Drum Kit Coordination Patterns

Drum Kit Coordination Patterns
Funk and Rock
Jonathan Curtis
www.JonathanCurtis.co.uk
© Artificer Productions 2022
All rights reserved
The moral rights of the author have been asserted.
ISBN: 978-0-9957273-7-3
All aspects of this book and the compositions it contains are protected by copyright. Do
not photocopy, distribute, share, or resell any aspect of it without the express written
permission of the publisher.
Drum Kit Coordination Patterns: Funk and Rock
Preface
T his book presents a collection of patterns that are functional within a rock, funk, and
fusion context. The patterns are presented in systematic collections that allow the student
to see precisely where each limb is placed, and how the patterns fit together.
This book aims to fill a certain hole left by many coordination books that require the student to
mentally combine and visualise the different voices as a coherent pattern. Many books that tackle
coordination rely on presenting the different voices separately to avoid writing out pages and pages
of similar combinations. The student is then instructed to combine a certain cymbal pattern with
a certain bass drum and snare drum pattern to produce the combined pattern to be practised. For
new students especially, this creates an insurmountable challenge because they lack the experience
required to mentally link the separate voices (and their limbs) in such an abstract way.
When teaching from such books, I often found myself writing out the finished pattern for the
student to practise. Other students would likewise write them out for themselves so that they could
ensure accuracy. For this reason, I decided to bite the bullet and write out the pages and pages of
patterns once and for all. The results, of course, are much closer to a reference guide – a dictionary
– than a book of concept, hence this book’s title. Nevertheless, having something like this to hand
in the studio has proven immensely useful for guiding students through new coordination patterns
without either of us having to write them out from abstract instructions.
This book is not an attempt to create a comprehensive and complete guide to total four-way
coordination. Firstly, such attempts already exist, and secondly, such books are generally more
conceptual than practical. Four-way coordination does exist, and it is somewhat necessary within
most aspects of drumming, but it is not something to be gained by simply working through endless
permutations and ticking off every possibility. In my book Broken Time Drumming, I tackled four-
way coordination in a very specific way, linking the coordination to musical motifs within a jazz
context. For a similar reason, the coordination patterns presented here are done so within a groove
context, practical within the eponymous styles of music. This is not a book of four-way
coordination, but a reference book for coordination within a timekeeping context and, as such, as
practical as such a book could possibly be.
It is my hope that teachers and students alike will find benefit from having these reference sets
readily available for them to study. It is also my hope that this book will provide players of all levels
with new vocabulary and timekeeping ideas in a practical and applicable way.
I am grateful to Colin Stump, Alan Hackney, and James Miller for their feedback and suggestions.
- Jonathan Curtis, August 2022
ii
Contents
Introduction 4
How to Use This Book 6
Set 1
Set 1.0 11
Set 1.1 24
Set 1.2 29
Set 1.3 42
Set 1.4 55
Set 1.5 68
Set 1.6 81
Set 1.7 94
Set 1.8 99
Set 1.9 104
Set 1.10 109
Set 2
Set 2.1 114
Set 2.2 118
Set 2.3 121
Set 2.4 124
Set 2.5 127
Set 2.6 130
Set 2.7 133
Set 2.8 136
Set 2.9 139
About the Author 143
Publication List 144
iii
Introduction
T his book fulfils one very simple role: it provides a categorised selection of reference
patterns for drum kit coordination in a timekeeping context. In simple terms, these
patterns provide a specific route for developing coordination for different types of drum
grooves within a certain style.
This book is not an attempt to provide stylistic, conceptual, or musical analysis, and for this reason
it should be tackled with a competent teacher who can apply this material in its correct context.
Instead, this book is a centralised reference for the common patterns used when playing music of
a certain style. This allows the student (and teacher) to quickly address issues of coordination, and
provide structured practice material for the student to use in a simple and easily accessible manner.
This volume covers the fundamental binary patterns for use in funk, rock, and related styles of
drumming. This means that these patterns are based on the quarter note, comprising groups of 8th
and 16th notes within a common meter. Furthermore, these patterns are characterised by
maintaining a strong downbeat on the snare drum, which should be emphasised by default.
Though these sets in no way cover the entirety of possibilities within this musical context, they
represent the fundamental coordination patterns required to produce timekeeping patterns of a
more advanced nature. In studying the fundamentals as presented here, the student will learn a
stronger grasp of the instrument, and with it an insight into how the more complex patterns are
created.
Students should begin by reading the following section that details this book’s intended usage. On
a basic level, the sets can be tackled individually, either in order or in isolation. The beginning of
each set features a brief explanation of how the pattern has been derived, presents it leading with
either hand, and suggests a possible accent interpretation or variation. Students are encouraged to
go beyond this first step and apply the ideas from the following section to each of the sets,
exploring the pattern by varying the position of accents and ghost notes, playing with either hand
leading, and creating combinations both within the same set and with patterns from different sets.
Ultimately, the incorporation of vocabulary results from a deep and familiar knowledge of
fundamental patterns, and more importantly, a working knowledge of how they can be applied,
combined, varied, and expanded. These sets provide a reference guide for coordination patterns
fundamental to many styles of drumming, but they can also provide the basis for a deep and
comprehensive vocabulary, should the student delve deep enough into their application.
A book like this necessarily deals with a vast number of combinations and permutations.
Realistically, it cannot hope to include every possible combination involving every possible
permutation for each voice. A balance must be struck between practicality and completionism. By
necessity, certain permutation and combination possibilities have been excluded.
The choice of which possibilities to exclude has been made based on their idiosyncrasy in
application. In other words, possible combinations that rarely feature in the actual playing of drum
grooves have been excluded.
In Set 1, two-beat combinations are presented based on a specific hi-hat pattern. This hi-hat
pattern changes across the eleven sets, representing the possible ways in which it can be employed
during a groove. Eagle-eyed students will notice that not every possible hi-hat placement is
included; individual hi-hat strokes on the off-beat 16th notes, for example, have been omitted. This
4
Introduction
is an instance of practicality being favoured over a completionist approach, as such hi-hat

placements are very rarely used in actual playing.
Sets 1.0 – 1.5 each contain a sub-set entitled Fat Back. These are combination sets that combine
every possible 16th note bass drum permutation before and after a snare drum downbeat on the
second beat. Students will further notice that these sub-sets have been omitted from Sets 1.6 –
1.10, again for the sake of practicality. While such combinations are possible, they are remarkably
uncommon, and as such, impractical for inclusion here.
Set 2 presents a series of patterns based on single stroke and paradiddle permutations. Though no
accents are written, it is expected that the downbeat is accented by default. Likewise, the student
may explore various accent applications on the hi-hat (or ride bell) within the paradiddles
themselves.
5
How to Use This Book
The pattern sets in this book present the typical combinations found in contemporary drum kit
playing. Though the sets are extensive in their coordination permutations, they are intentionally
devoid of accents, ghost notes, and stickings. This is for a number of reasons.
Firstly, the student is encouraged to practise each set with either hand, meaning each set should
be practised with their non-dominant hand playing the hi-hat part, as well as with their dominant.
In sets that require patterns played between the hands, such as the 16th note pattern in Set 2.1 and
the paradiddle variations that follow it, each set should be played with both the dominant and non-
dominant hands leading:
Pattern 2.1, right-hand lead:
Pattern 2.1, left-hand lead:
Secondly, the position of accents and ghost notes is left up to the student, who is encouraged to
experiment with typical and atypical placements of each. Typically, the downbeats on beats 2 and
4 are accented, but this need not be the case.
Pattern 1.1 combination, typical accents:
Pattern 1.1 combination, accent variation:
6
Foot Substitution
This is a simple process that involves substituting one foot for the other. In their basic form, these
sets are written in a way which combines both hands and the bass drum. However, the student
may benefit from substituting the bass drum for the foot-operated hi-hat, allowing them to
improve their coordination in this manner. Any given pattern can be played in this way; the foot-
operated hi-hat simply plays every bass drum note instead of the bass drum foot. When enacting
this process, the student may choose to voice the hi-hat part on the ride cymbal instead.
For this process, the following pattern…
…can be played as follows, with the bass drum substituted for the foot-operated hi-hat:
Further Coordination
Once a set has been completed, the student may wish to apply a further layer of coordination with
the introduction of the foot-operated hi-hat, though it should be noted that this will require a
degree of abstract visualisation. Whilst this is regrettable, presenting every one of these hi-hat
patterns against every pattern in this book would require well over 1000 pages!
The following are suggestions for the placement of the foot-operated hi-hat. When applied to the
patterns, the hi-hat parts played by the hand should be moved to the ride cymbal:
7
The first suggestion comprising four quarter notes should be used as the starting point, as every
pattern throughout every set is divided and beamed into quarter notes.
In the above example, the first hi-hat foot pattern has been applied to a paradiddle-based pattern
from Set 2.2. To accommodate this, the cymbal part has been moved to the ride cymbal.
In the above example, the fifth hi-hat foot pattern has been applied to the same paradiddle pattern,
with the cymbal pattern once again moved to the ride cymbal.
Combinations
Material from the sets can be combined in various ways. Firstly, lettered exercises within each
subset can be combined to create longer phrases. For example, within Set 1.1 – Bass Drum Set,
the student may combine b with c to create a four-beat combination.
Secondly, material from within the same set can be combined. For example, the student may
combine pattern d from 1.1 – Bass Drum Set with f from 1.1 – Snare Drum Set to create a more
intricate four-beat combination with two moving parts, namely the bass drum and the snare drum.
Thirdly, material from different sets can be combined, such that the hi-hat pattern or ostinato
changes within the combination. For example, the student may combine c from 2.2 – Bass Drum
Set, with d from 2.4 – Bass Drum Set Expanded. This sort of combination allows for near-
limitless variations of new patterns and coordination challenges.
With regards to pattern combinations, it is neither necessary nor productive to attempt to tackle
all possible combinations using any of the above permutations. The main idea here is to discover
new patterns, learn the coordination required, and to apply them to the student’s own playing.
Rather than attempting to tackle as many combinations as possible, a more productive approach
is to deeply integrate a smaller selection of patterns into one’s vocabulary.
Likewise, this combinatorial approach can be used to create grooves of different binary time
signatures (time signatures with a 4 on the bottom). A pattern can be created in 3/4 time by
combining a pattern from a particular set with half of a different pattern from the same or similar
set. For example, the student might begin with exercise a from Set 1.1, and then add the second
beat of b to make a combination that is three beats long. A similar process can be followed to
create a groove in 5/4, combining two patterns with half of a third.
8
Though by no means a hard and fast rule, it generally makes sense to take the second half of a
pattern when dealing with 3/4 and 5/4, as this will comprise the downbeat on the snare drum.
Typically, bass drum strokes begin a pattern, and the final beat is played as a downbeat on the
snare drum. Students should experiment, however, to find other possibilities within the material.
In the example above, various patterns from Set 1.1 have been combined to create a pattern in
5/4.
Combination Matrix
Following each category of sets is a combination matrix. This presents the first half of each pattern
aligned vertically, next to the second half of each pattern, also aligned vertically. For each pattern
in the matrix, the bass drum and snare drum are shown in their basic positions.
This matrix has been included to allow for compound combinations in which the hi-hat patterns
are mixed and matched for further variation. The student may play pattern a from the first column,
followed by pattern c from the second, creating a new combination not found in any of the sets.
New combinations can be created by combining any pattern from the first column, with any
pattern of the second. The student is encouraged to use this as a tool for discovering new and
interesting patterns, rather than something that must be completed for its own sake. They may
begin by taking their favourite pattern from the first column, and trying it against various patterns
from the second until a particularly interesting combination is found. This new combination can
then be practised in the same way as the sets, sequentially moving the bass drum and snare drum
and trying different combinations of placements.
Vocabulary
Despite the title of this book, its ultimate purpose is the acquisition of new vocabulary. Working
on coordination patterns like those presented here exposes the student to new ideas, combinations,
and applications, which will directly inform and expand their repertoire when it comes to
timekeeping and groove playing.
The student is encouraged to spend time truly internalising and memorising the patterns within
the sets, such that they are available and ready to be played when called upon in a musical situation.
Practice
There are many theories and working models that address the concept of practising. Long or short
sessions; the frequency of sessions; working on a single idea or rotating a small number of ideas;
there are arguments available in the literature for each of these concepts, and it is beyond the scope
of this book to address all of them here. Suffice it to say that the one thing that links all theories
of practice is the necessity of repetition.
9
Students will find far more benefit – and far faster results – when a smaller number of patterns are
practised for greater periods of repetition. Simply put, practising two, three, or four patterns for
one hundred repetitions each will produce more effective results than practising the whole set,
repeating each pattern only four times.
Within these repetitions, the student is further encouraged to switch between the selection of
patterns frequently. If they are working on d, e, f, and g from a particular set, rather than practising
them one hundred times each in order, the student could instead try practising them twenty-five
times each, four times, varying the order each time. This results in the same number of total
repetitions for each of the four patterns, but by changing the pattern every twenty-five repetitions,
it encourages the brain to relearn the ‘solution’ to the coordination ‘problem’ it is trying to learn:
1st set of 25: d-e-f-g 3rd set of 25: g-e-f-d
2nd set of 25: d-f-e-g 4th set of 25: e-d-g-f
In the example above, in the first set, the student would play d twenty-five times, followed by e
twenty-five times, then f twenty-five times, and then g twenty-five times. Then, moving onto the
next set, repeating the process but varying the order. Above, each set has had their orders
randomised.
The student should not be concerned with the order, but with the act of transition. It has been
shown through many studies of this nature that the act of transitioning between a small selection
of material during repetition is far more beneficial than spending longer periods on the same
pattern. In both cases, each exercise will be repeated one hundred times, but in the method given
here, the act of randomising the order and transitioning every twenty-five repetitions has been
shown to increase recall and speed up the process of retention. In short, each act of transition
forces the brain and nervous system to relearn the solution to the problem posed by each pattern.
Finally, the student should aim to run through an entire set, both in order, and in a random order,
transitioning between patterns without pause. This should only be attempted once the individual
patterns have been thoroughly learned and practised in the aforementioned manner. The goal at
this stage changes from learning the patterns’ execution, to learning and listening to the vocabulary
created by combining the patterns in various orders. Once each pattern can be executed
confidently, the priority becomes the learning and incorporation of new vocabulary.
10
Set 1.0
Set 1.0
This set features patterns comprising a steady quarter note beat on the hi-hat.
This represents the fundamental binary pattern. All instances of coordination happen against the
quarter note, meaning that this pattern is a natural starting point.
The example above shows a combination of patterns from this set, placed against the unchanging
hi-hat pattern. In this example, the downbeat is accented on beats 2 and 4, while extra bass drum
strokes and ghost-noted snare drum strokes are placed off the beat to create an interesting
combination.
The quarter note pattern can also be played on the ride cymbal, allowing the foot-operated hi-hat
to play one of the suggested patterns:
Above, the same pattern has been played against the ride cymbal, with the foot-operated hi-hat
maintaining steady 8th notes throughout.
The student should be sure to practise this pattern with their non-dominant hand on the hi-hat as
well as their dominant hand. This will ensure a degree of coordination and balance with both open-
handed and cross-handed playing.
11
Set 1.0 – Bass Drum Set
12
Set 1.0
Set 1.0 – Snare Drum Set
13
Set 1.0 – Combined Set
14
Set 1.0
Set 1.0 – Linear Set
15
Set 1.0 – Fat Back Set
16
Set 1.0
17
18
Set 1.0
19
20
Set 1.0
21
22
Set 1.0
23
Set 1.1
The patterns in this set are based on a typical 8th note groove pattern:
This pattern emphasises the downbeat with the snare drum on beats 2 and 4, which should be
maintained through all of the variations. In the Snare Drum, Combined, and Linear sets, the
student can experiment with the position of accents and ghost notes, though the groove generally
flows best when the downbeat is accented.
The above example shows a potential combination, derived from the vocabulary presented in this
set. Here, the first downbeat on beat 2 is subverted; a ghost note plays on the beat, with two
accents on the off-beat 16th notes coming straight afterwards. By way of resolution, the second
downbeat on beat 4 is accented as normal. This demonstrates how the use of ghost notes and
accents can change the overall feel of a given pattern.
24
Set 1.1
1.1 – Bass Drum Set
25
1.1 – Snare Drum Set
26
Set 1.1
1.1 – Combined Set
27
1.1 – Linear Set
28
Set 1.1
1.1 – Fat Back Set
29
30
Set 1.1
31
32
Set 1.1
33
34
Set 1.1
35
36
Set 1.2
Set 1.2
The patterns in this set are based on a single-handed 16th note groove pattern:
In this pattern, the hi-hat pattern is played with one hand, allowing for a greater variety of phrasing
on the snare drum, as seen in the later variations. Typically, the dominant hand will play the hi-
hat, though students are encouraged to practise these patterns with their non-dominant hand as
well.
Pattern 1.2 right-handed:
Pattern 1.2 left-handed:
Pattern 1.2 with hi-hat foot pattern (variation 3):
37
38
Set 1.2
39
40
Set 1.2
1.2 – Linear Set
41
42
Set 1.2
43
44
Set 1.2
45
46
Set 1.2
47
48
Set 1.2
49
Set 1.3
The patterns in this set are based on a hi-hat pattern comprising an 8th note and two 16th notes,
evoking a pattern typically played on a shaker or tambourine:
The student can experiment with the points of emphasis on the hi-hat. Typically, the 8th note on
the beat will be emphasised, if not accented, though this need not be the case.
Pattern 1.3 with hi-hat foot pattern (variation 4):
50
Set 1.3
51
52
Set 1.3
53
1.3 – Linear Set
54
Set 1.3
55
56
Set 1.3
57
58
Set 1.3
59
60
Set 1.3
61
62
Set 1.4
Set 1.4
The patterns in this set rearrange the hi-hat pattern of the previous set, placing the 8th note on the
off-beat:
Typically, the off-beat 8th note on the hi-hat will be accented, but the student is encouraged to
explore other points of emphasis as well.
63
64
Set 1.4
65
66
Set 1.4
1.4 – Linear Set
67
68
Set 1.4
69
70
Set 1.4
71
72
Set 1.4
73
74
Set 1.4
75
Set 1.5
The patterns in this set place the 8th note on the second 16th note of each beat, creating a
syncopated hi-hat phrase:
76
Set 1.5
77
78
Set 1.5
79
1.5 – Linear Set
80
Set 1.5
81
82
Set 1.5
83
84
Set 1.5
85
86
Set 1.5
87
88
Set 1.6
Set 1.6
The patterns in this set are based on an off-beat 8th note pattern:
89
90
Set 1.6
91
92
Set 1.6
1.6 – Linear Set
93
Set 1.7
The patterns in this set are based on groups of two consecutive 16th notes on the hi-hat:
94
Set 1.7
95
96
Set 1.7
97
1.7 – Linear Set
98
Set 1.8
Set 1.8
The patterns in this set are based on groups of two consecutive 16th notes on the hi-hat, displaced
across the beat:
99
100
Set 1.8
101
102
Set 1.8
1.8 – Linear Set
103
Set 1.9
The patterns in this set are based on groups of two consecutive 16th notes on the hi-hat, displaced
by one 16th note:
104
Set 1.9
105
106
Set 1.9
107
1.9 – Linear Set
108
Set 1.10
Set 1.10
The patterns in this set are based on off-beat 16th notes on the hi-hat:
109
110
Set 1.10
111
112
Set 1.10
1.10 – Linear Set
113
Set 1 Combination Matrix
114
Set 2.1
Set 2.1
The patterns in this set are based on a 16th note hi-hat pattern, played between the hands as single
strokes. They should be practised leading with each hand:
115
116
Set 2.1
2.1 – Bass Drum Set Expanded
117
Set 2.2
The patterns in this section are based on paradiddles between the hi-hat and snare drum. They
should be practised leading with each hand:
The student is further encouraged to explore different accent and ghost note placements:
Pattern 2.2 accent variation example:
118
Set 2.2
119
120
Set 2.3
Set 2.3
The patterns in this section are based on inverted paradiddles between the hi-hat and snare drum.
They should be practised leading with each hand:
121
122
Set 2.3
123
Set 2.4
The patterns in this section are based on reversed paradiddles between the hi-hat and snare drum.
They should be practised leading with each hand:
124
Set 2.4
125
126
Set 2.5
Set 2.5
The patterns in this section are based on a combination of inverted and reverse paradiddles
between the hi-hat and snare, creating a tresillo pattern on the cymbal. They should be practised
leading with each hand:
127
128
Set 2.5
129
Set 2.6
The patterns in this section are based on a combination of inverted and standard paradiddles
between the hi-hat and snare. They should be practised leading with each hand:
130
Set 2.6
131
Set 2.6 – Bass Drum Set Expanded
132
Set 2.7
Set 2.7
The patterns in this section are based on a combination of standard and inverted paradiddles
133
134
Set 2.7
135
Set 2.8
The patterns in this section are based on a combination of reverse and inverted paradiddles
136
Set 2.8
137
138
Set 2.9
Set 2.9
The patterns in this section are based on a combination of reverse and standard paradiddles
139
140
Set 2.9
141
Set 2 Combination Matrix
Any combinations that do not involve pattern a can be performed as written above. In
combinations that involve pattern a, certain stickings within the combination may require
reversing.
When practising combinations a-b, a-c, and a-d, for example, the student may wish to begin the b,
c, and d, patterns with the right hand, and then reverse the whole sticking for the second repetition:
The example above shows a combination running a-d-a-d from this combination matrix. The first
a and d are both right handed, and both are reversed at the point of repetition from the third beat.
This allows for a flowing sticking pattern that is still in keeping with the concept of each pattern’s
original set.
142
About the Author
About the Author

Born in Nottingham, England, in 1987, Jonathan Curtis is a
percussionist, author, and educator, specialising in solo snare
drumming and rhythmic composition.
Jonathan also runs the independent publishing house and record
label Artificer Productions. Through this, he has published
numerous works, including drumming educational books and
media, compositions, and several studio albums.
His other works include various collections of compositions,
texts on linear drumming and broken time jazz drumming, solo
snare drum works, and a collection of technical studies for the
development of technique. Further information is available at
www.JonathanCurtis.co.uk.
143
Artificer Productions Publications List

Title Author ISBN Year
Linear Freedom – A Complete Concept for
Jonathan Curtis 978-0-9957273-0-4 2017
the Development of Linear Drumming
Broken Time Drumming – A Complete
Concept for the Development of Broken Jonathan Curtis 978-0-9957273-3-5 2020
Time Drumming
Snare Drum Compositions – Volume I Jonathan Curtis 978-0-9957273-2-8 2021
The Snare Drum Virtuoso – Technical
Studies for the Development of Snare Drum Jonathan Curtis 978-0-9957273-5-9 2022
Technique
The Music Box Suite – Duets for Snare
Jonathan Curtis 978-0-9957273-6-6 2022
Drum and Marimba
Fundamentals of Jazz Composition – An

Sam Jackson 978-0-9957273-4-2 2022
Exploration of Musical Language
Drum Kit Coordination Patterns – Jazz and
Jonathan Curtis 978-0-9957273-9-7 2022
Blues
Information about these works can be found at

www.JonathanCurtis.co.uk
144

Drum Kit Coordination Patterns - Funk and Rock

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Drum Kit Coordination Patterns - Funk and Rock

Uploaded by

Copyright:

Available Formats

Funk and Rock

is an instance of practicality being favoured over a completionist approach, as such hi-hat

How to Use This Book

Pattern 2.1, left-hand lead:

Pattern 1.1 combination, accent variation:

Set 1.0 – Bass Drum Set

Set 1.0 – Snare Drum Set

Set 1.0 – Combined Set

Set 1.0 – Linear Set

Set 1.0 – Fat Back Set

1.1 – Bass Drum Set

1.1 – Snare Drum Set

1.1 – Combined Set

1.1 – Linear Set

1.1 – Fat Back Set

Pattern 1.2 left-handed:

Pattern 1.2 with hi-hat foot pattern (variation 3):

1.2 – Bass Drum Set

1.2 – Snare Drum Set

1.2 – Combined Set

1.2 – Linear Set

1.2 – Fat Back Set

1.3 – Bass Drum Set

1.3 – Snare Drum Set

1.3 – Combined Set

1.3 – Linear Set

1.3 – Fat Back Set

1.4 – Bass Drum Set

1.4 – Snare Drum Set

1.4 – Combined Set

1.4 – Linear Set

1.4 – Fat Back Set

1.5 – Bass Drum Set

1.5 – Snare Drum Set

1.5 – Combined Set

1.5 – Linear Set

1.5 – Fat Back Set

1.6 – Bass Drum Set

1.6 – Snare Drum Set

1.6 – Combined Set

1.6 – Linear Set

1.7 – Bass Drum Set

1.7 – Snare Drum Set

1.7 – Combined Set

1.7 – Linear Set

1.8 – Bass Drum Set

1.8 – Snare Drum Set

1.8 – Combined Set

1.8 – Linear Set

1.9 – Bass Drum Set

1.9 – Snare Drum Set

1.9 – Combined Set

1.9 – Linear Set

1.10 – Bass Drum Set

1.10 – Snare Drum Set

1.10 – Combined Set

1.10 – Linear Set

Set 1 Combination Matrix

Pattern 2.1, left-hand lead:

2.1 – Bass Drum Set

2.1 – Bass Drum Set Expanded

Pattern 2.2, left-hand lead:

2.2 – Bass Drum Set