CONTENTS CONTENTS PAGE INTRODUCTION (INCL. APPROAGH TO PRACTICE}. 5 DRUM PICTURE AND PARTS. 6 SEATING, CHOOSING THE DAUM STICKS AND PRACTICE PAD. 7 HOLDING THE DRUM STICKS 8 RUDIMENTS OF MUSIC 10 SECTION ONE LESSON 1 RIGHT AND LEFT HAND EX. SNARE AND BASS DRUM 2 2 QUARTER NOTES, RIDE CYMBAL, HLHAT AND DRUM BEAT 4 3 EIGHTH NOTES. 16 4 EIGHTH NOTE BASS DRUM BEATS, DRUM SOLO 1 8 5 SNARE ORUM STUDIES. 20 6 SYNCOPATION 2 7 2 TIME 22 8 SIXTEENTH NOTES 23 9 EXERCISES AROUND THE DRUMS 25 40 FILLS, DRUM SOLO 2 27 41 EIGHTH AND SIXTEENTH NOTE COMBINATIONS 20 42 ADVANCED FILLS 33 13 DOTTED NOTES 38 14 DOTTED EIGHTH AND SIXTEENTH NOTE COMBINATIONS AND BEATS 36 46. SIXTEENTH NOTE RESTS AND BEATS 38 16 DOTTED EIGHTH AND SIXTEENTH NOTE ROCK BEATS AND FILLS. 39 17 RHYTHM REVIEW, DRUM SOLO 3 42 18 QUARTER NOTE CYMBAL PATTERN. 46 19. SHUFFLE RHYTHMS, DRUM SOLO 4 48 f 20. THE TRIPLET 50 : 21 SIXTEENTH NOTE TAPLETS 52 22. ACCENTS. 56 SECTION TWO 23. DRUM RUDIMENTS, RUDIMENT NO. 1 (LONG ROLL) 60 24 RUDIMENT NO. 2 (SINGLE STROXE ROLL), NO. 3 (FLAM) eI 25 RUDIMENT NO. 4 (FLAM TAP), TIME SIGNATURES, SIMPLE AND COMPOUND TIME 63 26. RUDIMENT NO. 5 (FLAM ACCENT), NO. 6 (FLAMAGUE} 65 27 RUDIMENT NO, 7 (SINGLE PARADIDDLE}, NO. & |FLAM PARADIDDLE) 6 28 ROLLS RUDIMENT NO 9 (5 STROKE ROLL} 69 29 RUDIMENT NO, 10 |7 STROKE ROLL), NO. 11 (9 STROKE ROLL}. nm 30 RUDIMENT NO. 12 /10 STROKE ROLL), NO 13 (11 STROKE ROLL) 72 31 RUDIMENT NO, 14 {13 STROKE ROLL). NO 15 (15 STROKE ROLL) 74 32 RUDIMENT NO. 16 (COUBLE PARADIDDLE), NO. 17 (FLAM PARADIDDLE- IDLE), TRIPLE PARADIDDLE 76 33 RUDIMENT NO. °8 (RUFF), NO. 19 (SINGLE DRAG), NO. 20 (DOUBLE DRAG), NO. 21 (ORAG PARADIDDLE NO, 1) NO. 22 (DRAG PARADIDDLE NO. 2) 78 34 RUDIMENT NO. 23 (SINGLE RATAMACUE}, NO. 24 (DOUBLE RATAMACUE), NO. 25 (TRIPLE RATAMACUE} NO. 26 (LESSON 25) AND LESSON 25 INVERTED. 79 85 FOUR STROKE RUFF SIX STROKE ROLL, FLAM ACCENT NO. 2 80SECTION THREE 36 87 38 39 40 a4 a2 43 44 48 46 47 48 49 50 2 TIME. LATIN AMERICAN BEATS MAMBO, ROCK AND ROLL MAMBO, JAZZ MAMBO. BOSSA NOVA, FAST SAMBA, SLOW RHUMBA, CLAVE RHYTHM. VAZZ. AND INDEPENDENCE STUDIES. ADVANCED INDEPENDENCE STUDIES JAZZ FILLS USING SWING BEAT, BRUSH RHYTHVS ROCK BEATS USING SIXTEENTH NOTE CYMBAL PATTERN DISCO BEATS.. DISCO BEAT VARIATIONS. ALTERNATE STICKING ROCK BEATS USING SIXTEENTH NOTE TRIPLETS SYNCOPATED ROCK BEATS, REGGAE BEATS. ADDITIONAL BEAT STUDIES. INTRODUCTION FILLS... APPENDIX ONE - TUNING. APPENDIX TWO - GROUPS, COPYING BEATS AND FILLS FROM. RECORDS, nea eeeenne GLOSSARY OF MUSICAL TERMS: “LARS ULRICH — METALLICA’ a3 BS 86 20 a 94 or 99 101 402 704 106 708 110 118 116INTRODUCTION The drummer, together with the bass guitarist, form what is called the ‘rhythm section’ of @ group. Thoy croato the backing beat, driving force and ‘tghiness' necessary for a successful group. PROGRESSIVE ROCK DRUM- MING wil provide you wth an essental guide to the rudiments, beats and rhythms used by drummers. Within the three main sections of the book a lesson by lesson structure has been used to give a clear and carefully graded method of study. No previous musical knowledge is assumed Aside from the specific aim of teaching drums to enable you to play in a croup, music theory is gradually in- ‘reduced, This will help you to understand the materia being presented and enable you to improvise and create your own rhythms and beats From the beginning you should set yourself @ goal. Many people leam drums because of a desire to play tke their favourite arfist (eg. Stewart Copeland of the ‘Police), or to play a certain style of music (eg. rock, ‘funk reggae, etc). Motivations such as these will help you to persevere through the more difficult sections of work. As you develop it will be Important to adjust and update your goals. It is important to have a correct approach to practice. You will bonofit moro from soveral short practices (og 45 - 60 minutes per day) than one or two long sessions per week. This is especialy so in the early stages, because cf the basic nature of the material being studied. In a practice session you should divide your time evenly between the study of new material and the revision of pest work. Itis a common mistake for serri-advanced students to practise only the pieces they can already play well. Although this is more enjoyable, itis not a very satisfactory method of practice. You should endeavour to correct mistakes and experiment with new ideas. You should combine the study of this book with constant experimentation and listening to ather players. It is the authors belief that the quidance of an expertenced teacher will be an invaluable aid in your proares: 'STEVE ADLER — GUNS & ROSES’A CRASH CYMBALS The standard drum kit consists of 1. 1 BASS DRUM. Sizes vary from 18°(45 cm), 20°50 em), 22"(55 cm), 24"(60 cm.) and 267165 cm) with 22"(55 om, being the averace. 2. 1 SNARE DRUM, 14%(35cm), either wooden or metal, with varying depths eg. 5’(18cm), 6%"(16cm.), 8'(20 om) 3. 1 FLOOR TOMTOM, 16"\40 Cm), 18/45 om). 4. 2 TOM TOMS on the bass drum, varying in sizes from 12°(30 cm) through to 16"(40 om}, with 12"and 13°(30 om. and 33 mor 13” and 14°(33 cm. and 35 cm) being the most popular combination 5. 1 PAIR OF HEHATS, 147135 cm.) top and bottom. 6, 1 RIDE CYMBAL, 18/45 om) through to 22°(55 om}, wit 20"(60 om.) being the most populer. 7. 2 CRASH CYMBALS, szes irom 12°/20 cm) through to 18°(45 cm), with 16°40 cm.) being the most popular. ‘These are only standard sizes and you wil gradually develcp your own preferences. Most major drum manutac- turers make a veriety of szes and some will make them lo your specitication,SEATING Before you commence playing, a comfortable seating position is required. Your drum kit setup is your own personal choice, but you should be able to reach the tom-toms and cymbals with case and comfort. The main aim is for comfort and easy playing of the drum kit (See Photo) CHOOSING THE DRUM STICKS There are two types of sticks, nylon tip and wooden tip. Nylon tip sticks sound brighter and cleaner, which is most noticeable when playing on the cymbals, When choosing a pair of sticks they should be of the came length, weight and straightness (test ior straight- ness by roling the stcks over a flat surtace, it they don't wobbie they are straight). A good starting stick would be a sze 7A |marked on the side of the stck), As you progress you will be able to try different sizes and see what feels best to you. Try bot ryion tip and wooden tip. PRACTICE PADS, PRACTICE PADS are often used by drummers of all levels because: 4. They aro quict {to avoid complaints}. 2. They are portable (eg, lessons and holidays) 3. They have a similar hounce to a real drumskinHOLDING THE DRUM STICKS There are two accepted ways of holding the slicks, they are: 1. THE TRADITIONAL GRIP (Photo. 1) 2. THE MATCHED GRIP (Photo. 2), TRADITIONAL GRIP MATCHED GRIP PHOTO. + 1. THE TRADITIONAL GRIP The right hand stick is held between the inside of the: thumb and first Join! of the index finger (about % Of the way down from the but of the stick), The remaining fingers are wrapped lightly round the stick (Photo. 1) To make a clean tap with the right hand you must mave your wrist in @ downward motian allowing the tip of the stick to strike the snare drum cleanly and then bring it back up to its original positian (Photos ta, , €), By repeating this you will soon develop @ smooth right hand action, PHOTO. tbThe left hand stick is held deep in the cratch of the thumb and first finger. It rests between the second and third finger, between the frst and second joints (about " of the way down from the butt of the stick) (Photo. 1), To make a clean tap with tho loft hand you must move your wrist and forearm in an inward and downwerd | motion, allowing the tp of the stick to strike the drum cleanly and then bring it back to its original position (Photos. 1d, 1e, 11. By repeating this you will soon develop a smooth left hand action and be ready to proceed to more snare drum work, PHOTO. 1d PHOTO. 11 | 2. THE MATCHED GRIP. The right and left hand hold the sticks in exactly the same wey as the right hand in the traditional grip (Pho- to. 2) To make a clean tap with either hand you can repeat the stick movernents in (Photos. 1a, 1b, 1c} The matched grip is the style commonly used by rock drummers as it feels natural and more comfortable to play. The traditional grio ie widely used by jazz, military band and orchestral drummers. ‘LED ZEPPELIN.10 RUDIMENTS OF MUSIC Music ‘5 written on a STAFF, which consists of 5 pavalel lines between which there are 4 spaces. Music Stati All Grum music begins with the BASS CLEF sign. Ths sion is also used for iow pitched instruments such as the bass guitar and the bass Ino of a piano part. BASS CLE, 9} BAR LINES are drawn across the staff, which divide the music into sections called BARS cr MEASURES. A DOUBLE BAR LINE signities citer tho ond of the music, or the end of zn important section of it BAR v1 MEASURE BAR LINE DOUBLE BAR LINE ‘xo dots placed before a double bar line indicate that the music is to be repeated, irom the beginning of the Piece of music or from a previous set of repeat signs, REPEAT SIGN TINE SIGNATURES At the beginning of each piece of music, after the bass ciel, is the time signature. The time signature indicates the ‘feel of tho music eg. rock (4), waltz (}), ele TIME SIGNATURE The time signature indicates the number of beats per bar (the top number) and the type of note recelving one beat (the bottom number), For example: ~ ths indicates 4 beats per bar ~ this indicates that cach beat is worth a quarter note (erotchet) is the most common time signature used in rock music and 's somelimes represented by this oymbal_@ called COMMON TIME. 2== Other time signatures used in this book are 3, § and ¥? time.SECTION ONE EXPLANATION OF DRUM NOTATION HI-HAT OPEN HI-HAT f CLOSED HI-HAT BASS DRUM SNARE DRUM RIDE CYMBAL CRASH CYMBAL SMALL MEDIUM LARGE (FLOOR) SMALL TOMTOM TOM TOM TOM TOM TOM TOM WITH CYMBAL,2 LESSON ONE RIGHT AND LEFT HAND EXERCISES The first exercises are played using the snare drum and involve right and left hend altemation, First make a clean tap with your right hand (Photo. 3a) end as your right hand is retumed to fis original position make a Glean tap with your left hand (Phota, 3b). Repeat the procedure. The important thing to remember in every exercise is to relax and dont let your wrists ard forearms tense up as ths wil make Your taps sound uneven and jerky, thus preventing you from inoreasing your speed steacily. PHOTO. 3a PHOTO. 3b. A QUARTER NOTE (sometimes called a CROTCHET)# hes the value of 1 beat and 4 quarter notes are needed ' jor 1 ber in § time, ie. a quarter note is played on each beat. Ex. 4 will be played on the snare drum|S/Dj, written in the second space from the top of the staff. The L - left hand and the R-rant hand wil alternate (Refer To Photos. 3a and 3b) in 3 time EXERCISE 4 RoL Hano POL sD cont 1 2 3 4 Noud Repeat Sign ae NOTE - Start each oxercise with tho right hand and then try starting each exercise with the left hand. By approaching every exercise in this mannor you will not be dependant on one hand starting all the ime. This next exercise shall be played using double strakes of the right and left hand, Play the exercise through first RRLL, then play it through LAR. EXERCISE 2 RoR LL LoL oR R fee iif ao R HAND E L R43 Ex. 3 combines the bass drum(B/DIwith the snare drum. The bass drum is played using the right foot end 's written in the bottom space of the staff EXERCISE 3 A Repeat sign indicating an exact repeat of the previous bar1" LESSON TWO Ex, 4 introduces the QUARTER NOTE REST This means silence for the count of 1 baat It can be found anywhere in the music and is counted in exactly the same way as a quarter note, QUARTER NOTES AND RESTS EXERCISE 4 4 Note ‘Va Note Hand % & &. OR tb oR tL Rest ROL RL Ro oL OR Rest 7 + | j | x {| J ¥ Sey o. a c= Count 1 2 304 1 2 3 4 42 3 4 12 3 @ EXERCISE 5 L ROL oR - j LR oo eR SS pag it = tS = 3 Count 1 2 3 4 1 2 3 4 12 3: 4 12 3 4 EXERCISE 6 Hand Count 1 2 3.4 a 2 3 4 1203 4 1 2 38 4 EXERCISE 7 Hana Loko oR L 4 eae = = 2 J t zz # z z Count 1 4 1 . 3 4 iz 2 3 4 1. 2 3 EXERCISE 8 Use the left hand on the 2 and 4 counts, and rest cn the 1 and 3 counts, while the bass drum plays on all counts, h Note a L (tate soe A = f z oe = f f Count 1 4 Aloud 4 :15 The Oymbas [ide (°C) and closod Hi: Hats (HI ae incteated thus ot, and ere writen onthe top Ine ofthe staf Ex. 9 introduces the CYMBAL PATTERN which will enable you to play 2 complete drum patter. Use the ride cymbal (RC) tapping It on every beat (1,2,3,4) with your right hand, while the bass drum (B/D) taps on every beat (1,2,3.4), and the snere drum (S/D) is tapped on every 2 and 4 beat (with the left hand). EXERCISE 9 RoR OR OR left Hand PVC | cont 1 2 3 4 #4 2 3 4 #4 2 3 4 4 2 3 4 Aloud With all the beats discussed in this book, do not restrict yourself to playing them just on the ride cymbal or hichats (H'H). Try experimenting playing the cymbal pattern on oiher paris of the drum kit eg. cowbell (CiB), jom-toms (small, mecium, large), the rim of the snare and tom-toms. If you listen to records very carefully, you can pick out the sections of music where the cymbal pattern is played on the ride cymbal and then moved fo the hi-hat or crash cymbal (C.C}. Here is typical example of how a song may be structured and where the cymial pattern could be played HIH crm HI cYm HIM or GYM HIH cYM VERSE — CHORUS — VERSE — CHORUS — INSTRUMENTAL — VERSE — CHORUS — FINISH. The hivhat can be added to Ex. 9. Use the left foot to push down the pedal so that the two cymbals click together. Whenever you see the hi-hat in this position it must be closed together on the beat. 2 Closed HH x with foot I on the beat —x Play the HiH with the L. foot on the 2 & 4 count (with the snare) while the B/D and RIC are played on all courts (1,2,3.4) EXERCISE 10 R i ‘ R Right Hand RIC {fe Loft Hand Sid »-®)# —— Right Foot 1 : f - * 4 Left Foot HH = Count 1 J 3 Aloud 1234 1234 1234 TROUBLESHOOTING Remember: 1. To hold sticks correctly 2. To 1olax and not to tense up your forearms and wrists &. To read slowly at first until you can play the exercise smoothly and then attempt to increase your speed 4. To wath for repeat and rest signs and other relevant information 2s you pley each exercise16 LESSON THREE EIGHTH NOTES An EIGHTH NOTE (or QUAVER) J) is worth hall a beat in time. Two eighth notes, which are usually joined by a line across the top of the twa notes. ¢¢ have tho same value as & quarter note. Eighth notes are counted as such: Cont! 1 + 2 4 8 4 & 4 Say Aloud: “one and two and three and four and” Ex. 11 uses a combination of quarter notes and eighth notes, played on the snare drum, EXERCISE 11 Ri tb A WHE & & Bar line with repeat sign means {| I 1 I _ repeat previous 2 bars. SB Cont 1+2 3 4 144+2 3 4 ete Aloud EXERCISE 12 Count 1524344 142+344 ete Aloud EXERCISE 14 RL PL RL RL Count 1+ 2+ 34 4+ etc Aloud7 Now you have leant some basic eighth note exercises you can move onto tock beats using a basic eighth note cymbal pattorn to each bar. Use eithor the ride cymbal or the hi-hats (closed), playing with the right hand The cymbal pattem will be playad 1+2+3+4+-; the bass drum will be played on the 7.2.3.4 and the snare drum will be played on the 2 and 4 counts. EXERCISE 15, 36 Count 4 + 2 4 Pay this beat in exactly the same manner as Ex. 15 except the bass drum is played only on the 1 and 3 resting on the 2 and 4, EXERCISE 16 RIC, iJ Li 1 = | oo ae f— = | count 4+ 2+ 3+ 44 ote "ROLLING STONES?18 LESSON FOUR In this lesson eighth note beals on the bass drum are introduced EXERCISE 17 EXERCISE 18 EXERCISE 19 af EEP: EXERCISE 20 TRS oo) PEnGEE “After playing each exercise indivicualy try playing non-stop from EX. 17-21.DRUM SOLO 1 EXERCISE 2220 LESSON FIVE ‘SNARE DRUM STUDIES The following exercises, using eighth notes, wil increase your reading abiity and wrist control. These eighth note wrist exercises must be done before every practice as a warm up. Start VERY SLOWLY and gradually increase the speed until you cannot go any faster then GRADUALLY slow down again. These exarcisss are designed to build up strength and stamina in. your wrists and increase control of your ralls. EXERCISE 23,21 LESSON SIX SYNCOPATION SYNCOPATION |s the accenting of a normally unaccented beat eg. in § time the normal accent is on the frst and third beal ae s s+ = ACCENT (Play louder) Wiese | so an example of syncopation could be: See Syncopation is used in all forms of music eg. rock, jazz, orchestral, Latin American, ete. Its main advantage is ‘hat it can make an otherwise plain baat sound interesting because of the ‘off beat’ rhythm. An EIGHTH NOTE REST ¥ means silence for the count of half a beat. It can be found anywhere in music and 's counted in exactly the seme way as an eighth nete. a 5 oe a x == 1 2 3 + 4 12 3+4 1 2 344 12 3+4 EXERCISE 31 SE KI r t+ a 1424 34 4 1+ 24344 1+24+3+4 1424344 EXERCISE 32 ; fe2i Lak a EXERCISE 33 V4 Pe St 4 e 14248444 14249444 1424944422 LESSON SEVEN 3 tmwe Many popular songs aro written in 3 TIME This is often caied WALTZ TIME and indicates three quarter note beats per bar In 2 time the first best of each ber is omphasized, as such > xs @i = » |)R as Lou id Soft Soft Loud soft Soft To give this feeling (called LILT) place the bess drum on the first beat and the hi-hat (closing with the foot| ‘on the following two beats. EXERCISE 35 Strong Strong Strong ‘strong 2f, —= —— = al wm ¢ $ & bh mw 4 EXERCISE 3623 LESSON EIGHT SIXTEENTH NOTES (OR SEMI QUAVERS) A SIXTEENTH NOTE ¢! has the value of haf an eighth note, Thus two sixteenth notes equal an eighth rote, and four sixteenth notes equal e querter note. Pied Wi oa-4 Gountt © 4 a In the following exercises the bass drum keeps the beat. EXERCISE 37 L RL RL RERL RLRLALAIRL RURLARLARL RLERLRL ALR = t % —— t 1 + 2 + 8 4 Sera ete EXERCISE 38 RLRLR L R L RLRL RLURLRLRLRLAL le+a2 + 3 EXERCISE 39 == zi —= 1 EXERCISE 40 REA = : By ted Z E | rT fo +a2lerateiad 4 ete, EXERCISE 41 RLEREARLRLERLALALAL ALALRLERLALRLRLAL = = Of hehe rt ff le +a2e+a3e+adera ete.24 EXERCISE 42 Here is a 16 bar exercise using quarter, eighth and sixteenth notes and resis MSS i Pi a Ro oL oR L RLRERLERLE R LCL RLALA L ALRAL tt, ft 2e+ads + dere e25 LESSON NINE EXERCISES AROUND THE DRUMS This lecoon introduces the SMALL, MEDIUM AND LARGE TOMTOMS. The SMALL TOM - TOM is writton on the top of the staff sit The MEDIUM TOMTOM is written in the first space from the top of the staff Mitt The LARGE (or FLOOR) TOM-TOM is written in the third space from the top of the staff. oT ‘The cymbal pattern and small tom-tom are written in the same postion on the staff. If they are to be played together, generally the right hand will play the cymbal while the left hand will play the small tom-tom and wil be wnitten thus: Cymbal sit 2 =e In the following exercises the bass drum will be played on every beat (ic. 1,2.9,4), the right and left hend will be moving around, the snare drum and tom-toms EXERCISE 43 RLERLALRLALALALRE REAL AL ARLRERE RE RL ee ——— = (Geieeia cleat @ least at Count 1e@+a2e+ase+ade+a te+a 2e+adse+aderva EXERCISE 44 ae, rice —EXERCISE 46 EXERCISE 47 : | | _ [A AS PP Tota LESSON TEN FILLS A FILL is any variation of stick movements from the basic beat used to fil out or color the music. Fils are usually found at the beginning and ending of songs, al the end of certain bars (1 when the song changes from verse to chorus anc! vice-versa), or when leading into an instumental. There ere no set rules for ills, but they must be in time with the piece of music you are playing end tastefully played. Any pert of tho drum kit can be used, with rolls around the tom-toms and crashing cymbals being very common DYNAMICS (ihe varying degrees of softness anc loudness in music) play an important role in music as they add color and feeling Its important to note that you dorit noed to put every fill you know into one break as some of the best sound- ing fils are the ones with the least amount of playing in them, You wil find that most fils come at the end of every 4, 8, 12 oF 16 bars, with the fil tang up the last 1 oF 2 beats of the bar or the whole last bar, e0. ina 12 ber progression you might play the standard beat for 11 bars and use a fil in the last bar to lead back into a repeat of the progression In these exercisas we wil combine a beat with a fil, with the fil taking up 7 oF 2 beats of the bar, EXERCISE 48 RLRL Count 1+2+3+4+ 14+ 24 34+ 4era EXERCISE 49 PP Ep pe , Seti | ie EXERCISE 50 5 fs Bis EXERCISE 51 PR28 EXERCISE 52 at} at Tie ——_————| EXERCISE 53 Some PE a — Fill In these exercises wo will use fils taking up all 4 beats in the last bar with the preceding 3 bars being a basic beat EXERCISE 54 FE as“soto 2 ed BP > PPP Re aad PEE = oS aa RLRLR pom ep RL uta atacn LG) [TEL ate f ff FRA .—— = = = —_—= PpPEp pe OEY KRAMER — AERO SMITH’30 LESSON ELEVEN EIGHTH AND SIXTEENTH NOTE COMBINATIONS Interesting beats can be created by joining sixteenth notes and eighth notes. They are written and counted as such: FT] iad Countt1 e@ +a Countie + a Tes eo Ro LR LAL RLRL Te ay + 2e+ad 4 4 4 ete, EXERCISE a RO LRLR LRLRLRLRLRL Dp ELE aa a 4 teasd ¢ AeRe om EXERCISE 62 LR LR LALAL — ALALALALAL pT j ete + Seena Pe EXERCISE 63 hLR LAL pa 1e+e2et+aserad + EXERCISE 64 RLR LRL RLER LRL RLRLRLRLALRL preci rerere Tet+a2eta8erate-a eta | EXERCISE 65at EXERCISE 66 RLRL RLALRL EXERCISE 67 RB LRL RLR LAL te+a2etaderad etc. EXERCISE 68 ROLRL RLR LAL RL LRL RLR LRL RL te+a2etraSeradera EXERCISES ee RL RLR LR LAL mt TR = + 2erad + 4eta etc EXERCISE 70 RLRLALR LR OL oyna te+a2e+a3 + 4 + ete LRLRLAL RL RL EXERCISE 71 RLRLR LAL RA LAL RLRLRLRL R LAL BS le+a2e+a3 + 4e+a ete EXERCISE 72 RLR LE RURLRLALAL REAL RERLRERIRL le+a2e+ase+asera etc32 EXERCISE 73 RLR LRL LRL RL RUA LAL R LAL AL 24 SER 5 fera2eraSe+ader+a ete. EXERCISE 74 RULER L RLRLR L LAL RLRLR OL RL pre eererees terate+aSetade+a ete, This sixteen bar exercise combines quarter, eighth and sixteenth roles EXERCISE 75 tL RLRLALRL RURLRURLRLALALAL A L RLR LR LAL RLRLRLER LRLALRAL peer eres rere oe seen Ss RL RLRLALA = RLRLALALALALR RLRLR LALAL A RLALR LR LOR URL AL AL joa —, — RL RLR OLRL L RLRL LR LR L RLRL UL RLRE Sele A ie) aLESSON TWELVE ADVANCED FILLS In LESSON NINE you were introcuced to fills using straight sixteenth note timing 33 Here are some more fils, this time using more advanced verialions of sixteenth note timing, EXERCISE 76 RULER LRL RLA LRLE fl - a RLRLRLRLALR Te+a2e+aderadeta LAL opp Re r mt f line gpieidle scaidlowe-e4lainn EXERCISE 78 ALA LAL RERLALRL = = EXERCISE 7: EXERCISE &¢ EXERCISE 81 a Peet ogee —= teta 2et+aset+ aderaEXERCISE 82 2h r = ae 2e 3 EXERCISE 83 nunL RERLA LL PPP eae AE ee — 3 | da Z a a (si due a aE MeN EXERCISE 84 EXERCISE 85 = ‘DAVE HOLLAND — EXJUDAS PRIEST35 LESSON THIRTEEN DOTTED NOTES A small dot after any note makes it last half as long again (one and a half times i's normal length), A quarter note J which lasts for one beat in $ time, lasts for one and a half beats when a dot is placed aftar it (:). Dotted quarter notes are best counted with ‘and’ between each beat. You wil often find them mixed with ecgnth netes (dy due didedid EXEICBE, 86 gee OL Count 4 4 EXERCISE 87 In the following exercises dotted quarter notes are used in a rock beat. EXERCISE 89 |e \36 LESSON FOURTEEN DOTTED EIGHTH AND SIXTEENTH NOTES The dot increases the velue of the preceding note by one half, Since an eighth note equals two sixteanth notes a dotted eighth note equals three eixtoonth notes. dd dS A dotted eighth note and sixteenth note add up to one beat Count ike this’ = Countt «© + @ — Countt e + a This combination is called a DOTTED EIGHTH AND SIXTEENTH. EXERCISES USING DOTTED NOTES EXERCISE 93 Lb oR LROOL R LoRL B Z | | | ot} pS ; 1 Qesad 4 1 2e.ad 4 EXERCISE 94 EXERCISE 96 Lo RL RL oREXERCISE 97 LoRL RL RL op SEE 7 tera2e-adevad EXERCISE 98 corto oR LRtLARtL re te qq teve2 9 deve tesaz 9 deve EXERCISE 99 Leak oR URL LonLor rat oes Ee FE ae ot te zee A fe+a2 Serade+ra te+ra2 Se+adera EXERCISE 100 LORE RL RL OR oe | Spe edd 3 lesa2era8erado ‘The following drum beats use dotted eighth and sixteenth notes between the bass drum and the snare, The hr-hat plays straight nth notes throughout, EXERCISE 101 1 + 2e+a8 + fea EXERCISE 103 ape Heed [— + 2e:a3 4+ feva38 LESSON FIFTEEN SIXTEENTH NOTE RESTS A SIXTEENTH NOTE REST 4 means silence for the count of a quarter of a beat. It can be found anywhere in music and is counted in exactly the same way as a sixteenth note. Here are some examples of sixteenth note rosts: Ta Fl fT) iN}? ve My ay a feta io.4 Rest on tho i". Reet on the "et Resten the "1". Rest on the “at: The following drum beats incorporate the use of sixteenth note rests and dotted eighth and sixteenth notes. EXERCISE 104 —Excmples of sixteenth note reat, = Be SI 1 + 2e+adered + EXERCISE 105 a oe , 2eraserad + EXERCISE 106 tl EXERCISE 108 “*yE iid i i “Epo eta2e+ad + dota EXERCISE 10939 LESSON SIXTEEN DOTTED EIGHTH AND SIXTEENTH NOTE ROCK BEATS The following eighth and sixteenth note timing is very commen in rock drumming, Hit on 1 and e: Rest on “+! Hit on ‘a EXERCISE 110 Mand RL RLER LRL RLER L Count 1e@-a2e+a3e+a4esa EXERCISE 111 2 =a 1 + 2e+43 + 4era I ‘The following rock beats and fils incorporate the above timing ROCK BEATS: EXERCISE 112 aOR 1 + 2 + Besaa 4 EXERCISE 113 CI acy. z — we i= = je+a2 + 8e+a4 + EXERCISE 11440 FILLS: USING ABOVE TIMING EXERCISE 115 RL LALLLAL LAL OL MEET EXERCISE 116 FPL TT = a aa EXERCISE 117 mE EXERCISE 118 Be 1e-ale-a8eradera EXERCISE 119 PH = E jera2e+raser+adesa Be] ' | | a | EXERCISE 120 R LRLR LR LALR OL ah ee e+a2eraset+aderaEXERCISE 121 ape ee EXERCISE 122 4 PP pp ges EXERCISE 123 RL SHieeril LURERL Barr So lesa2e+asetadera RLRLRL_LALA L RL RL LRLR LA LA AL or a4e fT toot je+aze+ade-ade+a ‘TOM PETTY AND THE HEARTEREAKERS ataz LESSON SEVENTEEN RHYTHM REVIEW The following rock boats incorporate the eighth and sixteenth note timing combinations you have been study: ing in the past three lessons, EXERCISE 124 SSS 1 + Zetasera4 + EXERCISE 125, Pet ef s-_ —- det+a2e+aset+adera EXERCISE 126 qo Sie leta2e-ase+adseya EXERCISE 127 Teta2e+s3e-a4 EXERCISE 128 Goo 1e+a2e+aSo+radeiaEXERCISE 129 - frig a J val le+a2e+aser+rad + EXERCISE 130 43, Et ott 1le+a2e+ade+ade+a EXERCISE 131 EXERCISE 132 Minn Prd Ee = fe .a2o+aSe+adera EXERCISE 193 So EEE + 2evas + wtaa Here is @ 12 bar exercise using dotted notes in ;ock beats, EXERCISE 134 EE irr = a ZZ. TOP.DRUM SOLO 3 EXERCISE 136LESSON EIGHTEEN QUARTER NOTE CYMBAL PATTERNS Hore ara some rock beats using QUARTER NOTE CYMBAL PATTERNS, EXERCISE 136 ms 1 92 3+4 4 EXERCISE 137 be 9: jo id OV rit 14243444 1 EXERCISE 138 Fock beats using dotted cichth and sixteenth notes between the bass drum and snare drum wil lve a ‘swing- ing’ or ‘bouncing’ feel when slaying quarter notes on the cymbal pattern EXERCISE 140 mS 5) gesagEXERCISE 141 a7 Sioa Besa4 EXERCISE 142 EXERCISE 143, ao 4 toh sae orate. adoiaa EXERCISE 144 1e:a2e-aSoiadoiaLESSON NINETEEN ‘THE SHUFFLE RHYTHM The SHUFFLE RHYTHM is based on the cymbal pattorn playing continuous dotted eighth and sixteenth notes civing the whole beat a ‘swinging’ or ‘bouncing’ feeting -— = Normal eighth note patterns look like this. vai Fi raed Count 144 24 34 44 Calas as dt Count 10: a2e+a3e+a4e.a Shuifle rhythm patterns look like this: EXERCISE 145 =f BEP EXERCISE 146 mR E ett EXERCISE 147 SSS EXERCISE 149 WOoomn . So SS EXERCISE 150EXERCISE 151 49 SSS EXERCISE 152 EXERCISE 153 pak af dt (le Aiter practising each exercise individuelly try playing al the way through from Ex. 145153 without stopping. DRUM SOLO 4 EXERCISE 154 pores In Drum music (for simplification) the cymbal pattern is commonly written like this CWA However, if played as written, it would sound jerky and would not flow. What is actually played by most drummers is this, PRES ‘This is done in order to produce a more even flowing feel. Hence, the shuffle beat may also be written using this triplet cymbal Pattern (see Triplets in the next lesson and Ex, 339 and 340).50 LESSON TWENTY ‘THE TRIPLET ATRIPLET is a group of three notes played in the same tine as two notes of the seme kind. The most commen triplets are eighth note triplets, indicated by a curved line with the figure 3 above it 1ST The triplet is used frequently in rock ncgainea and jazz drumming, whether it be played as a fil (using snare and tom-toms and roling around them), or various combinations between your hands and feet on the bess rum, and h-hat. Just as eighth notes are played smoothly when joined together eg. . triplets are playad smoothly also eg, i ia MAMA T+ 2+ B+ 4 4 1232212329423 Tiy these oxercises going from oighth notes for + bar to triplet notes for the second ber, using the bass drum tO help you keep time EXERCISE 155 RoR R R R R RR RRRRARRARAAA ca ENN ya SS GF SS EXERCISE” em ae aos PO EXERCISE 157 ROL nea Exercises using etghth note trpiets. EXERCISE 158 R Ls RLRL ROL RLRL OR L RLRL RL RLALst EXERCISE 159 R mae EXERCISE 160 ALR A aS EXERCISE 161 ROLRLR LR LRLR OL = RLAL RLRLARL EXERCISE 165, RLARLERLERLRL EXERCISE 166 RLALRLRLRLAL aT a seat G52 LESSON TWENTY-ONE ‘SIXTEENTH NOTE TRIPLETS In SIXTEENTH NOTE TRIPLETS six evenly spaced notes are played on 1 beat, indicated thus. 15D ‘The folowing exercises use sixteenth note triplets, EXERCISE 167 R LR LRLRER L EXERCISE 168 R L R LRERER Lo RL RLRLRL Za EXERCISE 169 RLRLRLR R URLRLRL ROL ee eas 170 LRLRLRL R Lo RERLRLR Lk SS — Ey 7 EXERCISE 171 RLRLALA LRLRLAL ao ——~ i - ee ——— —— —— ft => EXERCISE 172 RLRLRLRLBERL geEXERCISE 173, R LRLERLRL RLBLRL Zo “—e~ EXERCISE 174 ALALALALRLALALALALA BEER LALA I | EXERCISE 175 RLRLRLRLRLRLR RURLRL ) oq — ae r tf ALBLRLRLRLERLRLRLRLRLRERL 6 o placed above or below the notoeg, > id ACCENT STUDIES ON THE SNARE DRUM Fist try al of these exercises on the snare drum only (as written). Once you cen play them evenly and smoothiy, ‘oxperiment by pleying the accented note on the tom-toms, cymbal, etc. (while stil iting the snare drum). eg right hand on the floor tom, left hand on the snare drum, oF right hand on the bell ofthe ride cymbal, left hand on the hi-hat The possibilities are endless, so be creative and use your imagination. EXERCISE 187 RLRLRURE EXERCISE 188 RLRLRLEARL > a = EXERCISE 189 RLALRLERE 945 Z a . ie (erie a EXERCISE 190 RR RE ROL = = ; | EXERCISE 191 ALRLALAL RLRLALAL RLALALRL Eiger seg : r lente; er LRLRLRLR LRLALALR LRLARLARLA LALRALALR RL a 4.3EXERCISE 192 — = = Sw = Z oe Ppp ap aa ia SEY EXERCISE 193 = = = SH. 2 2 Sm ze PrP Tr rr ttt fF ee Ff EXERCISE 194 EXERCISE 195 ot PROP REE RR TTD es EXERCISE 198 oe ee NS eS Be Se Be Ss oe Pr rR Tt Pr fit EXERCISE 200 Accented Triplets eighth notes. LRERERERERLE REAR LRERLERERAL EXERCISE 19938 EXERCISE 201 nf shi fae EXERCISE 202 E> ES em em pe Ae qa 5S a Sa EXERCISE 203 >> Se ee SO >>> 2S ars va og’ iad mae i SSS 2a ett = EXERCISE 204 Sey. Sete oa sg SS za sat Tas Eu Saas vs ze a EXERCISE 205 2 eo oT = Be Pe _T op aE SS =—— — =| EXERCISE 206 ‘ > oa A eg CS ess 5X og ee : - sae aa 7 a ani EXERCISE 207 “FS oe See 2a fo > 3 o> 2 a i Sea = aS Wy tf ——~—t—fT EXERCISE 208 =e EXERCISE 209 Sa===Ss=| : Lt ng —— !SECTION TWO60 LESSON TWENTY-THREE DRUM RUDIMENTS: DRUM RUDIMENTS ae basic crum techniques required 1o achieve greater stick control These rudiments shall be introduced over the next twelve lessons and are essential for the develonment of drumming skils. In this book the exercises illustrating the rudiments are played on the whole crum kt and not just the snare drum, ‘When playing these rudiments itis ESSENTIAL to observe the correct liming and correct ‘slicking (eg. RLRLLR). RUDIMENT NO. 1 ‘THE LONG ROLL OR DOUBLE STROKE ROLL ‘The LONG ROLL js formed by playing two left taps or two right taps, followed by two right taps or two lett taps respecilvely. eg. LLARLLRRLLRR or RRLLRRLLRRLL. ‘As you play thio rudiment you will probably find that you can play it either slow or fast, but cannot play trom slow going through to fast. Its this transttion in tho middle which gives students the most trouble. The reason for this Is that when you are playing the roll slowly you are playing ONE tap with ONE wrist movement, but a5 your soeec increases you begin playing TWO tars with ONE wrist movement, This is callad THE BOUNCE. The bounce is achieved by playing the first beat as usual (with the wrist AND forearm), while the second beat is ‘bounced’ end controlled by the fingers. The wrist remains in the DOWN position. ‘The following exercise introduces thirty-second notes d ‘There are sight thirty-second notes in one quarter rote as Wetted Cale 10.5. FRR Because of the speed of thirty-seccnd notes, you will play by feet rather than counting each individual note. Try bouncing each hand separately and then together to play Ex. 210, Make sure you relax and don't tense up and you will find the bounce will come after ciligent practice EXERCISE 210 RRL RARLLARLL RRLLRALLRALLRALL RALLRRLLARLL Lua LURALLRR LERRLERRLLARLLAR LLRRLLARLLRR te: i ® Depa dae pawewe (rere rt ai = 4 quarter note Count 12 3 4 1424+94+4+ 1e+a2e+a3e+a4e+a Feel rather than counta LESSON TWENTY-FOUR RUDIMENT NO. 2 THE SINGLE STROKE ROLL The SINGLE STROKE ROLL, together with the double stoke roll used in various ways ere probably the two most used ruciments in rock drumming. They ean be used in fils, introductions and endings of songs. Practise starting the exercise with hoth your left and right hand. Unitke the double stroke roll the single stroke rolls played using sinale wrist movements for eac tap arid does not bounce in the seme manner 2s the double stroke roll Slart very slowly and graduslly increase your spaed making sure itis played smoothly, cleanly and evenly spaced EXERCISE 211 RURLALALALRL RURLRLRLALRL = Flv daGasaiedesetddddde seecssnraese f tT PT fT r Feel rather | than count levazeraserosera ! et. RUDIMENT NO. 3 THE FLAM This ruciment is also common in tock drumming and consists of the main note with a ‘Grace Note played before it Grace notes are incicated by a smaller note crossed wth a diagonal line. They have no real time value ta nce rte > 9 at min rote Praotse the fam by bringing both hands down together, but let the right hand strike the drum firs, then immediately lay the main note with your lett hand. Repeat the procedure in reverse (ie. let the lett hand play the grace ote and the right hand play the main notel, The slur jine beneath each tlam indicates that the notes should be played es smoothly as possibie, id EXERCISE 212 LR oLR LR Main note EXERCISE 21362 EXERCISE 214 EXERCISE 215 ch) a ——T —— 4 ss # ee iy ono ye 4 =— — iP af: f EXERCISE 216 24 et 'JOHN BONHAM — LED ZEPPELIN’ = LR RL LR aL fa» = =alnes Ra Wb stadcy LESSON TWENTY-FIVE RUDIMENT NO. 4 THE FLAM TAP This rudiment is commonly used in marching bands but is alse used in rock drumming. The majority of MARCH- ING MUSIC io written in ether 2 or § time and can be adopted in rock music, mst of which is played in # time, EXERCISE 217 LR R RL ok SS z—4 1 2 + ete, W EXERCISE 218 LR RRL LLR RAL L at = _ Te 2+ 8 4 4 + ete EXERCISE 219 LR ALA RLARLR A == yh bo ices Dirale eration wise aeco LESSON TWENTY-SIX TIME SIGNATURES - SIMPLE AND COMPOUND TIME A TIME SIGNATURE consists of two numbers. The top number tells how many beats per bar, while the bottom number shows the value of each beat. The bottom number in any time signalure can only be a note. e.g. quarter note, eighth note etc. 4 this represents 4/1, which indicates the number of beats per ber (4). 4- this represents 1/4, which indicates that the beats are quarter notes (crotchets). SIMPLE TIME SIMPLE TIME ocours when the beat fals on undoited notes (quarter notes, haf notes, eighth notes et) and thus every beat is divisible by two. In time the basic beat is a quarter note, which can be split into groups of two thus: QUARTER NOTE a EIGHTH NOTE fl i SIXTEENTH NOTE I Other common examples of simple time are 2, and §. 3 time indicates 2 quarter note beats per ber, 3 time: indicates 3 cuartor note beats per bar, and § time indicates 3 eighth note beats per bar (rhythmically similar 10 3 time). COMPOUND TIME ‘A beat can also occur on a dotted note, making it divisible into groups of three. This is called COMPOUND TIME. DOTTED QUARTER NOTE a EIGHTH NOTE J] SIXTEENTH NOTE, eee ‘The most common examples of compound time are § and 4? . The interpretation of these time signatures is cifferent from those of simple time. § represents 6 eight note beats por ber. It can also represent 2 beats per bar i.e. 2 dotted quar‘er notes. This is calculated by dividing the top number by 3, to get the number of beats por bar (5 - 3 = 2); and dividing the bottom number by 2 (8 -2 = 4) to get the type of dotted note receiving 1 beat. This results in a different rhythm focl for compound time. Compare § to # time, where they both can obtain 6 eighth notes in a bar. EXERCISE 220 ‘SIMPLE TIME EXERCISE 221 COMPOUND TIME 2S) og oe Tera 1 sf 2 ae 3 + q1 2 3 4 5 6 aa co 123456 123456EXERCISE 223 RUDIMENT NO. 5 THE FLAM ACCENT ‘This rudiment is generally played in ¢ time. but again can also be played in 3 tme or for rock in 3 time. In Zand $ time t will be played as @ triplet. EXERCISE 224 tR OL OR Count 1 2 3 4 5 6 ete. EXERCISE 225 cR ook RRL OR L aa LR L RAL RLLR L RRL AL aN a 7 fee te etd pd dtd dae og tT fF FF EXERCISE 227 eee frrerre td d i ote ede, oo oa. SAP, SS Fa RUDIMENT NO. 6 THE FLAMACUE This rudiment combines beth the flam technique and accents, LR L RRL RLLR LE RRL RL EXERCISE 228 UR GR LLLESSON TWENTY-SEVEN RUDIMENT NO. 7 ‘THE SINGLE PARADIDDLE Tho SINGLE PARADIDDLE consis of two groups of four notes (eg, sixteenth notes) played either RLAR LRLL or LLL RLRR. As the single peraciddle is not played strictly alternating (ie. RLRLRL otc) certan solos and fils can be played faster and more comfortably when moving around the kt EXERCISE 229 RLRRLERLLRLERRLRLEL The following oxercises ere single paradiddles with the accent placed on different beals. Preciise each exer: cise sterting firstly with the right hand and then with the left hand EXERCISE 220 RERRLALLARLARLALL if 1 EXERCISE 231 LRLERLERRLERLLALAR 2 Pn RET ae In the following exercises the accents are replaced by the ton toms. EXERCISE 232 RULRRLRLLERERALALL apn eae EXERCISE 233 RLRRUERLLRLERALRAOEL oy Faas S