ESSENTIAL TECHNIQUES FOR DRUM SET: BOOK 1 ED SOPHDedicated to Edward J. Soph and Elder Mori Thanks to Carol and Steven for their patience and support; to Jim Coffin for keeping things in perspective. Credit Photographs by Steven Ross RB Published by MEREDITH MUSIC PUBLICATIONS: «division of GW. Masi, Ine 4999 Lerch Creek Cz, Galesuile, MD 20765 ‘gp: meredichmusic com | MEREDITH MUSIC PUBLICATIONS and its stylized double M ogo ae trademarks ‘of MEREDITH MUSIC PUBLICATIONS, division of GW. Masi, lc. Cover design by Spawn Girsberger ‘opt ofthis book maybe reprodaced or transmitted in any form orby any means, electronic or mechanical, including photocopying, _recoring, orby any informational storage or retrieve system without permission in writing fom the publisher. (Copyright © 1986 MEREDITH MUSIC PUBLICATIONS TInteroationsl Copyrighx Secured + AILRights Reserved Second Edition January 2001 International Standand Book Number'0-6340-294041 Printed end bound ia USA.Introduction Drumming is motion, How we sound—Ioud or soft, slow or fast, smooth or erratic, in time or out of time—is determinedt atirely by how we move our hands and feet; by how our brain coordinates the motions, “Thece motions are called strokes; combinations of strokes ate called sticking pattems. They, and the basic mechanics of ve body which produce them, must be studied, learned, and assimilated into our drumming vocabulary. Strokes determine ‘mpo, dynamic level, accent pattems, and sound quality. Strokes are the raw material of drumming no matter what style f music we are playing. When learning a dance step, how to ride a bicycle, to swim, or any other new physical activity we must consciously sink about “how” to do it. Through repetition the acitvity becomes a permanent part of our motor or coordinative abilities. Ge no longer have to “think” about it while we do it. Do you have to think about walking while you walk’? “This seme release from conscious attention to physical coordination is necessary to play music. Music-making requires ‘oncentration. We ate not free to concentrate, to listen to the music, to immerse ourselves in the performance if we are uncertain of the basic mechanics of playing the instrument. ‘We become certain of those mechanics through the repetition of basic movements and combinations of those movernents vithin the musical framework of time, rhythm, and dynamics. This book will develop essential skills for coordination. “his book is not an end in itself but, hopefully, a helpful adjunct to those areas which solely develop our abilities as nusicians: playing and listening to mausic. For further information on this topic by the author, a video cassette is available ‘yom Yamaha Musical Products: THE DRUM SET: A MUSICAL APPROACH.: Stick Grips ‘There is no one way of holding the drum sticks which will fulfill the improvisational demands of drum set performance. Initially, however, we must organize a fundamental technique based upon the normal tension/rclease of the muscles. Standing in front of a mirror, look at your relaxed shoulders, arms, and hands. Notice the space between the thumbs and first fingers @s well as the curvature of the fingers. Notice how your hands are in alignment with your arms which hang naturally from the shoulders. For contrast, deliberately tense your shoulders, arms and hands. Make your body rigid and uncomfortable. Now, relax. i - Photos 1 and 2 show the positions of the hands and arms when using Matched (#1) or Traditional grip (#2). The aspects of relaxation as discussed have not changed. For comparison, photos 3 and 4 show rigidity and non-alignment ‘Tense your hands and arms in the same manner. Let them relax. = + German Grip Notice in photo 1 that the hands/wrists are in alignment with thé forearms. The fingers are gently curved around the sticks, not clenched around them. The butt ends of the sticks protrude from the sides of the hands. They do not point up the wrists toward the forearms. Notice the space between the thumbs and first fingers. ‘The stick is held between the thumb and the first finger, usually in the first joint. This is the fulcrum, or pivot point. Photo 5 shows the falcrum. The fulcrum should allow un- restrained movement of the stick called rebound: the normal propensity of the stick to bounce after it has struck @ drum, cymbal, or practice padl. This rebound, or up stroke, is equal in velocity to the down stroke. It is the opposite of the down stroke. ‘The free bounce exercise will familiarize you with the rebound, or bounce of the stick. Hold the stick with only the fulcrum as shown in photo 5. Keep the rest of your fingers off of the stick,Now, as shown in photo 6, raise the stick with your wrist, not with your forearm. Let ine Sack Urup vies Ww wie Giuit by letting your hand fall back to the position shown in photo 5. Move only the wrist, not your forearm. The wrist motion is similar to that of waving goodbye. Be sure to keep the other fingers relaxed, not stiff when holding the stick with only the fulcrum. ‘You see that the rebound is small and produces few bounces because of the lack of velocity in the down stroke, Instead of just letting the stick fall to the drum, increase the velocity of the down siroke. The initial rebound becomes larger and faster if you let it. The number of subsequent diminishing bounces becomes greater, 100, if you let ther. Don’t tense your arm or hand. Don’t hold your breath, Let the stick bounce as high and for as long as it wishes. ‘What happens‘if you close the space between the thumb ‘and the first finger and squeeze the stick? Any rebound, or must you pull the stick back up with your wrist? Open the space again. Relax your fingers, wrist, and arm. Make the down stroke and when the stick has bounced back up to its starting position, stop it. This is called a Full Rebound Stroke See ‘Look back at photo 1 and put your fingers around the stick without altering your fulcrum. Now, as in photo 7, raise the stick with your wrist (as you did with the free bounce ex- excise). When the stick has reached the perpendicular release ‘your fingers so as to increase the stroke length past the per- pendicular and to teach the fingers to move with the stick, not against it. In what follows we are adding the fingers t0 ‘the movement already initiated by the fulcrum and the wrist. ‘The fingers ‘follow the butt” of the stick. AAs the stick travels downward, the butt moves in toward the palm, and the fingers s follow it in, never losing touch with the stick. When the stick strikes the head the fingers have become gently curved around the stick as seen in photo 1. When it rebounds the fingers are pushed back out as the stick ascends to the starting point of the initial down stroke Now, try to do the same full rebounded stroke with closed fulcrum and clenched fingers. Keep trying. Gradually relax until the rebound has returned. Please, take your time and be patient. If you are accustomed to “controlling” the stick—pulling or snapping it up rather ‘than letting the rebound return it—it will take awhile to get used to “letting the stick go.” Newcomers to the “open fulcrur’” ‘can expect the following to happen until the grip becomes comfortable: collapsed fulcrum (photo 8), and too open, or expanded fulcrum (photo 9). ‘Too, the stick may slip through your hands. You might even drop it, Through thoughtful repetition the grip and its fulcrum will eventually become secure. (You did not learn to walk in a day.) Any of the stickings in this or any other book may be used to practice this grip and the rebounded strokes.6 French Grip ‘The French grip is the German grip turned over so that the thumbs are on top, facing upward, rather than the backs of the hands. Photo 10 shows the French grip. Everything is still in alignment. However, the fulcrum of the Freach is a bit different from that of the German. Hold the stick as shown in photo II and pivot it back and forth, or up and down, on the thumb by moving the first finger: out th allow the stick to pivot past the perpendicular; back in to bring the stick back down. The thumb does not move. All motion is centered in the fulerum. Don't move the stick with your wrist or your arm, Be sure that the space between the thumb and first finger remains open, just as with the German grip. Can you still pivot the stick if you clench it tightly and close the space? No, because then the stick must be moved by the wrist (or arm) and the unrestrained movement necessary for the rebound to occur is lost. As in photo 12 add the rest of your fingers and move the stick up and down as you did when pivoting it on the thumb. ‘As with the German grip, the fingers “follow the butt” of the stick. Again, if you close the space in the fulcrum causing your ftand to clench the stick, the flow of the motion stops land you must.move the stick awkwardly with the wrist or forearm. Practice the initial fulcrum movement holding the stick with only thumb and first finger (photo 11) over the ride : cymbal. Drop the stick to the cymbal (see pointers for ride ; elias cymbal set-up on page 12) and let the stick bounce as many times as it can. The movement should be in the pivot of the fulcrum, not the down stroke of the wrist or the forearm. Don't restrain or choke the stick by tightening your muscles. Increase the velocity of the down stroke and you increase the velocity of the up stroke. Stop the stick after the fist large rebound and you have a full rebounded stroke with French tip. ‘Add the rest of your fingers as in photo 12 and play additional down strokes with rebounded up strokes as you did when using only the pivot of the fulcram. The fingers follow the stick just as they did with the German grip. Your wrist must be relaxed to allow the fingers to move. Photo 12 shows the stick poised for the down stroke. Photo 13 shows the stick upon striking the cyimbal. Notice how the position of the fingers has changed from that of photo 12. “The stick then returns, by rebounding, to the position of photo 12. Setting the metronome at ¢ ~ 40 to 50, play eight bars of quarter notes followed by eight bars of eighth notes; then. eighth note triplets; and, sixteenth notes. Remember to use rebounded strokes generated by the fulerum and the fingers.7 not the wrist ot forearm. This technique has been compared to bouncing a ball. Be sure to practice any exercises with left dnd right hands. Be patient. Through thoughtful repetition the grip and its mechanics will become comfortable and secure Beware of the same pitfalls as with the German grip when beginning: slipping sticks and collapsed or expanded fulerurn, Applications of German and French Grips “The author shies from dogmatically assigning to specific parts of the drum set a certain grip. Such fine distinctions and conclusions will be made by a player through much trial and error. However, in the applications of this book, T suggest that the ride cymbal(s) and their patterns be played with the French grip. The drums should be played and practiced with both grips. Traditional Grip If you are right-handed the left stick is held with the Traditional Grip; the right stick if you are left-handed. The same points of alignment and relaxation discussed in regard to the Matched grips apply to the Traditional. Photo 14 shows the fulcrum in up stroke position; photo 15, down stroke. Play quarter notes (MM J): 40 to 50) holding the stick with only the fulcrum, allowing rebound. Your other fingers, ‘which are not yet in contact with the stick, are relaxed, not stiff. You may also practice the free bounce exercise as you did with the Matched grip fulcrums. Notice that the wrist pivots as though you are turning a door knob. This is very different from the “waving” motion of the German grip. ‘Adding the fingers, we see that they move in the same manner as the Matched grip, The fingers are extended when the stick is poised for 2 down stroke (photo 16). As the wrist (actually the entire forearm) tums downward the fingers move jn until. at the point of striking the drum, they have returned to the relaxed curvature of the hand at rest (photo 17)* The Complete Machine: Coordinating the Hands and Arms So far we have dealt with the stroke mechanics of the falerums and fingers of the hand. Once the fulerums have Devore ‘he sticks and the control of that rebound by the fingers, we must coordinate that ca Set athe rest ofthe arm: the forearm and upper arm, The three main joints of our legs—ankle, knec, and hip rove wo walk and run in a smooth, fuid manner. The coordination ofthe wrist, elbow, and shoulder joints will provide flowing movement for playing the drums ‘We do not play with “just” our fingers, “sjust” our ankles, knees, or hips? Cur technique should be @ combination of all three: the relaxed, non-rigid use of the complete arm. One Part may 220° eer snuatl the action because of tempo or dynamic considerations. For example, we would probably use more finger ‘movement to play fas, soft notes, requiring smaller strokes, than we would arm motion, producing laruet strokes. reall aan eroke” iustrates the coordination ofthe entre arm from shoulder to fingers. Initially, practice the motions while standing infront of @ miror before trying them seated at a drum. Practice the motion with and without sticks. Think of raising your arm from the shoulder, just as you raise your leg from the hip. Similar arm motions are apparent in the se ake ofa ewimmer, the flow of a violinist’s bow arm, the wind-up and throw of a baseball pitcher, andthe fluid movements of a classical ballet dancer. Here are the steps illustrated by photos 18A-H. D: the lower arm has pivoted to the vertical from the elbows the stick ‘fallen backs cause of be ‘momentam upward st fingers begin to extend; (Ge upper arm resumes natural hang HL: wrist tums downvard and, si- foot ihe shoulder, lower arm con multaneously, the fingers follow the tawes descent from the elbow, butt of the sick in towards the palm tahich is no longer pressed against ofthe hand; the striking position is the body as in Fy the same as the starting positon shown in photo A.9 Photos 19A-G illustrate the full arm stroke using the Traditional Grip. The striking position is the same as photo 19. Notice that when the stick is at its ultimate down stroke height (18F, I9F) the elbow is moving back in toward the body. When the stick is at its lowest point upon striking the drum (18A and 19) the elbow/upper arm arc in the normal position hanging naturally from the shoulder as when the stroke was begun. Notice the extension of the fingers when the stick is at its maximum stroke. Notice how the fingers have resumed their natural curvature once the down stroke has been completed. This should bring to mind the action of the fingers when used with the fulcrum. Striking the Drum Approach #1: Execute the full arm stroke, follow through and strike the drum. Upon hitting the head clench the stick tightly so that there is no further movement: no rebound. Does this feel comfortable? Does the resultant rigidity seem an appropriate ending to the flowing motion of the full arm stroke? Approach #2: Execute the full arm stroke. This time, keeping the fulcrum open and non-rigid (don’t tense your arm), allow the stick to bounce, 10 rebound just as it did with the earlier exercises involving only the fulcrum and the fingers Allow the stick to rebound once and, as it falls back to the head, “catch” it with the fingers before it strikes a second time.10 Remember, the fingers do not lose touch with the stick. They move outward as the stick bounces and inward as the stick retums to the head after the initial rebound. Again, it is the same action as is involved in the fulcrunvfinger exercises which you practiced with the different grips. We have simply added the rest of the arm. This second approach produces non-rigid, flowing motion because the muscles are allowed to RELEASE any tension through the controlled rebound of the stick. It is not necessary to stop the motion of the stick by tensing the arm and, thus, the fulcrum as we did in the frst approach Practice Suggestions Practice the hands separately before trying alternate stickings. Play at MM 4: 40. Subdividing the quarter notes into ‘eighth note triplets, play the first notes on beats 2 and 4, and use beats 1 and 3 for the preparatory full arm up strokes. “Catch” the down stroke following the initial rebound on the second note of the triplet before it strikes the head. COUNT “I-feah, 2-8-ah, 3-&-ah, 4--ah” out loud. Coordinate up strokes and down strokes and rebounds with your counting and the metronome. "he etrcse looks Ue this: ve ep team et 107 TT a ‘You may allow the second note of the triplet to strike the drum: me ae fdre a na nai i _ Play these exercises until you no longer must concentrate on the motion. Play them until the motions become as natural, 'as second nature as walking. Accent Technique ‘We have seen from the previous exercises that the elbows move in towards the body when the sticks are raised for a large down stroke. And the elbows move out to their relaxed position slightly away from the body once the down stroke has been completed and the stick comes to rest after th intial rebound. We see, too, and hear, tat if we allow the second ‘note of the triplet pattern to strike (rather than “catching” it with the fingers) an accent pattern is produced 4, fi.) 5. ‘Thus, two arm/elbow positions: two stroke lengths: two notes : two different volume levels. ‘Here is another example. The accent pattern is $ 424 J . We shall play it without sticks, Snap your fingers on 2 & 4 and move your arm from the shoulder in quarter notes so that the elbow is “out” from your body on the snaps (2 & 4), “in” against your body on beats 1 & 3. Do this for two to three minutes, Now, reverse the arm/elbow motion: “out” on beats 1 & 3, “in” on 2 & 4. Which of the two sets of motions felt more comfortable? Which set of motions centers its energy in the snap of the fingers on 2 & 4? Which set of arm motions seems to produce the finger snaps? Practice snapping on 2 & 4 following this diagram: Keep your arm loose. Tp find out how that feels deliberately tighten your arm muscles and move your arm back and forth in the pattem as shown above. Gradually relax the muscles until the arm seems to be swinging “on its own.” The ‘wrist should be relaxed, too. Let it move as it wishes in conjunction with he rest of the arm. Hold a stick (French grip) and practice the same motion in the air. Now, play the patter on the ride cymbal. Keep your fulcrum open. Don’t restrict the vertical motion of the stick. Let it REBOUND! The changing position of your armielbow— out-in-out-in, 1-2-3-4—will guarantee accents on beats 2 & 4. Reverse the arm motion and the accent pattern is reversed. ‘We have reduced the full arm stroke to two positions: 18 and G, 19 and G.MW MOTION PRODUCES SOUNDS. SEQUENCES OF LARGER AND SMALLER MOTIONS PRODUCE ACCENT PATTERNS. ACCENTS ARE NOT PRODUCED BY “HITTING HARDER.” ‘Also play the 2 and 4 accent pattem exercise on the snare with either hand. ‘The same accent pattem results from the ‘same motions whether played on the ride cymbal, snare drum, or toms; right hand or left, Matched or Traditional grip. This technique allows a smooth transition between larger and smaller strokes necessary for the flowing execution of accent patterns. At no time are the muscles forced to “control” the sticks through rigidity. We can experionce this with the following, exercises. Hold a stick with only the fulcrum using either Traditional or German. (Refer to the sections on these fulerums if you are not sure of them.) Keeping your elbow pressed against your side try playing this accent pattem: Now, try to play it with your elbow in its “out” position. I'm sure that neither position produced the desired pattern and you probably had difficulty maintaining an open, non-rigid fulcrum, Matched or Traditional Now, combine the arm/elbow positions as shown here: Reece eed ecbee rece grin mii Let the stick bounce. The changing arm/clbow positions will produce the desired pattern. Keep your arm loose, wrist and fingers relaxed. Play from the shoulder just as you did when you snapped your fingers on 2 and 4. You HOLD the stick with the fulcrum but you MOVE it from the shoulder! ‘Now, add the rest of your fingers to refine, not diminish the rebound. Remember, the fingers move WITH the stick not AGAINST it. All of these techniques are derived from the coordination of the WHOLE arm as illustrated in the full arm stroke. Coordinating Accent Patterns Here is an example of coordinating two different accent patterns. The example is very basic yet the principles it illustrates are applicable to the most complex of patterns. ‘One hand plays a ride cymbal pattern of four quarter notes accented on beats 2 and 4. The other hand plays four quarter notes on the snare drum accented on 1 and 3. First attempts often result in one hand following the other's accent scheme. Concentrate on the ride pattem scheme and the snare pattern will follow; and vice-versa. This happens if you relate only to the “sound” of the patterns by themselves rather than thinking of them as two halves of a whole. Relate the patterns to the motions required to produce them, We cannot limit our thinking and playing to the division of “left” and “right” or to hands and feet. We must think, feel, and hear equality and consistency of movement. We are using the same motion technique (Both arms are built the same!) to play each patter. Diagrammed: Cymbal: pum 4 2 : : Fy Further, if we relate the patterns to a single line, to a sticking pattern played between two parts of the set rather than ‘on one part, we see that we are playing a simple sequence of “flat” flams: 4 of oe a 24 mmamunn tn ‘The technique af movement which we have discussed provides balances: tension/release; accented/unaccented; leftright; vertical (sticki/horizontel (clbow and arm). You now have a neutral foundation upon which to develop individualistic techniques which will fulfill your improvisational demands.” The Drum Set Set-up ‘The drums and cymbals should be centralized around you to minimize reaching and maximize pivoting with the wrists between drums and cymbals. Avoid stretching, twisting, and contorting. Set the drums and cymbals up to you, not yourself up to them. Throne This is the most important part of your set in terms of balance. It directly affects the techniques of the feet, You must find a height and distance which allows relaxation of the hips, legs, and ankles and, thus, your upper body as well. Snare Deum ‘Whether playing matched or traditional grip, the snare should be positioned and angled in such a way that the normal alignment of the forearms and the hands is not affected. Too, the shoulders must remain relaxed. Photo 2 shows a compatible snare position for traditional grip. Photo 1 shows the same for matched. Mounted Toms ‘These should be adjusted so as to be angled inward toward you. They should not be below or flush with the hoop of the snare but above it to facilitate pivots between them and the snare. Floor Tom ‘The floor tom should be about the same height as the snare. Sometimes it is angled ‘The ride cymbal should be positioned so that the stick strikes the cymbal approximately midway between the edge of the cymbal and the bottom of the cup. It is usually in this area that the most articulate stick sound is produced. (see photo 13) You should not have to extend your upper arm from its natural hanging position in order to reach the playing areas of the cymbal. Crash Cymbals Position these, within your normal reach (tilted slightly toward you), so that the stick strikes the cymbal on the bow or the shoulder, not the sharp edge. Experiment with your set-up. Find out what works best for you. Remember, your set-up should facilitate, not hinder movement. ightly inward toward the player. Foot Techniques Pedal Tension and Stroke Adjastment Here is a starting point from which you can experiment with the tension of your foot pedals. When either foot is placed on its respective pedal the tension of the springs should support the relaxed footleg so that neither the cymbals of the fi- hat close nor the bass drum beater rests against the head. The pedals should support the feet about halfway between the maximum strokes and the points of contact.13 Base Drum Techniques ‘Do develop bass drum technique practice the same fundamental exercises used to develop hand technique: dynamic patterns, accent patterns, and tempo exercises. The exercises in this book may be used for this purpose. ‘A common hindrance to the development of a consistent bass drum technique is the practice of leaving the beater pressed against the head. Play the exercises using the same rebound as applied to the hands. The same principles apply: smaller strokes produce softer sounds; larger strokes, louder sounds. ‘The two fundamental bass techniques are the heel remains on the heel plate and the pedal is played with ankle motion; the heel is elevated and the pedal is played with the forward part of the foot, again motivated by the ankle. For greater volume the leg can be used in conjunction with the ankle. Hi-Hat Technique ‘The following two fundamental techniques will provide a foundation for your own variations. ‘The “rocking” technique is often used when playing a repetitive 2 and 4. As the forward part of the foot presses the pedal down on those beats, the heel rises off the pedal. The heel comes down on the heel plate on 1 and 3 when the forward part of the foot releases the pedal. “Toe” technique can also be used to play repetitive patterns. It is particularly useful at fast tempos and for playing non-repetitive and syncopated figures. The heel is elevated and the ball of the foot and the toes remain in contact with the forward part of the pedal. At first practice the motion on the floor, not the pedal. Raise your heel, keeping the forward part of the foot on the floor. Move your heel up and down in eighth notes. ‘When the heel comes up on the “8's” of | and 3 let the forward part of the foot bounce off of the floor and return on Zand 4. Keep your leg relaxed so that the foot feels like it is bouncing off the floor rather than being lifted by the leg. It should recall the same free motion as when we snapped our fingers on 2 and 4. Transfer your foot to the pedal. Make sure that the forward part of the foot does not leave the foot board. If it does it means that your are either using too much bounce or that there is not enough space between the two cymbals to accommodate the stroke, or that there i$ too little tension on the spring. Remember, the tighter the pedal tension the faster the rebound. Throne Height ‘The height of the throne and its distance from the set can affect the execution of these techniques. If you sit too high or too close you are forced to play only up on your toes. If you sit too low or too far away it is difficult to use the toe techniques. Experiment with your throne height and distance and find a position where you can use toe, heel down, or any other techniques without affecting your center of balance. Practicing Practice with a metronome. It will not make your time mechanical. It will develop your own awareness of steady and erratic time in yourself and others. ‘The quickest way to lear something is to play it slowly at first. So slowly that you can think about each note before you play it. So slowly that you can concentrate on the mechanics of what you are playing Singing, or in some way vocalizing a pattern or rhythm before playing it is a beneficial and necessary leaming device. Its the only way to understand the sound of the rhythm. It is very difficult to play something if you have no idea of how it sounds. Just as itis difficult, if not impossible, to use a word if you are unfamiliar with its pronunciation or meaning, “Control” does not come from rigidity of the muscles or the mind. Control comes from using the muscles in such a way as to balance contraction and expansion, tension and release. inst.” You never play anything “against” anything clse. Playing “against” implies confrontation, which is ‘conducive to neither mental nor physical relaxation. You don’t play “against” the other musicians. You play with them. To develop a consistent and unified approach to the drum set we must realize that our appendages play “with,” not “against” ‘one another ‘The answer is always “YES” to the question: “Can J do it this way, too?”LESSON f+ Quarter Notes Points to Remember: 1. Beginning tempo: MM 4 :40. 2, Play the exercises with two stroke lengths: a. fullest, rebounded strokes as allowed by the tempo . short (1-114") rebounded. Applications: (measures played repetitively and sequentially) 1. On the snare with the following stickings: a. all left c. alternate, left lead b. all right 4. alternate, right lead ‘Accompany with 3 hi-hat and 4 bass. The bass should be played with the same two stroke lengths as the hands to qraure a dynamic blend. ‘The bass should always be softer and supportive ofthe hands 2. Exercises on the bass drum. Accompany with } hi-hat 5. Exercises on the snare with LH. Accompany with 3 hi-hat and the following ride cymbal rhythms played with the RE: Sf el Be Ue oi) Hii in ua a. fl Wow him ‘Also accompany with 4 bass. 4. On snare with RH. ‘Accompany with LH ride patterns, 3 hi-hat, 4 dass. 5. On bass drum. ‘Accompany with 3 hi-hat and ride patterns, LH and RH. 6. On the hi-hat using the foot pedal. ‘Accompany with 4 bass, LH and RH ride patterns. 7, Play with LH/RH unison on two drums, two cymbals, a drum and a cymbal Accompany with 3 hi-hat, 4 bass, 8. Play with LF/RF unison. ‘Accompany with LH and RH ride patterns. 9, Play with LHURF unison. ‘Accompany with RH ride patterns, 3 hi-hat or $ bass. 10. Play with RH/LF unison. ‘Accompany with LH ride patterns, 3 hi-hat or 4 bass. Points on Which to Concentrate in All Lessons: 1. Make sure that all strokes in all limbs are rebounded. Be consistent. 2. Concentrate in three general areas: a. SOUNDS: Are the notes even and consistent in time? Are all parts of the set balanced dynamically? b. FEEL: Can you feel the stck/beater rebound? Do you feel relaxed? Do you fel tense? Are Your legs relaxed? Are you breathing normally or holding your breath? <. LOOK: Watch your hands and feet as they play. Watch them when they are not playing Memorize the exercises so that you can concentrate on yourseff, on playing, and not on the notes on the paper. Creating your own exercises based upon the materials is greatly encouraged. Improvise Your ‘own solos. Practice with a metronome. Refer to the text on primary techniques if you are unsure of something aeLESSON 2: Quarter Notes on Two Sound Sources Points to Remember: 1. Beginning tempo: MM 4 :40. 2. ‘Two rebounded stroke Jengths. Applications: measures played repetitively and sequentially) 1. Top line: RH Bottom: LH Accompany with 3 hi-hat and § bass. 2. Top line: LH Bottom: RF ‘Accompany with RH ride patterns, either 3 hi-hat or $ bass. 3. Top line: RF Bottom: LF ‘Accompany with LH and RH ride pattems, 4, Top line: RH Bottom: RF ‘Accompany with LH ride patterns, either 3 hi-hat or $ bass. 5. Top line: LH Bottom: LF Accompany with RH ride patterns, either 3 hi-hat or 4 bass. 6. ‘Top line: RH Bottom: LF ‘Accompany with LH ride pattems, either 3 hi-hat or 4 bass. 7. Top line: unison LH/RH Bottom: unison LF/RF 8. Top line: unison LH/RF Bottom: unison RH/LF 9. Top line: unison LH/LF Bottom: unison RH/RP 1516 10. Top line: snare with LH Bottom: any other drum or cymbal on the left hand side of the set, played with the left hand. Accompany with RH ride patterns, 3 hi-hat, 4 bass. UL, Top Line: snare with RH Bottom: any other drum or cymbal on the right hand side of the set, played with the right hand. Accompany with LH ride patterns, 3 hi-hat, 4 bass. LESSON 3: Eighth Note Tiplets Points to Remember: 1. Beginning tempo: MM. 4:40. 2, ‘Two rebounded stroke lengths. Applications: measures played repetitively and sequentially) 1. On the snare with the following stickings: a. all LH £. RRL b. all RH g. LRR . alternate, LH lead h, RLL d. alternate, RH lead i, LRL LRL e LLR j. RLRRLR ‘Accompany with 3 hi-hat and 4 bass. 2. On the bass. Accompany with LH and RH ride patterns, 3 hi-hat. 3. On snare with LH. Accompany with RH ride patterns, 3 hi-hat, 4 bass. 4, On the snare with RH. Accompany with LH ride pattems, 3 hi-hat, 4 bass. 5. On the hi-hat using the foot pedal. Accompany with RH and LH ride patterns, 4 bass. 6. Play with LH/RH unison on two drums, two cymbals, or a drum and a ‘cymbal. Accompany with 3 hi-hat and 4 bass.7 17. Play with LE/RF unison. Accompany with LH and RH ride patterns. 8. Play with LH/RF unison. Accompany with RH ride patterns, 3 hi-hat or 4 bass. 9. Play with RH/LF unison. Accompany with LH ride patterns, 3 hi-hat or 4 bass. LESSON 4: Eighth Note Triplets on Two Sound Sources Points to Remember: 1. Beginning tempo: MM 4 :40, 2. ‘Two rebounded stroke lengths Applications: eee played repetitively and sequentially) 1. Top line: RH Bottom: LH Accompany with 3 hi-hat and 4 bass. 2. Top line: LH Bottom: RF ‘Accompany with RH ride patterns, either 3 hi-hat or 4 bass. 3. Top line: RF Bottom: LF ‘Accompany with LH and RH ride patterns. 4, Top line: RH Bottom: RF ‘Accompany with LH ride pattems, either] hi-hat or bass “Top line: LHL Bottom: LF Accompany with RH ride patterns, either 3 hi-hat or 4 bass.6. Top line: RH Bottom: LF ‘Accompany with LH ride patterns, either 3 hi-hat or 4 bass. ‘Top line: unison LH/RH Boitom: unison LP/RF 8, Top line: unison LH/RF Bottom: unison LE/RH 9. Top line: unison LH/LF Bottom: unison RH/RF 10. Top line: snare with LH Bottom: any other drum or cymbal on the left hand side of the set, played with the LH. Accompany with RH ride patterns, 3 hi-hat, 4 bass. 11, ‘Tp line: snare with RH Bottom: any other drum or cymbal onn the right band side of the set, played with the RH. ‘Accompany with LH ride patterns, 3 hi-hat, 4 bass. NOTE: The rest of the single line eighth note triplet exercises follow the same Applications as Lesson 3. The only change is in the stickings used in Application 1: all LH, all RH, alternate with LH tead, alternate with RH Jead. The rest of the double line exercises with 8th note triplets follow the Applications in Lesson 4. Lessons 29-31 deal with quarter note triplets. Single line exercises follow Lesson 3; double line exercises, Les- son 4, Upon completion of the quarter note triplet exercises, return to Lesson 1 and play all lessons with these SS dey ey Teta ey Lega 19 aden? man Pg gn 4 Ria 85 Pa PH 35 37 35 rin 35 oa 35 RB 35H 35Roa Pdarg edn Pie oh Ba da yh hh hh hs 8. ee r we ga ge aa ag can 3 oe an rar 35 regain .35 we jo 35 ron eda ro ran roa ego 34 go ge 4 oe ga eo et Wo Goaugalss i 35 -3> ais ia de a pact i us woes wo egarss SGmin p35 ea I IS a n34 035 35 sn 34 a a5 35 35 ch cH ri BS Bh as 12. ean ge Es ee 35 a for pe 34 34 C3 ou ay Bs oo Tu fox] Go Ga Geo a SB.25 MEA B HBR IN BA TIT BS BI 23, ron r$5 PIn PIN Ks HI IS 35 34 734 ms 8 Pay Fe HSA HS msn rag csp 8a sp 8p ag 3p BD HB 3D 24 Macs rsp 8D 8D ID aD -37 rsa 3 ey oD P3o 0 pon II m3 3 eon og I <5 Ts26 26. 84 89 3 BI eR Ph2 3 8 a a 37 37 Accent Studies Play the measures repetitively and sequentially. For the quarter note patterns follow the applications in LESSON 1. For the eighth note triplet pattems follow the applications in LESSON 3. Quarter Notes Eighth Note Triplets29 Dynamie Studies Follow the applications in LESSON 1 for the quarter notes. Follow the applications in LESSON 3 for the eighth note triplets. Also, practice these additional dynamic patterns using quarters and triplets (partials of the eighth note triplet may also be used): el aeecer ere ate eee a rr ral The patterns, of course, may be played within shorter or longer bar lengths. PEP SIF FIP_ Advanced Triplet Coordination ‘The exercises in this section are written in an abbreviated form. The key for expanding the components into a bar of is simply as follows: Jeg dig Il 4 GRIGG iy mMMM P4fiiTN fo eee) hidet Gd hi adyegr dra day daa dy J 3 s-44 deg as written: as played: Fees RH i TH RE fiskan Weseratatateeese pasar LINEAR KEYS: These exercises may also be related to linear rhythms and sticking patterns. This will minimize auditory confusion when you begin moving the individual parts between various parts of the set. It also helps you to understand how the parts “go together”, foot, ‘ot “go against” each other. These keys are played between the hands, the feet, and band and a & Ga wo oH 34 ug O34 U3 308 8 ge gk naga dy tat age oof was 3 Pan rs, 3a 34 7 3 cn oh oon Ll B34 L3H We ge esa de 3 nbn 3 em PR ea 8 SG PS 84 34 eon oon gS Teng eet 38h Sargasso P39 5g 3D 3 B mon Pe 2 fae ———- 2 3 eae 4 | (Basses eee31 cd 34 3 3 Steiger tetas re: Ce Se ee ee ee oo a a par a eae a eS = naar tt i 3s F384 ns By keeping the appropriate linear key(s) in mind one is not confused by new sound source combinations. Some Practice Schemes: L. Start with the bands playing their patteas on the snare: ‘a. vocalize one foot pattern then, when you are comfortable singing it while playing the hands, play the vocalized foot pattern; b. vocalize remaining foot pattern; play it. IL. Start by playing the foot rhythms: a, vocalize one hand’s rhythm; play it b. vocalize the other hand’s rhythm; play it; IIL. Other starting pairs: LH/LE, RH/RF, LH/RE, RH/LF. You can also build the exercise from one appendage’s pattern, being sure to vocalize each subsequent pattern before playing it ‘A scheme for developing sound source alterations could involve— 1. one source (e.g. RH on snare); 2. single alternation between two sources (RH between snare and floor tom), or three sources (snare, floor tom, and ride cymbal); 3. double alteration between two and three sources; that is, the hand does not move to the other source(s) until it has played two (hence, “double”) notes of its pattern on the first sound source. Hi-Hat Technique When playing 79 fp withthe foot pedal rock your foot in eighth note triplets: f= heel o35 toe When playing f Pf = f At slower tempos figures such as 4 oy be played flatfooted. At faster tempos the ball-of-the-foot, or bouncing technique, is useful, EXPERIMENT. Don't assume old roles when playing these exercises. If you are “right-handed” don’t automatically play the LH on the snare, the RH on the ride cymbal or hi-hat. Try reversing that with which you are most familiar and comfortable. A standard ride pattern may be substituted for any rhythms played in either LH or RH. A beginning tempo of no faster than MM ¢ :60 is recommended,—[odidrl. ele ie [al ele E oye ew | Pe & * o poe PE | POA ae maple eo] OL eee ee 7 _ = (eee ee ee ele Toes mo LE ae ~ Coe le elle Pelee Coe oe oP aye >| elie r > S| oF To Oe {eas — | | a > | [ lL. at r r ° rc 7 Hee eet UU Le Vieira Pee ll cc A tg hats +|4 Bag |S | Bi EE Pama Se POSSESS | SG) it . - . . ae z- 3 & 4 - 2 @ & z 3 & 4 ze & =z 3 ¢ 4 5 @ &ol le 7 [“| + Cy OP sie [ epee Sek ie aa ee | E ee ol ae =e ol is act oP Ee foc Bo-ee | ae TT at ; [i+ Poe bole = oe. ee eee pe AER mse Saye= - i . rm oe oS | 3 — ae = Cea) cel el i — Wy onl Le cts eae ~ j Gin (ieee (ithe GS