUSIC NOTATION The Treble Clef ‘The Bass Clef The Neutral Clef THE CLEF SIGN Z is placed at the beginning of the music. = ‘Music for the drums is usually written in the bass or neutral clef. Bar Line Bar Line Line Bar BAR LINES separate the staff into measures. NOTES AND THEIR EQUIVALENT RESTS measure Whole Note Half Note Quater Note Eighth Nowe 16th Note 32nd Note Whole Rest Halt Rest Quarter Rest Eighth Rest 16th Rest 32nd Rest ee THE TIME SIGNATURES The Time Signatures are figures given in fractional form SS at the beginning of a piece of music. The numerator tells the number of beats to a measure; the denominator tells, the kind of note receiving one beat. or “Common Time" is the time signature Most often used in popular music. GLOSSARY TEMPO MARKS indicate the speed at which the music should be played. The most common markings are Slow Tempos Moderate to Fast Tempos Grave ---—-— Slowly, sadly Moderato ———— Ata moderate speed Largo — Slowly, broadly Allegro. ———— Quickly Lento ———— Very slowly, very sadly Allegretto — More quickly than Allegro Adagio -—-— Slowly Presto ——— Fast Andante —— Ata leisurely pace Vivace — very fast Andantino ~~ Somewhat faster than Andante Common terms that indicate tempo changes are: A tempo — means a return to the original speed after there was a change in tempo. ‘Accelerando — (abb. accel.) — means a gradual speeding up of the tempo. Ritardando — (ab. rit.) — means a gradual slowing down in the tempo of the music. Ad Libitum — labb, ad lib) — means at the performer's pleasure, DYNAMIC MARKS indicate the degree of loudness or softness of the music. The most common terms are: yp pianissimo —— Very soft Extra Terms p piano ———— Soft Da Capo (0.C.) —— From the beginning mp mezzo piano — Medium soft Dal Segno (D.S.)— From the sign (%) mf mezzo forte — Medium loud Coda - — A closing section added at the ene S forte — Loud of a piece, shown by the sign @® Sf ortissimo —— Very toud Fine — The end sfz_ sforzando A short, strong accent Poco a poco -—-- Little by little ——— crescendo (abb. cresc.) Staccato —-—— Short, detached ‘A gradual increase in the volume. Tutti —— All, everybody, ensemble === decrescendo (abb. decresc.) > Fermata Pause before proceeding Indicates a gradual decrease in the volume of the music. ; © Copyright 1963 by Joe! Rothman TORE Pemeant Pee PO Bes 1017 Vecrhee: Mew kercey (4?PREFACE For the past several years, teachers have requested that | write an “all-in-one” drum method for beginnin to intermediate students, BAS/C ORUMMING iis just such a book. Obviously, no one study can possibly contai the total requirements of every private instructor saddled with the responsibility of tailoring a course of instructior to meet the individual needs of each student. Still, this book presents a wealth of highly organized material of 2 broad range of topics essential to the initial development of a well-rounded set player. Teachers will fin sufficient exercises on most areas of drumming which they find necessary to teach. The one topic not coveret in this book deals with the reading of drum charts. There simply wasn’t enough room to explore the topi adequately. However, if this is an area of particular interest, | suggest the following books: CUT TIME PARTS DRUM ARRANGEMENTS, SHOW DRUMMING, and BIG BAND CHARTS. This edition has been revised and extended to include duets, mixed meters, additional roll studies and techniqu studies, 2s well as a mini dictionary of commonly used terms. In all there are over thirty pages of new material, TABLE OF CONTENTS SECTION ONE — READING BASIC RHYTHMS. Reading in "Quarter" Time Pgs, 3-45 Reading in “Eighth” Time 46-52 SECTION TWO — READING ROLLS Rolling in “Quarter Time... . . oo : Boe 54-65 Rolling in “Eighth” Time 2. —— 66-67 SECTION THREE — BASIC DRUM TECHNIQUE Basic Sticking Patterns Featuring The Right Hand . 69.81 Left Hand Control ee 82-86 Accent Studies... . eee 87-91 Rudimental-Type Exercises... . . . : 92.119 The 40 International Rudiments... 2... 120-121 Sticking Patterns with Quintuplets and Septuplets 122 SECTION FOUR — BASIC ROCK DRUMMING Rock Beats with 1/8 Notes... ... . 124-127 Rock Beats with 1/16 Notes... . 128-138 Rock Beats with 1/16 Note Triplets. 139-140, Rock Coordination Phrased 3/8, 3/8, 2/8... 141 Rock Beats with a 6/8 or 12/8 Feel . : 142-145 Shuffle Rock Beats... 62.0... 002s aoa 146 t/16|Nots Cymbal Beatsy etree eee oe 147-149 Rock Beats in 3/4, 5/4, & 7/4. : vee es 150151 Disco-Style To Develop Hi-Hat Splashes... 152-157 Rock Breaks»... .. . ees 158-163 SECTION FIVE ~ BASIC JAZZ DRUMMING : Cymbal-Snare Coordination... 2... 2. es 5 ee 165171 Cymbal-Snare-Bass Coordination . 172 Cymbal Variations : : 173 Simple Jazz Breaks eee ee bene . 74 Four-Measure Solos... . . . o eee es 1759 SECTION SIX — DANCE BAND BEATS AND VARIATIONS. Part One: Rock Beats, Waltz, Lindy, Polka, Peabody, Tarantella, Mexican 181-186 Hat Dance, irish Jig, Jewish Beats, Greek Beats, Military Beats. Part Two: (Latin Rhythms): Clave Beat, Merengue, Bossa Nova, Mambo, 187-190 Cha Cha, Rhumba, Beguine, Bolero, Samba, Tango, Afro Cuban, Conga, Paila Beats, Paso Doble. NOTE: Two pages of drum manuscript paper are presented at the end, as well as a Mini Music Dictionary, : © Copyright 1983 by Joe! Rothman 1085 Dumont Drive, P.O. Box 1017, Voorhees, New Jersey 08043 International Copyright Secured Made in U.S.A. All Rights ReservedSECTION ONE READING BASIC RHYTHM This section contains two main parts. The first, and most extensive part, deals with the reading of rhythm in “quarter” time, where the quarter-note represents the basic beat. The exercises are mostly in 4/4 time, but there are a few in 2/4 “and 3/4 time, as well as summary exercises in 5/4 time and mixed meters, The second part of this section deals with reading chythm in “eighth” time, with the eighth-note acting as the basic beat. Dynamic marks are sprinkled throughout the entire section. However, since the book is mostly for beginning to intermediate students, the dynamics should be thought of as secondary. First, try to gain understanding and fluency with the rhythm in each exercise, then replay the exercises and include the indicated dynamics. A more thorough Presentation of dynamics can be found in DYNAMIC CONTROL, and MUSICAL STUDIES FOR THE INTERMEDIATE SNARE DRUMMER. Once this section has been completed, return to the begin- ning and replay selected exercises in cut time,READING IN “QUARTER” TIME 1/4 NOTES AND 1/4 RESTS BS SS © Copyright 1983, by Joe! Rothman 3SUMMARY OF 1/4 NOTES AND 1/4 RESTS1/2 NOTES AND 1/4 NOTES 1/2 NOTES, 1/4 NOTES, AND 1/4 RESTS cunt: 1 2 39 4 41 2 3 46 4 2 3 6 4 2 3 4SUMMARY IN 5/4 TIME1/8 NOTES AND 1/4 NOTES Bess SF eee ee ee tt The + (plus) sign means to count “an” counts? 2 394 4% 2 PSS ek 1 sis. So =a ' ——SUMMARY OF 1/8 NOTES AND 1/4 NOTES coum: 1 203 4 4 1 2 a+ 44 V+2 +34 4% Ist and 2nd endings are commonly used in music. First, ‘repeat to the beginning of the music. Do not play the exercise, skip the 1st ending measure and go directly to the 2nd ending, play the entire exercise including the 1st ending. Then 2nd ending at this time. The second time you play the SUMMARY IN 3/4 TIME © counts 1+ 243 + 1 2+ 34 Note: From now on, dynamic marks will appear in most exercises,Count:1+2+ 34465 SUMMARY IN 5/4 TIME 14243DUET1/8 RESTS ON THE UPBEAT coun: 1+ 243444 +24 3444 ee zneeanesa a V+2taeae1/8 RESTS ON THE DOWNBEAT coutst + 243444 Te2eaeae Verztaeae L+24aeae coun:1 +2434 4 14243 44+ 1+2 344+ V+ 2eaeae nf cout + 2+ 944+ Lerzeat ar 1424 3444 t+ 2+aeaeMORE 1/8 RESTS ON THE DOWNBEAT oe 442 h aeQ fee SS a SSS aa: a ee wl lel llCOMBINATIONS OF 1/8 RESTS ON THE UPBEAT AND DOWNBEAT count: 1 + 243444 T+2+aeae T+t2+a4as 14+24+ 3444 —— iy count + 2+ 3444 V+2zeaeae V+ 243444 T+ 2+a4 44 mf eresc. poco a poco T+ 2+ a+ ae 14243444SUMMARY IN 5/4 TIMETIES FROM 1/4 NOTES (As written) (As played) (As written) (As played) 3 ea count: 1 TIES FROM 1/2 NOTES (As written) (As counted) (As written) (As counted} TIES FROM DOWNBEAT 1/8 NOTES {As written) (As played) (As written) (As playec!) ee eee ee eeeTIES ONTO DOWNBEAT 1/8 NOTES (As written) {As counted) (As written) {As counted) cm ieatstae sheen. LI i [pia SaDOTTED 1/2 NOTES {As written) (As played) (As written) {As played) DOTTED 1/4 NOTES {As written) (As played) (As written) (As played) o aad Assingle dot placed after a note increases its duration by a half, 20SYNCOPATION WITH 1/8 NOTES AND 1/4 NOTES (As written) (As played) {As written) (As played) count: 14249444 V+2+aeat T+2ea+44 Ve2eaeae t2eae PSS ah cont + 2 +3444 ae ako ale 14243444 te2eatae 2SYNCOPATION WITH 1/8 RESTS ON THE DOWNBEAT V+2+ 3444 V+2+a 446 SSS Sy SYNCOFATION WITH 1/8 RESTS ON THE UPBEAT AND DOTTED 1/4 NOTES coun: 424 3444 1424+ a4 44 1424 3444 T+2egease |__} =) _—————MORE SYNCOPATION (As written) (As played) (As written) (As played) count: 1+ 249444 T+Deae ae VH2@eaeae Ve 2eatae conti + 24+ 944 + T+24344 V+2ea+ 4+ Ve 2ea4as mf SUMMARY OF SYNCOPATION Sif 23SUMMARY OF SYNCOPATION IN 5/4 TIME 2a asa pa Nas ia 9) SS Nola aN [pS eM al—al- St eiisish= = = Ms ap sath =] SUMMARY IN MIXED METERS 2 Ista == pb : = - SS Gs = 4 =a a = [om at ey Spe pp egy 7 tfINTRODUCING 1/16 NOTES count: 142434 de td 1+ 243+ ded 1424304044 1424+ 3e+aa+ court +24 Getddetd 142+ 9erdderd 14204434 40rd count: 1 + 2+ 3e+d 14 2e+aa + eeeue2EEsA Sie letd2e+dat 251/16 NOTES ON THE UPBEAT count: 1+ 2+ 3+ 44d 142+ 3+ 440 Le2+ aedar Lse2+ sedge af A a count:1 + 2etd3 44d 1 24d3+4 detd 12 Betddtd 1 2e+da tas1/16 NOTES ON THE DOWNBEAT count: 142434404 T+2+3 +404 1+2 430+ a4 1424 30444 nef cout 1e+d2 3+ Get 1+ 2e+ 3e+aa letd2+aer4 1 2e+ 34 4e+d 271/16 NOTES ON THE UPBEAT AND DOWNBEAT count: 1+d2 3+ 4e+ 142443 Get 1 24 34d4er 1 +42 ge44 P poco a poco crese. inh Ria A Beit SUMMARY OF 1/16 NOTES IN 3/4 TIME count: te+d2+d3e+ te+d2 +4304 letd2e+ 3 +4 letd2e+ avd mf sempre covaDUET1/16 NOTE RESTS count: Te +d 2e +g letd2erg betd2esa letd2evaTIES ON 1/16 NOTES (As written) (As counted) nae = == (As written) {As counted) aaa = 31DOTTED 1/8 NOTES (As written) (As played) counts 1 +d 20 + 1 ee 2 + count: 1 + 24d3e 44 ltd2zetage a 1+24 34d4etd lt+d2e+d3td4 Sapir eaeeeDOTTED 1/4 NOTES WITH 1/16 NOTES ON THE UPBEAT {As written) (As played) | =I Saad aS B= Saas 2tdae 142439 +4044 DOUBLE DOTTED 1/4 NOTES (As written) (As played) (As played) count:1 244 3 44d 12443 44d 1 2463 444 count: 1424 Berd 4s W42+d3er4 l+2t+a3etaa 142d 3e+aa Two dots placed after a note increaces its duration by three quarters of its original value. 33SYNCOPATION WITH 1/8 NOTES AND 1/16 NOTES (As written) (As played) {As counted) count: Te+d 2e+d te+d2erd let+d2e +a1/8 NOTE AND 1/16 NOTE SYNCOPATION— WITH RESTS AND DOTS cout: tet+d2 esd 1et+d2e+d 1 o+d2e+d 1 e+g2 44a cot:te +d Zeta Vetd2e +4 Vota 2erd 1 Oot: tag = count: te +d 2 e+d Tetd2e + da 1 +42 e+4 yoetd2 +4 35INTRODUCING 1/8 NOTE TRIPLETS count: 1 2 3 4uriplet 1 2 3 atriptet 12 Striptet 4 12 Btriptet 4 | 3 3 so 3 3 | EAS Bay In playing triplets, there are several counts that can be used. | suggest the student first count 1 trip-let, 2 trip-let, The student should also become familiar with two distinct sticking patterns for the triplet, Te first is alternating hands. The second is playing the triplets with two rights followed by a left (RRL). This pattern enables the player to always lead with the right hand, and 2 natural accent falls on the third part of the triplet producing a more “swinging” sound, Both stickings are important and each should be incorporated at the appropriate time. ' { ( ‘ 3 triplet, 4 trip-tet. After developing a feel for the triplet rhythm, the count may be reduced te 1, 2, 3, 4 ( 4 a 361/8 TRIPLETS WITHA REST ON THE UPBEAT ; : : ; [=e (pe a ee ‘The fermata sign over a note (7) means pause before proceeding. SUMMARY IN 3/4 TIME 371/8 TRIPLETS WITH A REST IN THE MIDDLE To Coda ®1/8 NOTE TRIPLETS WITH TWO RESTS 391/4 NOTE TRIPLETS (As written) {As played) (As written) (As counted} —3— 3 3 —3— 3 3 1/2 NOTE TRIPLETS (As written) (As played) (As written) (As counted) —3 —j3— 31/8 NOTE TRIPLETS CONTAINING 1/16 NOTES 3 3 3 3 3 3 3 3 pp a aia A, Sao TERRA ee eee1/8 NOTES AND 1/8 NOTE TRIPLETS Fy f 3 3 eB ES Bay =e -_ SS 3 3 3 P poco a poco crese, = = =F1/16 NOTE TRIPLETS — FROM THE UPBEAT 1/16 NOTE TRIPLETS FROM THE UPBEAT AND DOWNBEAT1/16 NOTE TRIPLETS WITH 1/16 NOTES If Fiat ae |. ATREADING IN “EIGHTH” TIME 1/8 NOTES AND 1/8 RESTS com: 123456 123456 123456 123456 a ooo oo == 5S SS = mf sempre 7 ” 7 7 ‘ When the tempo is moderate to fast try to feel the eighth notes as triplets in 2/4 time, and count 1,2. ;1/4 NOTES AND DOTTED 1/4 NOTES ———=SUMMARY IN 3/8, 9/8 AND 12/8 oid Ea AR 456789101112 1 we [AEE hea sea ese Spee 123456789 101112 pels Spee Ne rere reeerreesSUMMARY IN 5/8, 7/8 AND MIXED METERS Com: 1 203° 1203 1234 5 12.3 45 12.3 45 67 ‘wf sempre 49INTRODUCING 1/16 NOTES coun: 123 45 64 F sempre 124345 6 1243 44546