PREFACE

Ever since my book, THE ROCK AND ROLL BIBLE OF COORDINATION, was first
published, there have been many requests for a companion book in the jazz vein. THE
JAZZ BIBLE OF COORDINATION is the result of those requests. The first three
sections of this book follow the same highly developmental and easy-to-read formula as
the Rock Bible. The reader progresses slowly from two-way coordination between the
cymbal and bass drum or cymbal and snare drum, to three-way coordination between the
cymbal, bass, and snare. Each of the first three sections is replete with practical exercises
for use at the drum set. A fourth and final section provides a taste of some other topics
including jazz coordination with the hi hat, coordination with a 12/8 feel, coordination
patterns phrased in three, cymbal variations, and short jazz breaks.

Other books dealing with jazz coordination include:

INDEPENDENT THINKING
SON OF INDEPENDENT THINKING
JAZZ COORDINATION AND BREAKS WITH A DOUBLE-TIME FEEL
JAZZ COORDINATION WITHA 12/8 FEEL
3,5,7,9, JAZZ!
THE JAZZ DRUM BOOK
JAZZ COORDINATION PHRASED IN THREE
COORDINATION PATTERNS WITH EIGHTH-NOTE TRIPLETS
COORDINATION PATTERNS WITH A DOTTED 1/8 NOTE CYMBAL RHYTHM
COORDINATION PATTERNS WITH THE HI HAT AND BASS DRUM
SOCK IT TO ME
FOUR-WAY INDEPENDENCE FOR JAZZ DRUMMING

All of these books can be found in one hardcover compliation entitled,

THE COMPLEAT
JAZZ DRUMMER.

Copyright © 1976 JOEL ROTHMAN

International Copyright Secured MadeinU.SA. All Rights Reserved
 SECTION ONE

COORDINATION PATTERNS

BETWEEN

THE CYMBAL

AND

BASS DRUM

Important: ee ible, the reader sho Uae eee as um and hi haton the
counts of two and fo ur in each exerc ise in this sec
 COORDINATION PATTERNS :
WITH AN 1/8 NOTE TRIPLET CYMBAL RHYTHM
3

Copyright © 1976 JOEL ROTHMAN

International Copyright Secured Made in U.S.A. All Rights Reserved
A . om

All ‘ Bass

SE

3 Z
2 Pee

F r = = Bass

=e

4.
aan) eri ee
Fg)
oS

3 3

6. Hie ae

‘ : Bass

U— 3—1

3 3
. aed ae ym
[Ge
)

8.
Bee roa ae
pe) a ge ps
Ss

3 3
9.
ee LSye we
PEREReEe
) )
 3 3 3

i
Cym. - ee se ’

) ) ye
aed
3 | 3
ar |geen :

) ) )
—3S— 3 * cae
; 3 3
; .

i loo mae
3 3

seeps ra

33

oeale Cym.

aay Bass ey

oe 3
3 3
15.
Cym.

E; ele at !
Bass . :

ame ee 2)
5} 3
ee 16.

andl
Bass

&} 3 os
eer as I aes ah Brest

an oe
a "es aia
) |
3} 3 3

ea ee a
| Se eae |
eles | )
 i 7
Co

|
+e
Ce
C

ae q ps

| ea! ae

Wg 3 3
Go
Co Co 3 3
14,

Cr ge
ee
3

3 ——3- 3 3 3
3 3

SaOR
ES
is 16. —
fs Cym

: “6 i Bass

Sj 3
3 5}

:
8.
BEX al : ee
Eo“aa et ere Bass
ere Ss
3) 3

a ae 4 Cym
 ey)

fal Cym.
12.
Ssian
|
aE

‘| Bass

3 3)

3 3
WEE

er Hoy POS
3 3
3
Cym.

Bass

Cym.

Bass

Cym.

Bass

Cym.

Bass

3
 Cym.

Bass

Cym.

Bass

Cym.

Bass

Cym.

penne Bass

Cym.

Bass

Cym.

Bass

Cym.

Bass

Cym.

Bass
3 3
 COORDINATION PATTERNS 17
WITH A DOTTED 1/8 NOTE CYMBAL RHYTHM
2s

Cym. Cym.
Bass Bass

Cym. Cym. Cym.

Bass Bass Bass

15.
Cym. Cym. Cym.

Bass Bass " + *f ; Bass

19. L
Cym. Cym. 1 ee Cym.
Bass Bass [| “ 5 ° i] Bass y :

Cym. Cym. ae 5 i Cym. x * as :

Bass Bass r : F Bass [ “ ral)

Cym. Cym. Cym. :

Bass Bass Bass : 25 eae :

Silke 32,
Cym. Cym. ak Cym. “ s

Bass i Poe : 8

Cym. Cym.

Bass Bass

Up until now, the various bass drum patterns have been coordinated with an eighth-note triplet cymbal rhythm, which is the cymbal
rhythm most commonly used in playing jazz. These next three pages, however, demonstrate a series of possible bass drum patterns
coordinated with a dotted eighth-note cymbal rhythm. This particular cymbal rhythm is often used at slower tempos, providing a
somewhat “tighter’’ feel, and allowing the drummer to create a double-time pulsation.

The exercises are notated in 2/4 time in order to condense the material, making it easier to read.
Cym. Cym. Cym.

Bass — Bass Bass

Cym. Cym. Cym.

Bass Bass Bass

Cym. Cym. Cym.

Bass Bass Bass

Cym. Cym. Cym.

Bass Bass Bass

Cym. Cym. Cym.

Bass . Bass Bass

Cym. Cym. Cym.

Bass Bass Bass

Cym. Cym. Cym.

Bass ~ Bass Bass

Cym. Cym. Cym.

Bass Bass Bass

Cym. Cym. Cym.

Bass Bass Bass

Cym. Cym. Cym.

Bass Bass Bass

Cym. Cym. Cym.

Bass Bass Bass

Cym. Cym. Cym.

Bass Bass Bass

Cym. Cym.

Bass Bass

Cym. Cym.

Bass Bass

Cym.

Bass

Cym.

Bass

Cym. Cym. Cym.

Bass Bass Bass

Cym. Cym. Cym.

Bass Bass Bass

 SECTION TWO

COORDINATION PATTERNS

BETWEEN

THE CYMBAL

AND

SNARE DRUM
 21
COORDINATION PATTERNS
WITH AN 1/8 NOTE TRIPLET CYMBAL RHYTHM
3 3 =)
1 12:
rae rae Cym. ar
4 STE Ss Sade cei DE a | Snare (ee Ts Pre BRI

3 *
2. 13. 3
Cym.
Snare
: I

3 ‘o
3.
erie ‘ar ere
Cym.
Snare co hs a

3 3
4.
Cym.
Snare
KSie ie Ee
ane,
a S|

33 3
16. == ee
Cym.
Snare

3 3 3
6.
Cym.
7. (aaa | ae
Snare

3 3 3 3 3 3
Lo BOP ieBSE ary.
Cym.
Snare | SERN te i ha

2: 3 3 3 .
19. “ _
Cym.
Snare

a 3 3 3 3
20.
Cym.
Snare

a 3 3 3 | 3 3 3 3
21.
Cym.
Snare

"1 Z 22. :
Cym.
Snare 4 :
 tt 3
Cym.
An: Snare
4

; Ss 3
Ret Bris ha See ea
RDN SRT ELC Ee Cym.
Snare

3 3 2)
es esEPIL, a Bes= Cym. Cae RPESe east
fo fe Reb ts Snare [ iia oe I Si EA eel

3 3} 3
4. = = 15.
Cym.
bs on S
Snare

3
16. :
Cym.
Snare

-e 3 3) S.
Cym.
Snare : ate :

3 3 3
18. =
Cym.
Snare

3 53 3
Cym. IS apeney e eaaa rs
Snare [ete ee 2]

3 3
20.
Cym.
Snare

5} 3 3 3)
Cym. ae? Os ae CEE eae bee ee,
Snare |S ia ars a ph

3 3 3 3
22
Cym.
Snare
re
4 = ern
Snare

3 3
ies eeee ee Cini +a 1” be AS
eeee ee a cg Ae te Ul

3 3
es ee aes eee et es
ee es ae, oy J. UL
UU

3 3 3 3 3 3 3
_ Tones ie 15. |
oie IN Shere BI
a 3 a 3
5.
3] Cym.
Snare

3 3 3 3
sr
ete
PEE
gaa fer
vee he
i ay ee 4

3 3 3
18.
owe oT|

3 = 3 3
19.
Cym. ry
Snare =

Cym.
Snare

Cym.
Snare

cymes et Pee aadEPR

So |Bie ae alle mE ARE as A,
 2
Cym.
Snare

A 3 ao 3}
Cym. °
Snare =

&
14.
Cym.
Snare °

Cym.
Snare

Cym.
Snare

Cym.
Snare

ae ae aes waey
snore We eee

Cym. Zz
Snare is

a sare aie mee

Snare Bee ee ee ated PRR}

focal 3
Ais han ME. rey
rare? PEt ene Pee eee eee ee eee

oe Beis tas Lagu

Sno QE gl ta teee
 - 3 — 3— 3
Cym.
Snare ae |
‘i ae 3 3
fe = =. x
Cym.
Snare

eon pes 3 2)
Cym.
Snare

,, a4 2 oa me 3
: + :
Cym.
Snare

- = 3 3
Cym.
Snare Se eae SSS |

3 ro ae amma 3
17.
Cym.
Snare

18 3 3 eseae | 3
Cym. Pen: -et dee ee he dovge-tel
Snare | Ree aS ee Se FR S|

19 3 3 faa 3
Cym.
Snare Pes Pe SES a eee ie SE P|

eS ieee fcee | 3

Cym. 20 mee aT MEGaes aeeicded

Snare

Co

Cym.
Snare

3 3 3
Cym. INS ee MG Oe PO
Snare [SE FS” tie: PG DS - R |
 3
124 Sak an
Cym.
Snare

2) 34
13. f aoe
Cym.
Snare

3 3 o]
Cym. (4 prefer eer 4
Snare

: a sl 3 3
Cym.
5 oe Snare

«erent 3
Cym.
Is Snare

6 { Owe 3
ieee
Cym.
: e- Snare

a oars 3
I. ree ee, as Cym.
18 : :
Be ee ene Snare ic. ee ee See)

33 63 3 3 33 iS

Cym. Ge BP ae oe Wades
Snare | PLR tia seine
ae,

5) 3

Cym. a Fos Jira] Galt

gens 3 :
Snare Ria hes Mai Te

21. feng aOn 3 3

Cym.
Snare

9 ee 4 3
Cym.
Snare
 Cym.
Snare

Cym.
Snare

Cym.
Snare

3 2 3
ie i ke Cym.
——s oi aie Be | Snare

4 3 3)

Cym.
SS Se ee
ee | Snare

3 3 pornegonr 3
Cym.
Snare

Ms
Cym.
Snare

Cym.
CO
r—] Snare

Cym.
Snare

Cym.
Snare

Cym.
Snare
 ALi ne DP :
‘: sue BE eee
a mi

Cym. .
Snare :

3 34 3 3 3 3
3. Me rs a ee ee
es EEE wea fs ce
Cym. a id F a
| bs GY Re lanlRees,

Cym.
Snare f°

16.
Cym.
Snare °

LE i Pee
Sime (era OE Gere |i]

Cym.
snare (Ses eee

Cym.
Snare

ea
ar ae | 3 i 3

pw e | _ Gay Son
Snare

ee ee 3 1 3 er =a 3 3 3
10 PPT A ne ede OT ol,
a
=

Es
al

Lge
GC £

ae RO ay ee)! a)
s

|
pe
=

| sl]

3
iL 22s igen. yee) ghee . cape)
“seco. ARES hE
Cym.
a hea
 29
3 3 3
1.
Cym.
Snare

3 3 3 3 3 3 3
2. 13.
Cym.
Snare

Ss 3 3 3
“28 DO eee I Es eet Cym.
14 :
Sa a ae ae) Snare [3 Si Se le Bist ae)

3 3 3 3
4. é = Ue
Cym.
Snare

3 a 3

Cym.
Snare

3 3 3
6 x Lo a Cym. 7 coe Pee Per kas
ee a Snare es)

3 =| 3 3 3 3 3 3
z.
Cym. AE EI pm eeDES BP DR Ee
Snare pe ee

3 S 3 3
3 3 3
9 Dees REServille eee 19.
Cym.
eee per al Snare

3 3 3 3 3 3 3 3
oF 20.
Cym.
Snare

3 3 3 3
Cym.
Snare

22.
Cym.
Snare
 Pace a. 3 3
yer Be, EN BSBe= | Cym.
ESS LS ie aie y Snare

ae Cl 3 3 3
2. prs) ee me Cym.
ee Bo Rain? mete) Snare

ieee eae, 3 a 3
3. ee Cym.
Snare

Cym.
Snare

Cym.
Snare

a 35
ere ae cts hel : Cym.
Snare

3 aS 3 & 3 3 33
Cym. Li oP
EE cl eR
eee 5, Snare pe oy anes eae eee |
eae

3 sien I 3 3 a
19.
Cym.
Snare

3 3
3 3
Cym.
Snare

3 3
EMA eT Cym.
pe ne ee ee
ae Snare

ee ee 3 Co Co

Cym.
Snare
4 a} Cym.
4 ee eee gee as St Snare

3s 3 3
es
Cym.
Snare

ee eee 3 3 3 a 3 3
i i PESs A De eeeHoy Cym. 14 eR LP ee | abel
. SS are) Ghee mart l Snare oo" Se eae a ee es |

3 3 3 3 fa oat 3 3 3
4. rat a Pe eeeee
Cym.
Snare ae boa ate Be

3 3 3 ea ae | 3 3 3
16.
Ds eee eS SEs | Cym.
SS a ae S| Snare

<} 3 3 3 a
ile
i ee ee Paw
SS
a aR |
Cym.
Snare vi :

3 3 3 3 3 3 cca” amma 3
Te 18.
Cym.
Snare

3 o a) 3 3 —3— 8
eh pene ledEPPS BO Re PY DP? Cym. 19. — Serre lecabes
| eySSS
a | Snare iae Sseee OSs ee EC’

3 3 5} 3 3 e384 3
(a Cym. oe ieee Ue ee ae
SS a+ ee
Rl ss | Snare fometanewe | wel Bae Rae SH

3 Phe ae 3 3 3 3
SES pare be a aie Cym.
SS
aS Le a S| Snare

3 3 3 3
ee eeSe Cym.
| a pa eeci ei Snare
 COORDINATION PATTERNS
WITH A DOTTED 1/8 NOTE TRIPLET CYMBAL RHYTHM
3. erga ake sa.
2: 1 Sem Ty Se: ce Cym.
Snarefiie
gs
snares J" af

ae MNS |Fy (bie| I} Snare :

9. aes Cym. 6. iva Cym. q. Cym. 8.

ane old WELL

‘ Cym. 0. fees ee eae 2 oF) Js
Eg: ge Bsrere QE i ge : Cym.
SIN Spare Bt
ge ‘
Je: Cym.
Se i ‘ :

13. Cn Ee 15) 16. 55 |S

Cym.
prea d , Store Meee‘ oe g Cym.
TN Stare Typ
Cym.
a Se Qs ee

17 18 Comes 193 20.

: ta Snare Eg) IN Snare
Cym. Cc Cym.
iJ) snare ;

21 ee mantee cS Pies:
: Jseare I Snare fk
a see A

fe. Snare fs
Shee RR EI Saree ee

29) te | es a 32
le=
Sl ee ee ae Cym.
Snare Snare Mice
ors ee eed

33.
a
po
Cym.
Snare
“FL Pe ohn Se
Snare UIs sey egg.
eal Snare Ges
Cym. 36. soa)

ee
ae

eel

LS ea Bi at im hae
Eymona
go Snare
"5, OF Cym.

Searels
39. oat

ey ee
eee

ceed SnareE
Cym. 40.

Yd a]
Woes ase Z
 ww

a Cym.
Snare
Cym,
Snare
<= °
$

Cym.
oi. 8. Le J
Snare oS) [Cite eas eee |

ular Cym.
Snare
Cym.
11.
sek |ep a cll ia
Cym.
Snare le

aa

Snore rd
Cym. Cym.
Snare
=

Nm
Cym. i?)< =
Snare Yn =~ o® ® oe = ee

oe

Cym. 24. ae Perfoet

Grete Blt
beffn eA

Cym Cym.
28. 2
=
Snare a Snare 1

3: os 32
Cym. Cym.
Snare Snare Pas —) 2 Snare ff |e

36 A SD ee

Cym. Cym. ; ae ie
Snare Snares

Cym. Cym. Cym.

0 é
=
a | oo
Snare Snare ft Srive BPdt Sas
34

pa on k= ch e
(ami i is eS |

5. cy, Opel Sh gt
I ee ae eer
iE Isnorcfls J Te Sli snercs eTee Si crarcle eles ieee

.3 oy eg)Fol ghUS, UT ee
= Ban ae 1 ae

Snares olSars he ie Oe Sieve ee ee

=e as
ae
13. ee maiz Ze Cym. 15. Ee ie es Cym. 16.
4 | § Snare ae SS ar ee | Snare Sa Pie St Snarefi|s

7 I. cum te SEPM mE bok.

fl: Snare Rea fap etl | Snare a ee Snare Fai GREE ew ae

nr nmin kek
Sa wl al - N Snarcgls ot eo |) Si Snares es Snare ge

ce oli ad le ee el ric
Snaregis l= itg Snarcgie PS [9 Snares) eee

is ME Dd ay og os SSDa Gym Le nl heea Pe eee eter

Camm Yee pee | Eee |e | Snarogle of to te sii Snares Vt a ie sera

33, aeget pala 74 wl eon es a ore le oonir?a ea

Fee a pe a | Pe Ge Pa SIL Gee a

rT eloleh toad whee Prtaet oenaat Fee

39
Bimer
ada at es | PO (ae)
 SECTION THREE

COORDINATION PATTERNS

BETWEEN

THE CYMBAL,

SNARE, AND BASS

IMPORTANT: This section contains ties on certain cymbal notes. These should be considered optional.

Although no hi-hat part is indicated, try to play it on the counts of two and four in each exercise.
 COORDINATION PATTERNS
36 WITH AN 1/8 NOTE TRIPLET CYMBAL RHYTHM
3 3 oa 3 2 ‘ae 3
 37

oS

10. . a Fo,
Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

3 3 3 3
Cym.
Snare
Bass

Cym.
Snare
Bass
 Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

3
 Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

16.
Cym.
Snare
Bass
 Cym.
Snare
Bass

Cym.
Snare
Bass

3 3 3
Cym.
Snare
Bass ©

Cym.
Snare
Bass
 9 3 3 3
Cym.
Snare a ee oe ee
Bass a ee
Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

pd 3
16: sedi “ .
Cym.
Snare
Bass
 ta; 3 Peedi
Cym.
Snare
Bass

eres

3 3 ny
Cym.
Snare
Bass

3S —3—

Cym.
Snare
Bass

54 — 3—

Snare

3
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

3a 3 3 3
Cym.
Snare
Bass

Cym.
Snare
Bass

eae ar
14.
47
 Cym.
Snare
Bass

3 3
11. :
Cym.
Snare
Bass
ah ‘le

3 3
12, 2
Cym.
Snare
Bass

Cym.
Snare
Bass

Go
14.
Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass
3 3 3
Cym.
Snare
Bass

Cym.
Snare
Bass

7 3 7 3 3
i RES le eedESS les PR eae
Snare [t+ -#—__¢ «4 —____f
See ee ef ne) ot se ee

3 3 3 3
 3 3 3 3

Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

3 3 3 3
14,
a
Cym. Bare eeoe eere
Snare
Bass

3 3 3 3
Cym.
Snare
Bass

L— 9-1

3 3 3 3
Cym.
Snare
Bass
 53

Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

—3—
Cym.
Snare
Bass

11.
Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

Fe) Boom as lo i
aa
[RRL ELI SEE UTA RT|
Pate
Sterne: ARS Bee ees
 55

COORDINATION PATTERNS
WITH A DOTTED 1/8 NOTE CYMBAL RHYTHM

Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

Cym.
Snare
Bass

Sa eee ant ae
| | Bass
Cym. Cym.
Snare Snare
Bass Bass

Cym. Cym.
Snare Snare
Bass Bass

Cym. Cym.
Snare Snare
Bass Bass
 57

Cym.
Snare
Bass

Cym. Cym.
Snare Snare
Bass Bass

Cym. Cym.
Snare Snare
Bass Bass

Cym. Cym.
Snare Snare
Bass Bass

Cym. Cym.
Snare Snare
Bass Bass

Cym. Cym.
Snare Snare
Bass Bass

Cym. Cym.
Snare Snare
Bass Bass

22.
 Snare

Cym. Cym.
Snare Snare
Bass Bass

Cym. Cym.
Snare Snare
Bass Bass

Cym.
Snare
Bass

Cym. Cym.
Snare Snare
Bass Bass

Cym. Cym.
Snare Snare
Bass Bass

Cym. Cym.
Snare Snare
Bass Bass

Cym. Cym.
Snare Snare
Bass
 59

Cym.
Snare
Bass

Cym. Cym.
Snare Snare
Bass Bass

Cym. Cym.
Snare Snare
Bass Bass

Cym. Cym.
Snare Snare
Bass Bass

Cym. Cym.
Snare Snare
Bass Bass

20. 21.
Cym. Cym.
Snare Snare
Bass Bass

Cym. Cym.
Snare Snare
Bass Bass
 Snare Snare
Bass Bass

Cym. Cym.
Snare Snare
Bass Bass

Cym. Cym.
Snare Snare
Bass Bass

Cym. Cym.
Snare Snare
Bass Bass

Cym. Cym.
Snare Snare
Bass Bass

Cym. Cym.
Snare Snare
Bass Bass

Cym. Cym.
Snare Snare
Bass Bass

22. SS 23. —
= as | |, Cym. Cym.
}— ee | Snare | Snare
Bass Bass

The book, Coordination Patterns With A Dotted 1/8 Note Cymbal Rhythm, presents a specialized study of the topic.
 SECTION FOUR

MISCELLANEOUS STUDIES

This final section presents aspects of jazz coordination which have not
been covered in the previous pages of this study. For instance, until
now, the reader has been asked to play his hi hat basically on the
counts of two and four, while exercises have demonstrated three-way
coordination between the cymbal, snare, and bass. The following pages
will develop four-way coordination, by using the left foot (hi hat) as a
fully independent fourth limb. Also included in this section are studies
designed to develop jazz coordination with a 12/8 feel, as well as
studies to develop coordination patterns phrased in three. The last
few pages show variations for the jazz cymbal beat, along with some
short jazz breaks.
 62 BASIC HI-HAT PATTERNS IN 2/4 TIME
1 3 5 5} 3 3

5 yo ee oe ae ieee | iM aR NLA Po! a Pisin i a

+ et ee et |

Se Se
eee eee
Hi Hat [Cone settee RiGee
Hi Hat i= .;

3 — ji sj

13. | 3 14, 3 15. 3

El eco feat al tata ecm |aa S|

eee ie: oath Hi Has ios y

16 3 17. 3 18. a

(ermeraere tS eeseyat (ari ie |Rise Cer serine saa

es ) a i altaie tas feet oe )

19 20. 21
ai 3) “i

HS
Passe
ee te
fy
Beano!
Hi Hat
|eFf
senetnaeue: ae S| peaeiys
Hi Hat

3 |eeA ores 3) L____. 3___J a

22. 3 23. 3 24. 3

| wy 4 Ride Cym. - jy Ride Cym. |} 94
|oa ia Ba n| bertaaie |NMEAPT | free te
ee ) wes ae a eae
 63

COMBINATIONS OF BASIC HI-HAT PATTERNS IN 4/4 TIME

ula
3 aS

Ride Cym. a eee Jegret)

Hi Hat PLAS Fae eel Te eaten RE
) i. | ih)
L—3 J 3 3

Ride Cym. ‘ie he ‘ae (

Hi Hat
() ea; ) )

3 3

Ride Cym.
Hi Hat

4. 3 3
i ee Ride Cym.
ee ee Hi Hat
dana ee
3 3
5. 3 3
he irae Ride Cym.
PSEa 5 a Hi Hat
pend ase
U3) 3
6. = re) 16 3 5)

Ride Cym. 3 re + :
Hi Hat

> eS a ee L393 3 LL 3_ — |

As 3 3 17 3 3
aes ae oe Ride Cym.
ae a: ae
Me A ws ee hl Hi Hat sees
ll ae Pe
p D) D) ) ) pret

8. 3 3 18 3 3
Ride Cym.
Hi Hat

i a L__9__J L—__ g —_4J L__3—__] aay

9. 3 3 19 3 3
| Ludegitae Bare Ride Cym.
US
Sea ee Hi Hat Hr I
) t) ) y ) () ee
ae aa ee

20. 3 3
Ride Cym.
Hi Hat

UL 3___J a 3 L— 3
 BASIC PATTERNS FOR HI-HAT AND
BASS DRUM IN 2/4 TIME
Ride Cym.
Hi Hat
Bass

Ride Cym.
e Hi Hat

Ride Cym.
Hi Hat
Bass

| 7 Ride Cym. Ride Cym.

Y Bass Bass

3 J
is: 3 ;

Ride Cym. Ride Cym. | 1. otha)

Tt
| Pegs

Paeet acte Hi Hat bi Met le el ee

Ride Cymereet ee
Hi Hat
Bass

Ride Cym. Ride Cym.

Hi Hat Hi Hat
Bass Bass
 COMBINATIONS OF BASIC PATTERNS IN 4/4 TIME ®

SCS a a ee
fae”) =

3 ey a 3 Jig ig_ i 3

For an in-depth study of three-way jazz coordination between the cymbal, bass drum and hi hat, refer to the book, Coordination
Patterns Between the Hi Hat and Bass Drum.
 BASIC PATTERNS FOR HI-HAT,
66 BASS DRUM & SNARE IN 2/4 TIME

Cym.
Snare
Hi Hat
Bass

Cym.
Snare
Hi Hat
Bass

Cym.
Snare
Hi Hat
Bass
67
68
 69
COMBINATIONS OF BASIC PATTERNS IN 4/4 TIME

Cym.
Snare
Hi Hat
Bass

1 | Cym.
Snare
a a i ee Cela I | Rept:
Ee i ey A Le all ee |
>
Bass

L___.g___J
3 3 3

For an in-depth study of jazz coordination between the cymbal, snare, bass, and hi hat, | suggest the book, Four-way Independence
for Jazz Drumming.
70
JAZZ COORDINATION WITH A 12/8 FEEL

The following pages contain jazz-oriented exercises specifically designed for slow tempos. The cymbal

part sounds like the basic jazz cymbal beat common to 4/4 time. The snare part, however, contains

patterns based upon rhythmic figures common to 12/8 time. Therefore, even if you're playing your

cymbal in 4/4 time, the overall feeling conveyed by the coordination patterns will be that of 12/8 time.
Very few drummers employ this concept of playing coordinated rhythmic patterns with a 12/8 feel;

so, if the reader masters the following exercises, he will have developed the ability to explore a virtually

undeveloped aspect of playing jazz at slow tempos.

SNARE PATTERNS ON THE FIRST BEAT

3 3 9. 3 3 3. 3 3
Oe meBE ee Aa tS ee eee
—
—

smre [le olelgg) Steves ee

4, 3 3 5. 3 3 6. 3 3
Leis, ee Te ae et
| ara PSA RAR | lea |W A | Pe

3 3 3 3
if 8.
‘mes PA ee — rs Cym. 1 Ty Cym.
| Se OsPP a | Cie | a ES

IMPORTANT: All notes in parentheses are optional.

SNARE PATTERNS ON THE SECOND BEAT

bp
ee Tae “Ry

[ee
ee
 71

COMBINATIONS OF SNARE PATTERNS WITH A 12/8 FEEL

1. ae 3 3. a, 3
2 i SE aca BF
ee Jal ee a fee

4, 3 3 5. 3 3 6. 3
Sap ORBrman AE eePE OSS, TE pa ahas a weBPBg YT ES
ve BRwy
i ee) sl Snare | A a Snare reCORSA
ae as

‘ff 3 a 3
a, 0 oe FA Sa ee =F as TS
eae i a a Be | aie
oa aa 4+ SLES

10. 3 3 11. 3 3 12. 3 B

ae ra mea men — ET Pa ee 2S PS ces eB
te ly | SIE snare jc Sax eS ea i [Raia a ee ||

— == a ay aed =.
ee eh ew
ae le eee te he

16. 3 a hs 3 3 18. | 3
— Eases

Sm
ad Mra
‘So oc RS
Fa | Ee
Cym. ho, PY em
ig gf sre 5c
ET oe AS es
SS
Cym.
aaa a
rs EB er

20. 3 3 21. 3 3
Fim Alc PES ta aa
el eeceetete
a telatey a
23. 24. 3 3
tee Pee —- = ee ert aePa eel oe ee
— — — —

ee eerie to eeeyh mei I ol eel i tl eh Sl

on 3 3 26. 3 3 eis 3 3
to ooee
ee idk Sl sor

28. 3 3 29. 3 ae 30. 3 3

ys SS — 2 ASS
meen ts ae joe a rar joe

N.B. All notes in parentheses are optional.

72

ys 3 3 3 3 3
hen a oe a tS Eee
Snore sgt
ga oo lial Snare [RF ee a 8 |

: 6 3 3
on |) ps
ow yin Weis eeee
Snare ee ce rie ae? Snare Paes es

Fie Cym. Cym.

Snare Snare

[Do ie = eI Bs

3 3 3 3
—E 24. =a —
| BEB anBOoear aa
| aa a SM a en | MMA |B osphy ct,

25. 3 3 26. 3 3 pape Be 3

EE, ee — Se? ra Cym. | eee a oma Ee Cym. ‘tee ME sop BF my,
(Aca PRO Am ar | PA | a a Roe Ca | Paid fae

28 : : 29 : 3
PEP RPMs Tp sehabla. =
| Pe a AP a | PS ae aU a ced EE

For a further study of the topic, see Coordination Patterns with a 12/8 Feel.
 COORDINATED SNARE-CYMBAL PATTERNS ks
PHRASED IN THREE FOR TWO MEASURES

N.B. Cymbal notes in parentheses are optional.

Play your bass on the first beat of each phrase of three.
N.B. Cymbal notes in parentheses are optional.
Play your bass on the first beat of each phrase of three.
 COORDINATED SNARE-CYMBAL PATTERNS
PHRASED IN THREE FOR FOUR MEASURES
i 3 3 3 3 3 3 3 3
a eee ee ek ee a ee ee ee ee eee a re ar ra a a er ne
po se eee

3 Uu3— U3—j uj uu ZoIOLZo8t- 3 U3 Ugo 3g—tr3t 3H LgovrjH L_3—

OOPS
Fe i SER | a AUT es. We) Wn EE EA [TO Rea Re

The book, JAZZ COORDINATION PHRASED IN THREE, presents in-depth coverage of this topic.
 77

VARIATIONS FOR THE JAZZ CYMBAL BEAT

3 o-3 3 12. 3 3 = 3

che — 3 13. 3 o%. = 3

Hh 3 oe Ee |

3 3> 3 14. 5 3 = 3

~~ — ° ° SS Lay ;

3 3 2. $= parr 3
iz Le ‘|

3 3> 16. 3 3 3
4 fed Go SL ou
3 eg Ay 3 3 3>
oe : Se ee _
ol :

3s 3 18 3 3 i eae
a5 i ai ee
ee gt 19. gy 3 Fs

eh? Lif ft Gah Gol Gt tf

3> amy 20. 3 3 3
AIT : : :

3 > 3 21. Bs &! 3>

i -9 - : : :

3 wh —- ~8 22 i Shs 3
s
e
— _— —
78

1 3 as 3 12 3 3 3 3

2 3 3 3> 13 3 i 3> 3

sf 3 3> o a= 14, 3 ‘ 3 3
J ei Le e

4 a= > 3 3 15 3 3 3 3 3
- | :
y — Se ‘

5 3 3 3 3 16. 3 3 3 3 Se

6. 3 3 = 8) 3 17: a 3 3 Sear ek
I}! G56LL ESL LLL ESLE St

Ws 3 J 3 3) 18. 3 Sys 3 3iSes

pre oLL Ge LL EGLEa al [| Sales wee, e

8. Kons 3 ge aye 19 3 3 3 3
PaGaL
GGLLLL ESLESL
9. 35 3 3 3 20 3 3 3 gee

10. 3 os a 3} 21. 3 3 Ee

JG GGL GEL GGL LES

i414 je i, oon 3 3 22. 3 3 3 3

The book, Cymbal Variations, presents in-depth coverage of this topic.

 SHORT JAZZ BREAKS 79

Ad-lib ce beat a Ad-lib jazz beat Break

Hee thd
ddaeld eld Su
ile 3 3 3

*] Snare .
2a «Hie ak Os

Lew: 3 3
PLR any ove rte, Bue
*)B Snare q]* aa RY CRs Ree
°

4 3 3 3 3 3 3. 3 3 3
ES GSES
Ge L
:

RR L
glen,peasoll Tal iL OR
of
S
FCym. fl,

EER Re ie
é

ol RR GE

4. 3 3 3 3 ie 8 3 3
* {i Snare fT* =
ost ae CCRAS IR iL &
IER Be

3 3}
Cym.

ee
te Boal =emtMe Ear: tore

PG GILG etd ll RL
3 31

Snare five .
E oR R i UVR LR Ee
LC nvR tae CR: i

a 3 3 Sag Pos 3
e . Cym.

a 2Mont Oe 5fd a a al Re RESRA ERA

en A Ae Rsk eerts take

8. 3 3 3 18. 3 3 3) 3
° ol|ECy™. ff,
.
Snare fife
li
E Ree Feate

9. 3 3s 3
Cym.
: : a
; LR Ere Rt RL Re
Rat Wak

10 3 3 3 3
e Cym.
Snare fife
Rob
Rab Ree
80
SHORT JAZZ BREAKS USED FOR CUTTING INTO + +.
12. 3 > sie

ih Jer, JL GALI A aL Gah

Ze $y 3 = 3 13. 3 > o

Pr Eh AT Ade
: tah a a a es |

3, 2 3 2 3 14, 3 > 3
[i 4 J: ’ _ | iw 1 HK, " afSorc 1 “E ’ ” 4 | | Ni: ¥ = 5 a ‘|
Snare 7

Lee R ; oe R

15. 8 rs] > 5}

‘ ee
& its 8
=0
ee
|)

a
Cym.
. Snare! :
LvRUL Rk

mae
Cym.
Snare
LR
me ese

Is Sih WO deed =
a Cym.
° Srarelits
LeaRmk: RK. - R LRLRLRL

8 3 a 3 > 3 19. 3 ad 3
e e
He Cym.
BER e e|

Bas Gal ey A goeey ee ee R DORE

Ra Rn bee
Ed SN tie Hae 7 al «tinal be R ERR
EE RARE be oR

fh 3 8) 3 = 3
2 f Cym.
. SnarefH+>

LR ROL Ree
LR LR Ra R
10 js +1 3 21 srs 6 3
e e Cym s O
e oimonare fiTe °
ee bed ‘

ER-LR ERE
L RRLLRR Le
11 re am 3 22 3 3 3> 3
° e ol Cym.Ble °
Nee ne ee 35 Snare §j|° ake
R R LC R LR

This topic is extensively explored in Take A Break.

 DRUM BOOKS by JOEL ROTHMAN
STUDIES FOR ROCK DRUMMING STUDIES FOR ORCHESTRAL READING
Catalog Number j Catalog Number
(1) Basic Rock Beats (33) Fundamental Studies For Snare Drum
(2) Mini-Monster Book Of Rock Drumming (34) Musical Studies
(3) The Rock And Roll Bible Of Coordination For The Intermediate Snare Drummer
(4) Rock And Rolls Featuring (35) Intermediate Duets For Snare Drum
“The Inside Story” (36) Rhythmic Patterns
(5) The Turtle Factor Of Contemporary Music
(For Rock Drumming At A Snails’ Pace) MALLET STUDIES
(6) 3, 5, 7, 9, Rock! (37) Fundamental Studies For Mallets
(7) Four-Way Independence (38) Recital Pieces For Mallets
For Rock Drumming
(8) Hardest Drum Book Ever Written TIMPANI STUDIES
(9) Paradiddle Rock (39) Fundamental Studies For Timpani
(10) Splashdown (40) Musical Studies
(Hi-Hat Splashes For Rock Drumming) For The Intermediate Timpanist
(11) Rock Drum Solos
STUDIES FOR SHOW DRUMMING
To Develop Coordination
(12) Rock Breaks In A Nutshell (41) Drum Arrangements
(42) Cut-Time Parts
STUDIES FOR JAZZ DRUMMING (43) Show Drumming
(13) The Jazz Bible Of Coordination (44) Big Band Drum Charts
(14) 3, S27, 9; Jazz MISCELLANEOUS TITLES
(15) Four-Way Independence (45) Beats And Variations
For Jazz Drumming (46) A Quintet Of Coordination Patterns
(16) Jazz Drum Book (47) Shuffle Rock
(17) Easy Drum Solos For Jazz Coordination (48) Rock Drumming With Quintuplets
(18) Take A Break
HARDCOVER DRUM BOOKS
(19) Jazz Breaks In A Nutshell
(49) The Compleat Drum Reader
(20) Country Drumming
(50) The Compleat Show Drummer
(51) Around The Drums Compleatly
STUDIES FOR AROUND THE DRUMS
(52) The Compleat Rock Drummer
(21) Rudiments Around The Drums
(22) A Quartet Of Recipes Around The Drums (53) The Compleat Jazz Drummer
MUSIC FUN BOOKS
ACCENT STUDIES (54) Rock-N-Roll Word Finder
(23) Fun With Accents Around The Drums (55) Music Word Finder
(24) Accents And Solos (56) Easy Music Crossword Puzzles Book One
For Rock And Jazz Drumming (57) Easy Music Crossword Puzzles Book Twa
(58) Musical Crossword Puzzles
STUDIES FOR TECHNIQUE (59) Super Quiz Of Music
(25) Easy Drum Solos To Develop Technique (60) Super Quiz Of Opera
(26) Basic Drum Technique And Beyond
HUMOR BOOKS
ROLL STUDIES (61) Name The Instrument (For Children 3-7)
(62) Musical Ants
(27) Roll Control
(63) Music Lovers’ Jokebook ool
ate
(28) Rolls, Rolls, Rolls
(64) Jokes And Pokes At Opera
STUDIES FOR BASIC READING (65) Top Of The Bops
(66) Quips And Quotes For Elvis
(29) Teaching Rhythm
(30) Clap Your Hands SPECIAL HUMOR FEATURE
(67) Ha Ha Ha Haa!
. SPECIAL FEATURES
(31) Basic Drumming NEW PUBLICATIONS
(32) Basic Drumming Made Easy (68) Reading, Rudiments, And Rock Drumming
(For Snare And Set) (69) Rock Breaks Around The Drums

| J.R. Publications c/o Charles Dumont & Son, Inc. [2

1085 Dumont Drive, P.O. Box 1017, Voorhees, New Jersey 08043
¢ 0 9 Phone: 1-800-257-8283 or 1-856-346-9100 FAX: 1-856-346-3452 ;
¢ ?