; enry odler Publication Introduction. Right Hand Exercises Adding the Feet. . Adding Accent: Combinations Mirror Exercises Single Hand Accent Ki Left Hand Ac ‘Sequences of Accents ht Hand Accenting (left hand playing Si nating (right hy BY ELLIOT MARVIN FINE“ DANLGREN OF CONTENTS TABLL eon oul Sudies TDL ITD E Lt troke fill) : ne gle stroke fl) 2222222 a7 nel playing Mirror Exercises on Single Hand Accent Phrases... . 1. ss 29 ‘One Hand Accenting (other land playing double stroke filly). L.. 2) laa Double Stroke Accent before Single : 222 Double Accent Studies 2... 2. woe elle First and Second 225 Acceuting 1 +80 Accent Phrases (with fi +32 Accent Phrases... . 234 Bi-Rhythims (ove against Unree) one Be Bi-Rhythms (ieee apstinst four) £36 Examples af five agitinst three 40 Sticking aad Accent exercise weents but various tine » thms. sal Exercises where Accent pullorns permutate but sticking remains the SUM@. eee eee + AG Exereises to develop independent control of Accents on Iuermonie and melodie combinations ‘ 49 Studies tu whieh bath he on ‘Triplets. + 82 Suggested Accent Patterns 53 Combining different Accent F tes Miscellancous Accents on L6th Notes ese: Degree of Accents (Diagrams and Studies) er etene es BELWININTRODUCTION y notation, This means that instead of u ‘This book is written in the contempor ing a musical staff when we write for sn re drum as in figure we simplify it by using a single Line as in figure 2. Lay When the note heads are written on the line (fygure 3), any sticking may Se n= cre. yout will find that, in most cases, alternate sticking (RLRL) or (LRLR) iw the most yt , ETT AT, In order to gain the most prot ieney, practice starting with the lef handas muchas you practice starting with the right hand, When it is desirable tw indicate the sticki“g in an exereise, the note heads will be written above and below the line, Notes written apove the line are to be played with the right hand (study figure 4). A Night tind dg, a 4. OG Figure 4 would be played as 5 consecutive right hands, Notes written nelow the Hine (as in figure 5 3 be played with the left hand. Left Mand em io Figure 3 would 9 playea. aa & eonseuutive 1elt hands, Mternate stick! is written as in fin © Copyright SELWIN, in. 1968, Rockville Contre, Ll, NEY. temational Copyright SecuredA single paradiddle, which in the old notation would be written as in figure 7A, will be written in the contemporary style as in figure 73 1 wien 7. cos 78. a ca —se & RUrR UCL I. ‘The exact rhythm of each hand (or limb) is easicr to sec. ‘This makes it possible to practice cach hand (or limb) separately in order to correct any deficiencies. Il. A short hand system is possible, which makes writing sticking excreises faster and which may be used ag a supplement to ordinary notation. (This will be explained Later in the buok). IV. By assigning different Limbs to the upper and lower notes, each exercise may be practiced 8 diflerent ways. 1. As an exercise for the hands. 2. As an exercise for the lect. As an exercise for the right hand ‘As an exercise for the left hand and lett foot. ‘As an exercise for the right hand and Left foot. ‘As an exercise for the left hand and right foot. As an exercise for both hands and both feet. As a musical exorcise for bvo tom toms or timpani, ‘To become better acquainted with the contemporary style of writing, practice the following simple jy-3Rishetant fee Jy Left Hand LONG ROLL: Figure 5 is two rights, two lefts. Play: (Right; right; left; left.) Single Parade oh wigs gi pa TO) » HSS le Figure 9 ingle Paradiddle) is one right; one Left; nwo rights: one left: one rights wo letts. y (BLEEK LRLL). Ist inversion Single Paradiddle: - Play (LERL REL). «Figure 1) Js two rights; ono left; one right; two lefts; one right; one left. Play (URL LLRL).Srd inversion Single Paradiddle: 4__Right Hand | a Z al 1 * l 12. Fa Left Hand ° right; one left; one right. Play (RLRL LRLR). Figure 12 is one rightone left; one right; two lefts; THE FOLLOWING TERMS ARE USED BY THE AUTHORS: HIGH POSITION - Tip of stick points straight up. SSANOAANATANNN MEDIUM POSITION - Stick at approximately 45 to G0 degree angle from drum. LOW POSITION - Tip of stick 4 to 6 inchos off drum. SINGLE STROKE ~ A single blow played by one han R L DOUBLE STROKE - Two blows played hy one hand. fla Ta RR OL L At fast speeds the seeond blow is bounced. IC the second note of a double stroke is accented, it is snapped dawnby the fingers. This action is 2 simple one, consisting of closing the fingers on the palm of the hand, It 1s theprecise timing of this action that is apt to give troubl TRIPLE STROKE - Three blows played by one hand. At fast speeds, the second fand third blows are bounced, DOWN STROKE - An accented single strol ‘and stop in low position, Ita stop in low position. ‘Start in high position; play stroke, ‘also startin medium position and FULL STROKE - An accented single stroke, Start in high position; play stroke, and stop in high position. [may also start and stop in medium posi- tion. UP STROKE - An unaccented ‘stop in high position, It m medium position, o stroke. Y 1vLin low position; play stroke, and » start in low positfon and stop in TAP - An unaccented single stroke. Start in tow position; play stroke, aad stop In low position, re under anole indicates down stroke, An"f under a note indicates full stroke, A Yu" under a note indicates an upstroke. AU under a note indicates a tap.For experience in reading accents in the contemporary notation, practice the following single hand exercises. R.H. = Right Hand, RIGHT HAND EXERCISES (Four 8th Notesy . 1 is: right hanel downstroke; right hand Lap; right hand tap; right hand upstroke. DSS 1 Le Ss ns 9 S> 0 LS Re 12 Se TT Ty + ; ay | ead ddd Hl nade dane Hadad tds sh dade Hh cece if: Macur We cau WMucta Wau” fdu ft” fort 1 Miura RIGHT HAND EXERCISES (Three sth Notes) nt ham downstroke; right hand tap; right hand upstroke. Laample: Ne. 16 is: 16. > 7 nn 20. ee 2. ee 22. , mena sud of. vee Sobel Ii is permissable to allow the elbow to swing out ima relaxed manner to a position about &* from au Wty udat Wie the body on any stroge Immediately preceding the upstroke. .ccents in the contemporary notation, practice the following single hand T HAND EXERC (Four sth Notes) w downstroke; left hand tap; left hand tap; left hand upstro‘e, Lub sinspher Nos Tas lett iy LEFT HAND EXERCISES (Three sth Notes) nal dow nstroke; left hand tap; left band upstroie. lo = 18. > 19. 25 20. == 7 3 m L | hot : fe ele] a rudd fdo ofd Soi Ibis permissable to allow the elbow to swing out in a relaxed manser to 2p from the Indy on uny stroke immediately preceding the upstroke.ADDING THE FEET] When we wish to add the fect to an exercise, instead of using a musical staff as in figure 1 | Fi-WF —|. i F a we simplify it by using a single line written below the snare drum line as in figure 2. si me J J Feet_[f | et tl When the note heads are written on the bottom line, either fost may be us2d. | 7 When the uote heads are written above the bottom line, it means to play them with the right foot. When the note heads are written below the bottom lines, it means to play them with the left foot. RLF, > Rigat Foot RAH. © Right If LIF. > Lett Fest FL Left Hand 3. In figure leet. 5 Bt ia oo | La In figare 4 the notes below the bottom Line inficate 4 consecutive left leet. When the {eet are used to inaintain a st ythm (in viher words, when playing the bea, we write the 8 of the foot notes down, ae, eat | ee In this example (lig. 5), both the bands and the teet are alteruating (LIL), but the hands ath nutes, the feet are playing quarter ites, In other words, the hanus are playin twice re playing is laste In sume cases, especially when the leet are used ina syncopated manner, we write the stems of the foot notes up and & “ “ he funds, “This shaws the placement of the fect in ret In this example (fig.6), the right beat of 2- with the right hand on 4. tplays with the ht hand on 1 - with the left hand on the after NOTE TO CONCEH'T DRUMMERS: Please do not think that because we add the feet to the exercises in this book it is a book unly for drum set players. The feet must be added for the jazzdrummer, but the exercises in this book may be played by the hands alone, Indeed, this book will benefit the concert crummier as much’ as the jazz drummer.L&? £3 ££ 6 t RAL LH. RE. L.F. Inthis exa.aple (fig.7), the right foot plays with the Lott hand on 2; the Left foot with the right hand or the iter beat of 1; the left foot with the right hand on the after beat Of 2; the right footwith the left hand on 3; the lett foot with the left hand on 4, If bath hands are to be played simultancously, bath the nate heads above and below the toy line are written: Ru : rfp ny * t In figure 8, both inds play four conse! Hive notes. If bath (eet are to be played simultaneously, bath the nove head bottom line are written: ae » Pao I } Le. In tigure 9, both Ieet play four eonsecu ¢ notes. Accent marks are normally written above the e2e 3646 stems of the notes to be ace 1 16, = ‘The onty exception is when hath hands are played simultane note will have its accent mars above the stem; the leit hand nyte will have Its accent mars below the uote head, 0 oe TE, i . feet added ———— LF. , tf In figure U1, a scent right hand on 1 and 3; accent left hand on 2 and 4.COMBINATIONS AND SEQUENCES OF ACCENTS Accenting every Srd 1. Practice in two in eight measure phrases. ae erctrertcestersivens Too >On TT Joon Jo Accent every 4th note. 1, Practice in two measure phrases. 2, In eight measure phrases. joo nmin, Lh oo TERT Accent every Sth note. 1. Practice in four measure phrases. 2. In cight measure phrast 1 Ton ain oman. TL cea via john) an mina ni Ayub, > Iisa, Mpa) DAUD UD 4 Accent every 5th note. ODI DMAccent every 6th note. Agent every 7th, >, Ty MIRROR EXERCISES (2nd half of cxercise-is opposite Ist half) os eee ee Co ey RAL, Lhid F afore peees 2a4 Hh Lee >} LOL Loony => TO ony on of Le SL So os TL Se ono,t pep hina Jy TT yy ee oe | ql) yo» Io Pal Tit dt inp) ela ap) Mi TTT im ma Pf geMIRROR EX Ss simile TAPE BADEN mI) pela ym mp FT ia] by DTT 1 simile pL ah hy, a ann Sn ory piel Nepean pended epee gts simile Soe peg Simite Po eee tee tet | pete — if : Mere ete at tetertete| tetera ee — lfLonmin 2 8 3> >t |i io aa ia myo i inno simile yeni ams To { a> HO ro ooo nam nom a Hay Seana pepe ae oe crane Ho pe any oo EES SS 5 = pf pie BE Pan SI ER ETED ~—4 yea fad eT 7 To OT _SINGLE HAND ACCENT STUDIES ‘ACCENTS se 1k2 348 appl Jt fd, Ze Gah art ese 1eze3seae Lg 1 bahze ba lekateéa eee “tr 1Ga2&ah Le @ah2& © 1kahde & ie2es4e 212 iF 1 . ae le if a“ le Gah? &ah 1 &ah2e &ah Leda 2e&ahRIGHT HAND ACCENTING (left hand playing single stroke fill) Single accent; double accent s= single accent d= double accentue Ss ee 2 => 2. 2 ot 4H 2 2) fy) Ha ea jae jee, ac zeeye,LEFT HAND ACCENTING (right hand playing single stroke fill)-' s = sin el accent d= double accent — Fn Ta a oir in ink aa) Minn pn, md Minion, ea Ss | pee ee anseo Pech | OL ni in, 3G, 3... § ao*» 2 32 2% cao ea co T ath Loo Lon ro | 4B 7S Sa SS See = Se See cee tee tes teetre iad Merve ets ceteetetete= oA =MIRROR EXERCISES ON SINGLE HAND ACCENT PHRASES | cae NE ee lo > > > = >> > > > > > > > - > sb ET) Ee PE lo AS A, 2.3 2 sss Son's Ss 8 s8 85 pL, a i, se eB ee Re Ne he ee ke ee toe ES Pee 3 3 3 inno 2 3 3. 3 a2 28 -%nn4%20%7, 2. 2. 2 28 whe on Ee Pa Ses outed OA a eS ey a. ig 3 . 3 3 3 3 3 7 STE ET op mop, VeoaprArarMaselrrab arr oralrarioraliran _ oe = = = ae 2s eae as a> aL lirsted|“neteeteter 3 Pawar FarSasNarhorksel RE 3 ~ Fo. FLL FL oe ZL Ze iH a mpinjinth LyONE HAND ACCENTING (other hand playing double stroke fill) cee Te ee | pha ‘ate Pan ATITE RT ee any AMG MAR AL 7th nao io “yo A Pe sd oe Go ESS es ~£ 2 2 ZF, , 8,25 53 32 ny eininin,y pe athe Riapoooiminin,ous: STROKE ACt T BEFO! 1. Some of the exercises have suggested ways to play the feet. supplement the ones suggested by us. SINGLE Create your own foot patterns to 2 measure 1 &2eae ws oe Sper ip : Tr ] [Feet tt f 4 qn ef Pores anaes mL ; a (niaalciel ae 2 measure exercises Vv — vn === =e es ed spye te mA nl BALD. = vacea [vant i tf . pp pean Benoa, pana T meeTtT tT ttrt rite oy 2 eG TD, A nibh, Tt tt 1, AAD BAAR. rt ot ttt rrr TTT ins rt Ding, 3 oft ADLnD tee 1 10] iD Lgude p Any we Hg AID, op pe JLT g EID (pee vu « J) on. rTP ot aetoe® on J) La 1, Yisedee, st le “PIT AID, DIDI, iDOUBLE ACCENT STUDIES one measure exercises Er ofa SD L$ pa Ja JI a a = : ee + hyphae yng tyetltgaegnge fag TTS oa. ” = 1 > Es spk eee te min po) be Pr, ~ Mr =a ° TS = Pia FT RF “| one 7 se i ee ! weeny LI ~aa S figures accent Ist of doubic, 2nd of double, double, Ist of double and double, 2 double and double, just singles, (Ist of double, 2nd of double)(single, Ast of-double) (single, 2nd of douFIRST AND SECOND BEAT ACCENT ON DOUBLE STROKES 4, -Praeuiee each meamre separa . Practice a5 wo measure exercises. yee LT ee : Sgn phhhyshehaw 5» ye). LO oo oo we > SE —= = v0 z = — a5 3st dajlee - om dy 4 1 ? TT) fi ay 4b [i SL Sy oo Loy on Ty jot) STO, Loo, TUS oy we ATT TL Poo,1, Practice cach measure separately. 2. Practice as two measure exercises. pee OL, oy Lo, oo SL Lh oh ti UT Oo oo yr Be a2 > 4 = ry 1 f ra re PS 5 LOLS nih OLA CBA a,Vn in a, 3 > TL 0 a a ; my : i see ja, oT 2 >=3_ = SAU To od Joy 2 um, OLA Le Lo, 3 >- OLS A aTO A A my SP Ss, AT, al > Fo 5 r ae Jen ho i mi, a Jac ato a na an, > £0 FL, A ” FOCAL yee Ayn 3 hase i pel TH ain PO, A Ao, Jp opm ATL a Jaya em ASI, RT TH yn Eo, SL OR, AO oe A ye Th, SLT), Fay 3 aACCENTING IMMEDIATELY AFTER TRIPLE STROKE wa > Tp 1B Fes ICH * 1D = = jue LT Te = m= 8. gn 38> 923 Sons 2 Bw sh ghaph ed ators a wiht Aidt ca Betty tata aioipo.chith Ty Aommomy, joie RE i pho 6A = 3 54 Ti m Z thoy aaa hn. in Yio ru mo tT “oS aA rH Dich ich 3> OOM A poh oy LOL oo oe uc Jock Da hn rh, AS 9c > > 9D cet mee pte dae et iededvea| feed aay fo peen dens ienspeo 2p Dg IID g Tg OT Lo ch ach 4 “4, mo mH mo Tm mn ion mm 4 54 omm mm Torn IT rh fan 4 ool Phy oh y ent afer triple stroke 4A am seh yD yy. -e pI q DD. 4 Sarai acieslio ipl. ce ya fs aval pao, st 4 a FLAT ya poy AD 4 py Fr — Tuohy pp i,ACK PHRASES ins) a, Practice each measure sepa 2, Practice in four measure phrases. aD LiL Qe Tm ibl, 3 minions, LL as LSS SS ran yen Mia ahs, HA aia 3 | nh pet ATT 3> o> SS > ae LET, Sn Cee Aes te ae eto Hete a = i es ~ >, 3 pAlb Lt ATT TT title wan L Hicioci, “0 Taso oe fbi _ OLDE 2 3er382 F328 ‘ DNDR Eh BaRee re bh eelse bees eeeres. ee ye Mey My Myf.“LA SB ah , PLEAD non pani, 3 > a> oe A Eo ee br, Te AA gt bh Ay. «oy 6 = FL COLOD LOL: rarer as B> 2 = 3 = xy> > 3> 3 > > (TO oh | ME TL oT aah a Lica), A od = >>> za 33> APT ver! La A aThis rhythms, in this case TWO AGAINST THREE. (one measure exerci-es) nH TIPE TENTED oar Pi ane aT 16, >i ie Th uetd * 3 ni yoy eA eee Fl oe Fy ERR eee 30>. —— iil i > Far > View Ty aS Dy rn iw fant3 AGAINST 4 Practice each measure separately before atlempting to combine, o 5 ms = = =p ene sd e+ PP es Pe PLFLY fall fy L.SHEA NS Lah Cha POR SIR GOR Oe Ae 5444 FA, V V mVLeo > B+ 4 0p AGA sy ares tee poping Ads post AOA Oo rey , dbo. He Bogan s,pe EWE Sohal F 54804 0045 8044804 moa [ote eteaos AoA 45. (ao vd JAAS Boe. BoRDos bak 3705408 - 3 a5 | tL ee BO BY Biagalnat 8 5 against 4On the following exercises the sticking and accent sequence remains the same, but time signa- tures and rhythms change, 3 = 3> 3 = o> >> >}, Jy EL i 3> 3 3 Ty, Se, TD Ty FETE ok 2. gon Se oe, >}_ DD, nah ean, ot TTT aa Fa >3 >> >>> nih inl, Di i, TT ny A i = >3> = -7> ~ >> >>>> > +} a Say a a,33 To | Lid pon 19 TS ST pi TT 33 TL a *, Bra oh aaah Ty ano, TOT Loy MELD yg BL Sy “2Use the following stickings with the 16 accent patterns on the ptevious page. TO Dy AUD, SR, + Rr yt) an: =, rr : oe iets valeur wate tee cere es » Tol doom Mins SEA ee A ES Ts EE, Seg eee gue) — eet = yee OT) 6 Se ? ae! 3 Tre. CCocT Sa, SS SSS pe Ty Pevane SI, dL ggnvagasese sens Jana a ao STDP AS aaa En Es, minature ppb bpd OL. jyALTH a vit LI DDL Ty hh 3 TIULIAYRL RITA?Accent patterns pernwtate; Stict remains the same (in this case: Long roll) En SLE raaiiranl EA BaUse the preceding accent patterns on the following stickings: je eo, SS A Lo ae > A i , 8. wu > AEE A A LL ey > ~oo Ay A ,> A A ET 7 SL To, FPR SDR) PERLE AES jira fy 3 note stickings combined with 2 und 4 note accent patterns: 1, Practice each measure separately. 2. Combine in 3 Frases. SLA oh pe dae lege toeThe set of exercises beginning on this page will enable you to gain independent control of ac~ 10> apan Dm, 16> oe ora ABT Way Pty Ui 4 oor, enn IT} 2 HLT E 2. Qe 6. 5 =. 8 Woo oy> ACU 5 HEE ry Tou = 2 SC ee OSA Mpa iiee ork senerh oe irri oa a aoa Simin mimi ODL Els > 3m fo, 5 pis, SLSTUDIES IN WHICH BOTH THE ACCENTS AND STICKINGS PERMUTATE ON TRIPLETS IN 4/4 TIME, ead down } or across —> ex. accents of 1-12, sticking of A-B-C-D 3. simile [Lh oh team AOU ma WT, oO io wd a Li wees LA Tirta a thle wm ss a> CLO simSUGGESTED ACCENT PATTERNS - ALL STICKINGS =3 > 5 Dy Dy Dy jn nA a Dy STONY IO, DODD OLCOMBINING DIFFERENT ACCENT PATTERNS Use all 16 accent patterns in section I with the accent figure and patterns of section Il, oe 0 | ou = i 13. ~ = a4 oa ae oe > AEE, TT ET 2, a: Example of combining hands Example of combining ands i. 12. 13. id. AS. STE doth ddd wr 20 21 22 2 i 2 iUse these stickings with accent patterns in section I on the previous page. =e ooo, ACOSO EOD om, Penhinvenprer are eer Finer ieee! 2 a) 28, 29. 89, 3). 32. . > TG ee aj st 34, 35. 36. 37. 38. 39, 7 O_O ee 40. 41. 2 “3, 5 a a oe rn Tn 47. 48, 4 30, aL, 52. feeb bbe te ee ee rr TOA BE Se Be Be, 53. 3 3% 5h. yo tts ae ae aed id oe 8 fyMISCELLANEOUS ACCENTS ON 16th NOTES TR AE a a pan AT. oo A a a are fee 5 A,AS a nom on a,DEGREE OF ACCENTS Studies to control the strength of accents for better control of dynamics, nuances and inner wv aoe cee rhythms, JIG0= gp Sade g SID = me veo Sf ~ = mp Wo accent mask = De. enex . 5. 5 utc : : : C ‘ oO. a i mf Pp “7 xpproximately 90° 60° = 50° 450 — 300 200 ~ 100 ‘The following examples will help you in controlling the different types of accents: sticking. scunple Le Henny V>- Vea ve ae, ke your own combinations using y= ~ on all figures RH. pattern Same pattern with R.H. and stickings as you fill in with L. HeExample 2: Example 3: v- V>VvVVVv-vevy SaRES >> VV 4. Example 4: vv — eee Ve ev mucoid f-fed ue ae any sticking. EXAMPLES IN TRIPLET FORM * vive? Piri hihi, S.VOV VOW _ 6 >ev VV? v ys my hyo, “eV Vee vvi3. ov ve ley Oy yo 10. _ vv ell COLE yr yok Ho oo, SOLOS | Exunple 1: 3 Fx. 2 OS oo wa yt Le