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    23 views152 pages

    Moves and Grooves

    Uploaded by

    François Barbar

    Copyright:

    © All Rights Reserved
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    of 152
    eto) maint FOR DPRUNA SET | dedicate this book to my wife Agnes, and to Chuck Elledge, whose constant prodding brought this book fits conclusion EF Dear Friends in Percussion Eliot Fine’s contibutlon ta percussion education is unrivaled. His commitment to bis st Gems [s unceasing ond insping. In the folowing pages. you wil hd a wealth of material by Me"Fine which wi enrich your sklle and creatwity, fegardiess of your level of advance ‘cat iis wth admiration and respect thet this book is brought to you Best of luck in all your music endeavors! Chuck Elledge ator ISBN 0.8497-5503-4 career rpce teen ta po ete shingle copra! Rue ene reares a mm Table of antes TABLE OF CONTENTS: About the Book Eighth Note Grooves 1 Eighth Note Fill Patterns | Eighth Note Grooves Eighth Note Grooves Eighth Note Latin Grooves Mozambique Grooves Mozambique Grooves I Mambo Grooves Sambo Grooves Eighth Note Grooves IV Eighth Note Fl Patterns I Eighth Note Fil Patterns Eighth Note Groove/Fil Patterns | Eighth Note Fil Pattern IV. Eighth Note Groove/Fill Patterns I Eighth Note Grooves V Shcteenth Note Grooves | Eighth/Sixteenth Note Grooves a a a a Gg a a o o B 0 5 o oO o BB) EitthSixeenh Note Grooves a a a a a @ @ a a a a P| 5 @ a Shiteenth Note Grooves I ‘Sinteenth Note Grooves ll Sixteenth Note Fil Patterns | Fighth/Sixteenth Note Fil Patterns ‘Sixteenth Note Fill Patterns I ‘Sinteenth Note Ful Patterns I ‘Sisteenth Note Fill Patterns IV ‘Siateenth Note Fill Paterns V.. ‘Sixteenth Note Grooves IV Eighth/Sixteenth Note Fl Patterns ‘Sambe Grooves Sembe Grooves il ‘Sixteenth Note Fil Patterns Vi Eighth/Sisteenth Note Grooves Il Sixteenth Note Grooves V. Eighth/Sixteenth Note Grooves V. Eighth/Ststeenth Note Grooves V. Shxteanth Note Grooves Vi Sixteenth Mote Grooves Vi 10 14 15 16 18 19 20 21 2 28 28 30 32 34 a7 38 39 40 Al a2 46 aa 50 ReeR 64 66 58 69 70 a nm 3 Table of Contents Shiteenth Note Grooves Vil. Shstennth Note Latin Grooves. Sixteenth Note Grooves IX. EignttySixteenth Note Grooves V1 Sixteenth Note Grooves X Eighth Note Triplet Grooves |. Compound Meter Eighth Note Grooves Eighth Note Triplet Fil Pattern Eighth Note Tiplet Fi Patterns Eighth Note Triplet Fil Patterns I Eighth Note Triplet Fil Patterns IV Eighth Note Tplt Fill Patterns V. Eighth Note Tplet Fil Patterns Vi Eighth Note Tplet Grooves I ‘Compound Meter Eighth Note Grooves I ‘Compound Meter Eighth Note Grooves I Eighth Note Tplet Fil Patterns Vi Eighth Note Tplet Fl Patterns Vi Eighth Note/Eighth Note Triplet Groove/Fill Patterns Eighth Note Triplet Fill Peters IX ‘Compound Meter Eighth Note Fl Patterns. ‘Compound Meter Eighth Note Groove/Fil Patterns | Eighth Note Triplet Fil Paterns X ‘Compound Meter Eighth Note Groove/Fil Patterns I Eighth Note Triplet Grooves il Compound Meter Eighth Note Grooves IV. Sixteenth Note Tle Fil Pater Shsteenth Note Triplet Grooves Shxteenth Note Triplet Fill Patterns Double Strake Grooves Half Time Grooves BB Nove Moves and Grooves: Induction to Appendices I ‘Appendix : Eighth Note Lead Sheet ‘Appendix I: Sixteenth Nota Lead Sheet. [Appendix Ik Triplet and Eighth/Sixteenth Note Combination Sticking Patterns ‘Appendix IV: Constant Rhythm Converters Feet Pattern Library ‘About the Author 7 76 n 82 BRB 90 92 94 96 98 99 100 102 108 108 12 14 nis 118 120 122 124 126 128 130 132 133 135 138 140 148 148 150 152 4 ABOUT THE BOOK ‘The main body of MOVES & GROOVES (pages 8-134) contains two different types of studies: those relating to fil development, and those relating to grave development (hence the tle "Moves. and Grooves"). However, cfrentition between grooves and fils, in mony ways, acedemic. Many grooves can also function as subtle fils, or vie versa, depending on the context “Although the studies are orgonized sequentislly according tothe rhythms used in each study, they may be explored in any order which best fs the objectives of the player. While some players may wish to approach the studies sequentially, others may prefer to “skip atound” the book, using the Table of Contents on pages 2-3 20.9 guide and checks. ‘Adonai groove and fl development material may be found inthe Appendices (pages 135-148). A Feet Power Librery, refered frequen throughout the Book, appears st pages 156-151 Exploring the Studies ‘Alter mastering the patterns” in each MOVES 6 GROOVES study “as writen” further explore each study by applying the Practice Options and Varlations provided dive besic suggestions for creative interpretation of each study, provide more advanced technical alternatives for each stud, taking you beyond the Printed page. You are encouraged to apply this material imaginatively In many cases, Practice Options and Variations ‘may'be combined lo create even more practice possbalives, With a bit of dapting, many can even be applied to other classic drum set and snare drum text In addition, when practicing, apply these general suggestions as appropriate 1 Practice the patterns in each study at variety of tempos, using a metronome of drum machine ding @ portion of your practice session. At frst, always practice @ pattern as slowly 28 nec fssary to achleve accurate performance. Once You have mastered the pattern, practice hat Doth slow and fast tempos [Play each pottern ata varity of dynamic levels, ranging from ppto 4. [Whenever possible, play exch pattern using brushes. This will develop your overall conto, ‘especialy in your wists and fingers. Play the patterns within exch study consecutively one ater another This wll develop your Improvisational skill, and ability to create long phrases and extended solos NOTE: Examples provided with Practice Options and Variations are Identified by « number and/or letter combination which appears In parentheses after the wotd “exemple.” This number and/or lear refes to tha specific excreise in each study which has been modified forthe sake of demonstration ‘inthis Book, the grooves andl patems in each sty ae ten referred osmply a8 “patterns.” ‘About the Book 5 Notation cymbol or hi-hat (wth hand) (Ghem simply caleathe ede") crose-nick” ——“large" orn Sa) | + 3—3—+—_ et Foot a base dum hha [As you use MOVES 6 GROOVES, keep the following in mind regarding the notation: Clin general, play notes and symbols writen above the top line with your right hand, and notes fang symbols written below the top line with your let hand. For additional practice, play pattems wth yout left hand playing the "right hand part (prt above the tp line), and your Fight Rand plying the ie hand pat part blow the tp Int Moly the pairs ae oes 9 flow thie hand role reversal ag nan Latta Ci pean — 1 eevee becomes [Ia gh fa Cl.When an °X° appears above or below the top line, it is refering to @ cymbal or hi-hat, It is Suggested that you ride on 2 cymbal when first learning a pattern, unless the pattern Is Epedifeslly designed to utlie the hi-hat. When playing jazz grooves, it Is usually stylistically most appropriate to ride on cymbal {n some stusies, the symbols "1" and “o" are used as specific indications to close and open the hichot with the fact When this is the case, the h-hat should be open only on notes, with on “O° fbove them. The hichat should close on eny "1" and remain closed unl the next °0" appears. ze the h-hat as the primary riding surface forboth your right and left hands in these studies. (1D To provide maximum flexibly, only two tom symbols are used in tis Book: one for “small” form (®) and one for large” tom (2). At fst, follow these symbols literally, using only fone mounted (small high-pitched) tom and ane floor ("arge”/low-pitehed) tor. Once you Fave mastered the basie moverents, you are encouraged to adapt eath study to your particu Tar drum ki interpreting the notalon In a more general way For example — play any of your high-pitched or mounted toms when you see the “small om” symbol (8). — Flay any of your low pitched o floor toms when you See the "large tom” symbol (4) + Topiley a cross-stck 1 Lay he stick ecoss the dum, wth the bead testing on the drum head and the but end extening ove the Hi, 2: Gol the bead sua pot point re the ack wth you Index Rrger and thumb, 5; Suite the nm wih te het the suck Make se thatthe bead remains on the bead forthe entre stroke + komaay studies, the roles of the fet may also be reversed (bass drom part being played onthe Neat nd i arpa eeng played te bose dun) ei even posable, in sme nusies, to exchange te oes of he hands nace (hand parts being pay bythe eet nd eee parts being played by the hands). You ae encouraged to cee thine vara sambiralons sod apy hat beet Re jour racing ond erformina aoa 6 About the Bok More about Fill (“Move”) Studies [A plece of music is made up of short musical ideas celled phrases. A phrase is often four or eight measures In a popular song. A fils a rhythmic figure mast often played at the end of phrase, leading Into a new phrase. I musically approprite in © given arrangement, file may also be played et othet Points ina phrese, With these points in mind, practice each fl pattern inthis book in the following three ways: 1) Repestedly alone, to capture the fel ofthe fil, and to master i technically 2) Alternating with a groove pattem ofthe same lenath and in an appropviate syle. (In thi context, the groove pattern Is referred to as “time” or "rhythm ahead”) When the fll pattern iso more than two beats, alternate the groove pattern with the fil repeated Swe, 3) Inthe context ofa four or eight measure phrate, with the fl comming atthe end of the phrase (The“time fellowed by the fil should add up to four or eight total measures) Below are some basic grooves you can use as “time” when practicing fils, Use them only as » starting point You may also use meny ofthe simpler grooves found throughout this Book." pon meck Tot a Latin/Samba my Whenever necessary, omit the fist note ofthe de parti a groove pater 0 eliminate awkward tekng between, the end of2 fl and the Beganing of te tme- Alea to hap mantain onouly, Keep the hrhat pat eaten between te time andthe fi. Tus may requve you to acjut the lls writen hat pan, depending on the “ie Pater” you choose + While the bess drum is often shown on every beatin wate rz grooves of chants, Is gency not played on every beat in contemporary jezr settings In such cases, fal fice to break away trot this pater an ploy ‘more spars However, Tou to tbe flea” aen the Sppropatetachngue it big Gand ed wadtonal ac: fetings, and therelore should net be ovesooked ‘Simla, the snare drum i often shown on beats 2 and in writen pans, even though ite generally not to be playa sty on those beats n contemporary jase. Once agin, however a aid § back bea can be casey ‘ntvein many Big bond oe tradona fas seg. About the Book z More about Groove Studies ‘ite playing fills is an important part of drumming, most drurmming involves playing ‘time"—also Known as paying “beats” of “groaves." Many styles of popular music are determined ln large part by the Stoove supplied by the drummer The groove studies In thls book cover many of the most important styles. t In many coe, he goove ge repented nor even He! Ts des not mean tat hey are Sea ee a ee ree ne re bane neh eh ia aves Aesember ef poms oval wien wa Toe ft SPS aed alsa kat Soe ‘Aso remember that many patterns inthis book classified as grooves can also be used in fill context Shen, only sightly changing the groove in a phrase is enough to provide a “fl effec." When practicing ‘groove studies, tty playing one pattern for thee of seven measures, then complete the phrase with ‘hether patter from the seine study. You'l notice how the subtle groove change relly makes the phrase naling come ave. In groove studies where the parts are the same from pattern to patter for three of the imbs, you ate Encouraged to practice improvising the variable pert while contuously repeating the constants. (For ‘example, in study #6 on page 18, improvise the de part while continuously Fepeating the snare and fet ‘arts This will frther develop yout Improvisational skils and Your abilty to create long parases. AS Sith the use of the Practice Options snd Variations (see page 4), explore the improvisational possibilities ‘of grooves ony ater mestering the patterns “as writen” Bh eighth note Grooves 1 aoe Each of the five sections ("AE") features # diferent hand pattern, with the bass um part changing fom exercise to exercise [Practice Options] Play the ride part on a closed hi-hat (ori the left foot part) 5 Combine any two patterns. Cl Combine any two, thee, or four patterns, interpreting each pattern as four fSxteenth notes, 1 Suing the eighth notes ( 29=1° ). 5) Substitute various appropriate hi-hat patterns (see p. 151) (CWarations) hands {1 Combine any two pattems, playing the snare drum on beat 3 only, Fe sce ee Py lor as siteenth notes with snare drum on beat 2only (notice hit) HE i 14 fipakia| erica] caaee Cy 665 EE —P 10 Eighth Note Fut Paterns 1 “These fils (beginning on p. 12) are based on various sticking patterns spread around the drum set (Seep. for information on sticking notation.) Practice Options (Play cach filin the context of time (see p, 6). 1D Combine tne fist hal of any pattern ("a") with the second half of any other pattern be, {1 Combine any two patterns 1] Swing the eighth notes (172=5°) ) 1 Subatiute various appropriate hisnat and feet patterns (see pp. 150-151). hands Following the indisted sticking, play each fil using various surface combinations: ‘— both eight and let hand on snate drum. righthand stationary on ans tom left hand on snare. = tight hand on cymbal bell or special effets cymbal, et hand on snare, fight hand moving from surface to surface, ad lib, elt hand stationary on Snare or hi-hat “—Teft hand moving from surface to surface, ad lib: right hand stationary on share, cymbal bel, o special effects cymbal ‘— both hands moving from surface to surface, ad Wb. Pay each patter two times. The fist time, play the right hand patton the hichat (loosely closed) and the left hand part on the snare drum, The fecond time, play the let hand part on the hichat (loosely closed) and the right hand part on the ‘save drum. Example (689)* hands and feet (Play the right hand parton a cymbal bell and the left hand parton the snare drum, Double te right hand part withthe bass crum and pay the hi-hat ol four beats, Example (#85) Play the right hand parton the snare drum and the left hand part on the hi-hat (loosely closed). Double the left hand part with the bass drum, "Seep. fran explanation of Example dentiiesion in MOVES 6 GROVES. Eighth Note Fi Patems u ClReplace the snare drum notes withthe bass drum. (Omit the writen bass drum part ‘when using this varlation) Example (®A10) a fa Eis Following a similar approach, replace the small tom notes with the bass drum. (Orit fhe writen bess drum part when using this vanation) Example (WA10) t ¥ Following a similar approach, replace the large tom notes with the bass drum. (Omit the watten bass drum part when using this vanation.) Example (#A10) a ay ay At the end of each pattern, repegt beats 1 and 2 of that same pattern. Interpret the combination as a {wo measure il Use any appropriate feet patter (seep. 131) Exemple (9814) a rt [3] At the end of each pattern, repent beats 1 and 2 of that same pattern, Interpret ‘cach combination ass one measure 4 fil by playing each group of tree elahth notes Sea triplet, Example (#814) Following a similar approach, pl combination as a two measure triplet each pattern three complete times. Interpret each I by playing each group of thre eighth notes 98 @ PE I PP ee EPR EER Eighth Note Fil Fates 3 Elghh Note Grooves i Each groove Incorporates a constant ride on an opening and closing hi-hat to create a slighty syncopated feel. Ride onthe edge ofthe hi-hat cymbals withthe shouldes of your Stick to Increase the opening and closing effect 1 Omit the ie when the hichat closes (ln ether words, do not strike the hi-hat with your Stick when you are closing it with your foot) Repeatedly siternate pattern 1 wth any other pattern. 5 Combine any wo pater, 1B Swing the eighth notes ( 79=1°3 ). eet C Pay the bass drum when Example (#11) the hithats pen onl. 13 | hands and feet, Combine any two patterns and play the eighth notes as slateenth notes. Play the bass drum on beat {only end the snare drum on best 2 only. Example 02nd combined) jote the retation of 2 geronoarmeess (EE 13 Fighth Note Grooves I Etch goove combines an alemaing hand pate between the Hat and snare drm Titra penn and ocng Nhat Pay onthe eg of ne iho yrbels wt the shoul dratyoor ate iPlay te sore drum pr on tom, cymbel el speci ee” cymbal wi fst — 1 Stan nna par ployed by the hands when te hi-hat loses. (other words, do esuhe the ht wih your sick when you se csing kwh you fot) 17 Repeat ates pers #1 wi ay ether pater 1 Combine any two pater 1D Swing the elghth notes (79*1°3 ) Ciao] feet [D Play the bass drum when the hi-hat is open only Example (#5) | i | Eighth Note Latin Grooves “These grooves are derived from several significant styles of Latin American music (rate Options] 1D Play the ride parton a cymbal bell, cowbel, closed hi-hat (omit the left foot pat), or shell of tort 1D Substitute various appropriate h-het and feet pattems (see pp. 150-151), qe, yt tase 7 tT Tift frit t tthe ttt t tt tate SHE, STvad ae ThE at at Teepe rel: Lh Mezambique Grooves 1 Each groove incorportes the same left hand and fet pattern; only the ride changes from pattern to pattern, (Pcice options] Phe a rare cra pel copeelcceeet dp coin ka pet) = ace Pr nog ros ck ct or aterate the sore drum pat be 2 Carninci frt hal cary pater (22) wit the second al of anyother pattern 1 Combine any two pate ute Various appropriate isha and feet pltens (sce pp. 150-151). Pccaribldee Grooves a ple bstorer at pe {1 Payee par ona cymbet bel cowbel, sed hat omit thee foo pat), or Bere ae eco ae cee 17 Raine bass drum on beat 1 and/or delet the bass drum on the second hal of 12 Subatiute various appropiate hi-hat and feet patterns (eee pp.150-151. a Example 5) 1 Play the snare drum on beat 2 only. ie Play the ride part 2s writen. el hhands and feet [DAtternate each groove with one ofthe following pattems: wel: 20 Eh Mambo Grooves The character fet nd lt hand parts give these Mambo grooves Samba” eel Pay the ride pot on cymbal bell, cowbel, closed hi-hat (omit the left foot pat), or shell ofa torn (CSubstuteverious appropriate hi-hat and fet patterns (see pp. 150-151), Ey samba arooves 1 ‘Samba grooves are notated in cut-time, consistent with the traditional “two-fes!” ‘astocited with th ‘quently notated in for ‘popular Afto-Braulian dance style. Samba grooves are also fe time, using sixteenth note subdivisions. “To chieve a more authentic sound, pay with aight fel than you would when playing most rock styles, and accent the base cru part [Practice Options] {Py the de prt on 9 cymbal el or cob. Genet he back beat between the snare and 2 Pay the back beats enirly on non-snare surfaces, or on the snare using a coss- stick 1D Repeatedly play only the first or second half ofeach pattern. G Substitute various appropriate hichat and fet patterns (see pp. 150-151). hands i Substitute ether ofthe following "back-beat” pattern. seme a As eA Eh 11 07 22 ey HD tit ur tht jaa eal, tr al +» fd ener 21 2 tt af ‘oot pa Ltd jot eee Lear a egies Beds Bao ial DD) zion note Grooves v ‘These grooves combine @ constant ride and fet pattern with various snare drum parts to create @ three against two feel over two measures, (Practice Options] 1 Play the ride pat ona cymbal bell or cowbell 1 Play the ride part on a closed hi-hat (omit the Ie foot part). 1D Repeatealy play only the fst half ("2.) ar second half ("b.*) of each pattern 1 Combine the frst half of any pattern ("s.) with the second haf f any other pattern (b". 1 Repestedly alternate pettern #1 with any other pattern 5 Omit snare drum notes a 1D Swing the eighth notes (9 =1°3 )- 1D Substute various appropriate hi-hat and fet patterns (see pp. 150-151). (Wavistions hands Substitute any ofthe fllowing se patierns gee ee eee, ee ee fa aa 11 Pray the wrtten snare parton the bass drum. Play the snare drum on beat 2 and the hichat onal three beats Example (#10) Pi J VA C While ging on a cowbal or cymbal bell, play each groove “double time" (one mea: sure off). se any ofthe folowing fet pateras. A 8 © Soro Soe Patter Example (#4) er ape A‘ the end of each pattem, repest the frst two beats ofthe "a." of "b.” part of the pattern to create a two measure 4 groove. Ether play the feet “as writen or subs {Rte one ofthe following feet paterns Example (#11) aac Go rn a fi a4 1 | aia ttt OO) 4 ws fi | oy a pe FSS j Ait Al. ttt r rr RP Pea Pes A aaa rt ft rt ft tr rT po oes, Peay as ft Pees LAA GA, ea tT tt ae ese poo tag saa ase ciaiaaliee aealaal) tT tft 24 Eighth Note Fill Patterns I ‘These fils (beginning on p. 26) are based on various sticking patterns in three [[Preatice Options] 1D Play each fil the context of time (seep. 6) 1D Combine any two pater, 1D Swing the eighth notes (79=J") ) 1B Substitute various appropriate hisnat ond fet patterns (see pp. 150-151). hands i Feliowing the indicate sticking, play each fl using various surface combinations: “both fight and let hand on snare rum. ight hand on tor, lft hand on snare fight hand moving fom surface to surface, ad Uh left hand stationary on snare, fuhand moving from surface to surface ad ib; right hand stationary on snare or cymbal — both hands moving from surface to surface, ad Ub Keeping the feet constant, play each hand pattern using 16th notes rather than eighth notes so that the hand paterns will be executed twice ding each measure Example (#54) hands and feet Play the cymbal parton a cymbal bel. Double the cymbal part with the bass drum ‘and play the hist with your lf foot on beats 2 and 3 Example (#48) { pop , Play the cymbal parton the snare drum and the snare parton the hi-hat (loosely ‘loted), With the bass drum, double the hat part played by your hand boy Eighth te FU Paes 3 1 Interpret each pattern as two measure fil by playing each pattem twice and then fepeeting the frst two beats ofthe pattem to complete the second measure. Use the Following feet pater. ship pa Example (#812) [interpret each pattern as a two measure cut time samba groove by playing each pattzm twice ahd then repeating the fst two beats of the patern to Complete the Escond measure, Use either of te Following feet patterns. “ A wel ep bop Example (B13) C1Pay exch pattern three times, interpreting each group of three eighth notes as a Iniplet in two measures of fms. Use any appropeate feet pater (see p. 151). Example (#89) pe? Eighth Note Fi Paces it 2 wPPPPPPIBPE 2B Eighth Noe Fu Patterns ‘These fils involve movement between the hands and bess drum. Play the doublestops as writen oF as open ams. (resis Opons | {Pray each inthe content of ime ( Combine the hat halo any peters 1 bomb pa ombine ny wo pater 5 Suing te gn otes (32173) 5 Sunhte various appropriate at patterns (see pp. 150-151). ‘Variations |] hands 1D Play the right and let hand parts on various surface combinations. G Play each doublestop as twa slteenth note double stops 6), ) withthe second half of any other pattem Example (3) ft Play each doublestop as wo independent sixteenth notes, beginning wth either hand. Example (#12), a] r Pray each doublestop as two independent sixteenth notes Beginning with ether hand, play each Independent sitenth note as an open double sok. Baie Baan - ee Reverse the roles of the feet. playing the bess drum part onthe hi-hat, and the hi-hat parton the bass drum. remo 9 are 1 me alk 4 1 Using double bass drums or a double bass pedal, play each bass drum note as two Independent sbteenth notes, beginning with ether fool ae sepa ee ea cae yo bi te a 1 de 30 taht ice Grooset Pattern ee ee Sea aE A —Pay the fet part on the bass drum end keep time with the hich. Ssorpr 85) — He ae tae — Play the fet part onthe i-nat and keep ime withthe bass drum, J (Practice Options: Play each pattern inthe context af time (seep. 6). Swing the eighth nates (y=) 5 Combine any two, treet fut pattems, interpreting each pattern es four sixteenth notes. (Variations) hands Following te indicated sticking, play each patern using various surface combinations: both right and left hand on snare drum. righthand’ on tor, left hand on snare = tight hand moving fom Surface to surace, ad lb; lft hand stationary on snare left hand moving from surface to surface, ad lib; right hand stationary on ‘ymbal, snare, oF tm. — both hands moving from surface to surface, ad lib, hands and feet Pray each pattern three times, interpreting the combination as four ples In ine. Play the fet part on the bass drum and close the hi-hat on beats 2 aed or all four beats Example (943) irae) 3 | t r Also try combining thee difecent patterns 4 a 2 ae eee yy 32 [El eianen rove Fu Patterns 1v “These extended linea ls involve movernent between the hends and bass drum. Notice the asymmetrical placement of the three beat motive in each pattern creste'a inves agoinst fur fee. Practice Options 'D Insert four measures of jazz time between each fl (as if tading fours), Repeatedly play only te Rist or second hal of any ofthe fils (measures 1 and 2 oF Sand 4) 1D Combine various measures from any ofthe ils in any order. Example (#1d#50.-#4c.- #34.) pel} LT, prophet, tet Pay he ig fs consecutively to create 3 hyo meas oo 1 Swing the eighth notes (75 =). Pay each fin cur ime, Gi Substtute various appropriate hi-hat patterns (see p, 151), hands B Folowing the indicated sticking, play each il using various surface combinations ‘= righthand on eyeiba bell or special effects cymbal, let hand on snare, tight hand moving from surface to surface, ad lib; leR hand stationary on left hand moving from surface to surface, ad libs right hand stationary on ‘ymbal, sare, of tm. — bath ens moving from surface to surface, ad lb, {1 Paay any hand stoke as lam or double stroke. 11 Ptay the snare drum pert using various sticking patterns Example (#1)— using paradidale-besed sticking falas oa oa tot ee the hrhat parton the base drum. Play the right lef hand parts onthe fiat, Opening the hi-hat" beat belore you close ng mer oP eT yy po Py ‘Also play the bass drum when the hi-hat is open only (athe than onthe back-beats| as shown in the example above). 38 34 Eighth Note Grocoe/Fll Patterns 1 See Sacre ae ee eo ne —Play feet part on the bass drum and hi-hat in unison, Example (#A10) aE ; — Pray te fet part on the bass drum end keep time withthe hi-hat. Examples (#410) ica ig J — Play the feet parton the hi-hat and keep tine with the bass drum, Examples (#410) S95 Al Ay 7 | I “ (Practice Options] Play each patern inthe context of time (seep. 6). 1B Swing the eighth notes (y=). Combine any two, tree, o¢ four paters, interpreting each patter as four skteenth {Repeatedly alternate pattern #1 in each lettered section with any other pattern in the section hands Following the indicated sticking, play each pattern using vatious surface combi = both right and lef hand on snare drum. tight hand moving for surface to surface, ad lh le hand stationary on snare. —lefthand moving rom surface te surface, ad lb: ight hand stationary on cya, ‘—oth hands moving from surface to surface, ad lib hands and feet Play each pattem three times, interpreting the combination as four triplets in time. Ply the fet part on the bass drum and close the hichat on beats 2 and 4 ol four beats os Example (4315) ees oy Bi t ¥ Play each pattem three times, interpyeting the combination as two measures in time. Play thehichat using one of the fhchet pattems on page 131 Eighth Note Groowe Patterns qe J wu ae ae ae ae oa EP 4p iF Ed f an Fy - ; i a Eighth Note Groove/RU Pater ie cS 2 AP aetr MP fat? 37 [Ei ctantn note arooves v Te pee oe cid a ae oo ae ma aecieiiger rem (CPacice opioas) Er Pn he es parton a cymbal belo cob 1 Play de tide aston a ches that (ori he Tee foot ort). Rejected ply cortincions f:cc°'h and Gop pates to crete new Soovesie ths meas Far carpe: —"a." of °b.” alone ( Z). Tot lowed by "oar" followed by “0 (2) — entire pattern followed by “a.” or “b.” (). the pater lowed by" and-b (2) —entire pattern twice followed by “a.” and “b.” ( #P). 1 omrsnare Gru nas nf Fi Seing the igh notes (22 # 373) Fy Sceate vos eprewate at peters (ep 151), hands 1D Play the snare parton various surfaces, al B Substitute any ofthe fllowing ride patiens alt py pO 15 Play only the hand parts as writen, and Keep time with the feet, 1D Play only the feet ports os wilten, and keep time withthe hands. 38 Sbxteenth Note Grooves I ‘These grooves combine a constant ride and sn rum pats Practice Options |] {1 Pray the ride part on 2 cymbal bel or cowbell Play the ride part ona closed hichat (omit the lef foot part). {Pay the ride parton the hi-hat, opening it Yor i, beat before you close it on the bbackcbeats. Omit the ride when the hi-hat closes, (in ther words, do not strike the hivhat with your sick when yau ate closing with your foot.) Combine test al of eny pate a7) wlth the second hl of ny other pater (be, 5 Repeatedly alternate pattern #1 with any other pattern 5 Combine any wo pater, Gi Swing the sixteenth notes (S753 - AT7H ). (5 Substtute various appropriate hichat patterns (see p. 151). (Naristions-] hands While playing the rde on a cymbal or closed hi-hat, add any ofthe fllowing accent pattems to the ide. Play tha accented notes with the shoulser af the stick on the Eymbal bell orisha eae, a 5 c > /hshat back-beat with various bess Cl Substtute any ofthe following ride patterns A 8 G D. - iT, BE, 2 3 PEG + FER aE ea er PEFe oa PererRrrrs errr oe afi 39 BB ctontnysixteenth Note Grooves 1 These graoves combine # constent ride end snare/h-hat bock-beat with various boss rum parts, (Practice Options | {Phy de de porto «cynical iPlay the id parton closed it (omt he lef fot part) 5 Ptay the ride parton the hichat, opening Its or i beat before you close ton the Dack beats: Omi the ide when the hit closes, (in ther word, do not strike the bhubat with your sic hen you are closing i uith your foot) {Combine the fest hal of any pattem (a."} with ve second half of anyother pattern ob 9 Repent alemate pattern #1 with anyother pater. Combine ay 00 patterns 7 Sung tne steer notes (ET - eT), 5. Subete various appropriate hchat poten (seep. 151), Vs ands Z While playing the rde on a cymbal or closed hi-hat, add any ofthe fllowing accent pattern (0 the ride, Play the accented notes with the shouldet of the sick on the ymbal bell or hi-hat edge. 1 Substitute ether ofthe following ride patterns. a ae) ) .—>1—_5 . S77 2 t “0 Eighth/Sixteenth Note Grooves I! These grooves combine a constant ride and snare/hi-hat back: beat with various bass drum parts 1 Play the ride part on 2 closed hi-hat (omit the lft oot part), 1 Piay the ride parton the chat, opening it Ya or %h beat before you close k on the baci beats. Omit the ride whan the hi-hat closes. (nother words, donot strike the hi hhat with your stck when you are closing with your foot) Repeatedly alternate patizen #1 with any other pater, I Combine any two pattems 5 Swing the sixteenth notes (S777 - ATT). 5 Substute various appropriate hichat patterns (see p. 151) hands (D White playing the ride and feet as written, play a snere drum cross-sck effect on beat 1, and a am on beat 2 (the beck: beat) iH J YT t 5 Example (18) ao elt ET, Th 4 res foe ne Hol r r r r ; FF t if t t : r at Sixteenth Note Grooves i! In these grooves, the constant sixteenth note pulse Is created by movement between the bass drum and de, Only the snare crum back beat and hi-hat remain constant 1 Play the cymbal part on a closed hi-hat (omit the left foot part). El Play the cymbel parton Une isl, pening Wp ot i beat before you clase it on the back beat, [ Combine the fist haf of any pattern (* be. 11 Repeatedly altemate pattern #1 with anyother pattern. I Combine any two patterns. : 1D Swing the sixteenth notes (S773 - TT). 1 Subatiute various appropriate hishat patterns (see p. 151). (Cerations hands 'D Replace the broken ride part In each pattern witha constant slateenth note ride. feet D When two of more consecutive notes exist in the bass drum part omit the hi-hat part and alternate the feet (RL o LR) to play the consecutive notes (use the bass frum and hichat, double bass drums, or a double bass pedal). hands and fest (C Reverse the roles ofthe fect, playing the bass drum parton the hthat (left fot), and the hichat parton the bess drum. Pla the ee parton the hi-hat, opening the Ni-hat ‘beat before you close withthe second half of any other pattern 2 Sbxteenth Note Grooves Ill Each groove incorporates a constant ride on an opening and closing hi-hat ta create a slightly syncopated fee. Ride on the edge of the hi-hat eymbale wit the shoulder of your Stick to Increase the opening and closing effect, [Practice Options: Cl Omit the ride when the hi-hat closes. (In other words, de not strike the hi-hat with ‘your stick when you ate closing with your foot.) © Combine the first half of any pattem (2,") with the second half of ony other pattern (ory 5 Combine any two pater. (D Play the ride part on @ cymbal, and play the feet part using double bass crums or @ ‘double bass pedal: or play both the bass drum and hi-hat parts with your right foot on single bass aru, . CSwing the sixteenth notes ( A779 - HTH). ions 11 Except forthe back-beats, play a tom any time the hi-hat is open. On the back-beas, Play the snare drum as writen, Example (#22) ‘ ees fa alae feet ‘Din addition to playing the bass drum as writen, play i any other time the hi-hat is open. Example (#23) Sixteenth Note Fill Patterns I ‘These fls contain a simple alternating sticking pattern moving around the drums, (Practice Options] {1 Pay each fil in the context of time (see p. 6) 11 Play portions ofeach fl within the time Example (#5) es tine, 1B Combine any a." with any “b.* with eny “* with any “A.” Example (¥2a.-#3b.-#40.-#14) 5 Combine any two fils. Pay the sixteen ils consecutively. 1B Substitute various appropriate hi-hat ond fet pattems (see pp. 150-151), Pray any snare note as an open double stoke, hand and fest Delete any snare drum note end replace it with a bass drum note. (Om the written bass drum part when using this variation) example (10) 72 ae Pere ce Play each pattern (or portions of each pattern) in various chythmic and metric Example (611) — portion of pattern inf Example (#11) — complete pattern in & Sitenth Noe Fl Pats eee 7 pooon TTT, ST PL a a RAR pT AT, ttf t—1—t +t tt pa RR j aE, EE i—t IE — EE LAAT, + ttt eee 46 Eighth/Siateenth Note Fl Patterns ‘While these fils incorporate a wide variety of cighth/sixtzenth note combinations, place ment ofthe toms on each beat remains the sarne within each pattern, Only the use of the Share drum changes. (Prsctice Options: {Play each filin the context of time (see p. 6 i Combine any “a,” with any "b." with eny “c Example (#5a-#7b.#8b.-#160.) ‘Aso combine to, three, and five heats to create #, and § fils 1D Play the sixteen fils consecutively Substitute various appropriate hi-hat and fet paterns (see pp. 150-151), (Waristons] hands 1 Pray notes as ams or open double strokes, a ib, Example (#6) oi f J led fest Example (#13) (fl ett Pray the bass drum on any slateenth note subdivision on which the hands do not play (omit the waitten bess drum part). Play the hi-hat on all four beats, Example (#2) 8 Stcteenth Note Fl Patterns I ‘These fils are based on the triplet pattems on page 89. By interpreting those si-note fs. in a duple seting, an asymmetrical feel Is ereated. (Depending on your playing beck. ‘round, you may find it helpful to master the p. 89 pattems before working through ths Study) (Practice Options] Play each filin the context of time (see p. 6) 5 Combine any "a" with any Sb." with any *c" Combine any ta fils Play the elghtecn fils consecutively. 1B Substitute various appropriate het and feet pattems (see pp. 150-151). hands Pay any snare note as an open double stroke, iPlay the last two sixteenth notes of each pattern as double strokes 5 Omit sixteenth notes ad lb, creating syncopated thythmic gues, hands and feet, {Delete the hand part whenever the bess drum Is playing, (Try this variation with feet patams showin on pp. 150-151.) ‘Steck Note Fil Paes 50 Sixteenth Note Fill Patterns Ill In these fills, the bass drum and cymbal break up simple patterns around the drums on beats 3 and 4 [Practice Options] Play each fil the context of time (e090. omit beat | or beats 1 and to creste Yor ¥ il. 1B Play beat 1 ewice to create il. (Wart hands Pay alltom notes on the snare drum, 5lOn the second half of each fil delete the right hand part whenever you play the bass drum. (In other words, delete all cymbal nates) Example (#12) if | feet On bests 1 and 2, play the same bass drum rhythms as written for beats 3 and 4 (ly the hands as writen throughout), [On beats 1 and 2, substitute any of the following feet pattems, or any other appropri- tate two beat feet pattern (see pp. 150-151). ‘ 8 Siatenth Noe Fl Pats EER, ET FES PEER PPA PEPE PRE PPR 52 Sixteenth Note Fill Patterns IV ‘het fl begining on p54) are bated on varius sticking poems races OES] {1 Pray each Alin the content of me (see p 6). 1D Combine the fest haf of any pattern ("a") with the second half of any other pattem (Co) Combine any complete pattern with eny past of any other patter to create odd me- ter fills (or example, one complete pattzin combined wih te fist six notes of en ‘ther to create 2 il) ‘Combine any two patterns 5 Substitute vacious appropriate hishot end fet pattems (see pp. 150-151). (Variations hands Following the indicated sticking, play each fil using various surface combinations: "bath tight sn let hand on snare dru, fight hand on tom, let hand on snare. = ight hand moving from surTece to surface, ad lb; left hand stationary on = Teft hand moving from surface to surface, ad libs right hand stationary on —both ands moving from surface to surface, a lb 1D Pay each patter twice, fst with your rght hand on a eymbal or closed hi-hat and left hand on the snare, then with Yeur lft hand on a cymbal or closed Hchet and Fight hand! on the snare. Example (843, with hichat closed) ng | ‘State Note Fl Patton hands and feet {iPlay the cymbal parton a cymbal bell or cowbell Double the cymbal part with the ‘base drum, and cose the hichat onal four beats coe Example (#812) C1 piay each pattern tice, fist with your Hight hand on a cymbal or closed hi-hat and Teft hand on the snare, then with your left hand on a cymbal or closed hi-hat and Tight and on the snare. Double the eymbal/a-nat part with the bass drum both mes, Example (#3, with hi-hat closed) ig 1 Ptay each sticking pattern with your feet while you play any ofthe fllowing with your hands: Interpret each pattem as two groups of four thity-second notes and play in the ‘context of time, Use any appropiate feet pattern (seep. 150). npos ae eas Example (#48) Sixteenth Note Fill Patterns V ‘These fis combine three and sk note sticking pattems In dupe settings. 15 Play each fin the context of time (see p. 6) Ci Combine any "a." with any *b." with any "c.” Any order of "a," "b," and “eis possible 1) Combine any two pater. Substitute various appropriate bishat and fet patterns (see pp. 150-151). ands (i Fellowing the indicated sticking, play each fll using various surface combinations: ‘tight hand on tom, eymbal bell, or special effects cymbal: et hand on snare fight and moving from surface to surface, ad i, lefvhand stationary on snre, Tetthand moving rom surface to wirlace, ad lbs right hend stationary on snare both hands moving from surface to surface, ad f hands and feet Play each pattern with your right hend on ¢ closed h-het. Double the right hand part withthe bass drum. ee i ae A 7 Play the right hand part using snaretom doublestops, and play the let hand part fon the bass drum Close the hi-hat oa al four beats, (EE 11 Play each sticking pattern with your feet while your hands play the following: Example (#45) Example (#87) —— = es —— — 4 ——— = Sixteenth Note Grooves IV Each groove combines constant feet with a constant inverted paradiddle pattern in the hands, The only varlable ls the placement ofthe accents, The accent fling onthe back beat should be stronger than the other accents the messure Prats Opn] Play the cymbal parton closed hi-hat (omit he let ft pat) Play the secented cymbal notes with the shoulder ofthe stick on the eymbel bel or Disha edge, D Play some or all ofthe accented notes on alternate surfaces, 1] Repeatedly alternate pattern #1 with any other pattern. 1D Combine any to pater, 1 Substtate various appropriate hich ad fet patterns (see pp. 150-151), 1 Play eoch poten at # An the conten of te (ose p-6) (LWatiations ands Substitute any of the following accent patterns on beat 2 Example (#10) ry ' Play each accent pattern using other sticking patterns. Be sure the snare drum, ‘alvays falls on the back: beat Examples (#7) f SS a f 60 Eighth/Sixteenth Note Fill Patterns Il In this study, you create lls by combining any lettered one beat pattern with any numbered three beat pattern Practice Option: 11 Play each fil in the context of time (see p. 6) 1 Piay the eymbal part on closed hi-hat (orl the lft foot part). Play the accented cymbal notes with the shoulder of the ail’ on the cymbal bell or ishat sage, G Play the numbered patterns alone to create f fills D Play lettered pattems before and after any numbered pattern to create fs, 15 Substtute various appropriate hchat and fet pattern (see pp. 150-151). ‘Varistions hands 1 Pray the accented notes on toms, 2 Pekek feet 1 Double the cymbal part withthe bass drum. Close the hi-hat om all four beats. Example (#410) * hands and feet Play the bass drum on all accented cymbal note, Play a rim shot on all accented snare crum notes, Play the cymbal parton 9 closed hi-hat. On all accented cymbal notes, delete the ‘eymbal part and play the bass drum insteed. Example (#410) © a aE AE 1 Play the cymbal parton @ closed hi-hat. On al accented notes, delete the hand pert land pay the base drum instead, Example (##10) & Aegan oP ey afata + | ie FP fafa fara fa 2 Samba Grooves I ‘While these Samba grooves are notated in , they should maintain the traditional cut time “tworfeel" Notice thatthe snare drum part and characteristic feet pattern temaln constant within each letered section; only the syncopated ride changes To achieve a more authentic sound, play with. lighter fel than you would when playing ‘most rock styles, and accent the bass drum port on bests 2 and 4 (Praatiee Options 5 Play the rde parton a cymbal bell or cowbell Alternate the snare drum part between the snare and @ tom, or pay itentely on ther surfaces, ad ib {1 Repeatedly play only the frst or second half of each pattern, 5 Substitate various appropriate hshet and feet patterns (see pp. 150-151). hands Replace the writen snare drum part in section “A." with a simple of-beat eighth note pattern Example (#Al, hands only) +p TRIB 4 gg ne log = toto Stato to Cee to Food 64 EDD seme Groves \Wiile these Samba grooves are notated in 4. they should maintain the traditional cut lime *two-feel.” Notice thatthe ride ana characteristic fet pattern remain constant witha teach lettered section; only the syncopated snare drum pet changes ‘To achieve @ more authentic sound, play witha lighter fel than you would when playing most rock styles, and accent the bass drum part on beats 2 and 4 ( Practiee Options 1 Pray the ride part on cymbal bel or cowbell y he snare part on other surfaces, ad Combine the frst half of any pattern (*.") withthe second half of any ether pattern (or. Repeatedly play only the frst or second half of each patter, Substitute various appropriate hi-hat and feet patterns (see pp. 150-151). Coot ey SE HET “CEC ef tor - i; ve ty (Lo, DG TE jae joe Rese J Eee etter PRY : pa Sorter t Cetrtettior 66 ‘Sixteenth Note Fill Patterns VI ‘These patterns combine syncopated patterns in each hand to create constant sixteenth note patterns (Practice Options] {1 Pray each fil in the context of time (see p. 6) 11 Play the cymbal pat on cymbal bel of cowbell {Play the cymbal part on a closed h-het (omit the left foot part) Pay snare drum notes on non:snare surfaces, ad I, Pay the snare parton a cymbal bell or closed hi-hat (omit the let foot part): play {he eymbal parton the snare tors, and special eligt cymbals, ad Ub, 5 Omit the rato last beat of each pattern to created Hills [5 Repeat the fist beat of each pettern atthe end ofthe patterns to create fil 1D Substitute various appropriate h:het and feet pattems (see pp. 150-151). male tt pee! tote tot tt tt ot oe Elghth/Sixteenth Note Grooves Ill ‘These grooves combine a constant eighth note ride/back-beot pattern and constant feet with verious snare drum parts. (Practice Options] {Play the cymbal of-beats (the “E's” } on the cymbal bell Play beat Ion the cymbal Dow Pay the cymbel part on a closed h-het (omit the let foot pat) FI Piay the cymbal parton the hichat, opening it beat before you close it. Omit the Fide when the hi-hat closes. (In other words, do not sik the hi-hat with your stick when you are closing & with your fact) (Ci With the exception ofthe back-beat, play one hand pert on a cymbal and the other hhend parton closed hishat (omit the fet foot part) lay he beck beat on the snare Grum or any ober surface {1 With the exception of the back-beat, play both hand parts ently on the hi-hat Play the back-beat on the snare drum or any other surface. Open the Hihet is Bent before you close i. 1 Repeated alternate pattern #1 with any other pattern El Combine eny two patterns iPlay the sixteen patterns consecutively, starting pp and gradually crescendoing to Lf, oF vice versa ‘D Bebstitute various appropriate hi-hat and feet pattems (see pp. 150-151). Stetenth Note Grooves V ‘These grooves combine a constant feet pattern with a constant alternating pattern inthe hhands; the only variable the placernent of the accents. Accents falling on the back-beat Should be stronger than any other eccents appearing In the measure, (Note that all ‘Sccents are played on the snare rum) Options] 11 Play the cymbal parton a cymbal bel Play the eymbal part on a closed Achat (om the left fot part). 1E Play the eymbal par on the hi-hat, opening It Ys beat before you close it. Omit the fide when the Ri-het loses. (In other words, dont strike the hichat with your sick ‘when you are closing it with your foot) Pay some or ll of the eccented notes on other surfaces 1B With the exception ofthe back-best, play bath hand parts entirely on the hishat ‘Keep the hirhat closed and play the accented cymbal notes on the hi-hat edge with the shoulder ofthe sick. 1 Repeated alternate patie #1 with any other pattern, El Combine any two patterns. 1 Play te sateen patterns consecutvels starting pp and gradual ff er vice versa 11 Sttiite various appropriate hi-hat and feet pattems (see pp. 150-151). 1 ‘crescendoing to (CYaations |) hands and feet {With the exception of the back-beat, play both hand parts entirely on the hi-hat Open the hshat on accented notes, and close it on tHe subsequent non-accented notes. Os ehe Example (17) zi oe - nm BEI ctanysiteenh note Grooves V ‘These grooves combine a constant eighth note cymbal/tom back-beat pattern and constant feet with various snare parts, 1 Piay the cymbal part on a cymbal bell or special effects cymbal Play the cymbal parton the hichat opening I Vp beat before you close it Pay the eymbal part on a cymbal bell and the snare drum parton the hi-hat with your hand. Open the hi-hat My ofp beat before you cose it (or keep it closed hrougnout the groove) (Play the tom note on ather surfaces 5 Play the sare dum notes on other surfaces, 5 Add various accent patterns othe hand pars 5 Combine the first haf of any pattern ("a.) with the second half f any other pattern a 1 Combine any two potters, Play the sinteen patterns consecutively, starting pp and greduelly crescendoing to ff crvice versa 1 Stbstiste various appropriate hi-hat and feet pattems (see pp, 150-151). ronan iro Fy 7 | a Eighth/Sixteenth Note Grooves V ‘These grooves combine a constant eighth note cymbal/snare back-best pattern and con- stant fet with various eymbal pars. Play the constant cymbal part onthe hi-hat, Play the vargble eymbal patton the hi hata cymbal bel ora special effects cymbal. Open the hi-hat" oY beat belore {oui lose I (or Keep It closed throughout the groove). Play the eymbal notes in ether of both hands on other surfaces. 5 Combine the frst half of any pattern ("2") with the second Nal of any other pattern (be. C1 Combine any two patterns. El Piay the siteen patiems consecutively, starting pp and gradually crescendoing to Lforvice vel 1 Stbettte various appropriate h-hat and feet pattems (see pp. 150-151), Hl o.oo t—t I n Sistah ras Ones ‘These grooves combine a constant cymbalsnare drum hand pattezn and constant let foot hi-hat part with various bass drum parts (Practice Options] 1 Pray the cymbal part with beth honds on the hi-hat, both hands on cymbl bells, oF ‘one hand onthe hi-hat and the other on 2 cymbal bell Combine the frst haf of any pattern ("a") with the second half of any other pattern (or) Combine any two patterns. Play the sixteen patterns consecutively, starting pp and gradually crescendolng to ff or vice versa, 2 Substitute various appropriate hi-hat pattems (see p. 151) (Waviaions] hands 1 Substitute hand patterns which involve other surfaces. For example: ‘hands and feet {Substitute the folowing hand patter. Pay the cymbal pert on the hi-hat, closing it ‘on beat 2 or beats 1 and 2 B Sixteenth Note Grooves Vi “These grooves combine a constant cymbal/snare drum hand patiern and constant bass drum pattern with various Bi-hat pats. Pay the cyl part ith one hand ona cymbal ello cola the other hand ‘onthe nicht, 11 Play the snare drum back-beat on other surfaces 1] Play the entire cymbal part onthe hi-hat (both Ponds) 5 With the exception of fae back-beat, omit the hand part when you are closing the shat with your foot Combine the fist half of any pattern ("a.") with the second half of any other pattern 1 Repeatedly slternate pattern #1 with any other pater. 1D Combine any two paters, (Variations | foot (Play the bass drum when the hi-hat is open onl Example (21) a i 1 ” Sixteenth Note Grooves Vill In these pattern, only the bss drum remains constant, 5 Play the cymbal notes in both hands on the hi-hat. Omit cymbal notes occurring when you ae closing the hi-hat with your fot. 1 Pay the snere drum pert on another Surface, Combine two, three, four, or five patterns to create 4 if and grooves. 1 Play each pattern aga ln the context of ume (seep. 6) Variations feet {Pray the bass drum when the (Play the bass drum when hishat Is open ony the hiat closes ony. ees Peesee Example (436) 5 ‘ a a RBS | 1] A J a i a | aT ‘ HAT i 16 Stetenth Nt atin Oroooes These grooves combine constant feet with various hand and accent patterns. They take fon a more sambarlke feel when combined wlth Brazilin-type feet pattems (see pp. 130-151). (Practice Options |] 1D Play the eymbal parton a cymbal bell or cowbel 5 Play the cymbal parton closed hichat (omit the left fot pat). 5 Play the accented cymbal notes with the shoulder of te stick on the cymbal bell or hishat edge. Play tha unaccented eymbal nates on the cymbel or hi-hat bow 1D Play some oral of the accented notes on other surfaces, 1 Combine any two pater. 1D Substitute various appropriate hi-hat and feet pettems (see pp.150-151) hands and feet Play the cymbal parton the hi-hat. Play the snare drum parton the hichat with your hhand, except for the back-beat, which you should play on the snare. Open the hi-hat (on accented notes, and close ton the subsequent non-accented note, Pay the bess rum on beat T ony, Example (#5) 5 n Eig Sixteenth Note Grooves IX “These patterns combine a constant eighth note ride and quarter note hi-hat pattern with inteenth note pattems moving between the snare drum and bass drum. (Pacis Options] {1 Pay the ride part ona cymbal belo comb 5 Pay the ie art ona cased cha omit he lft foot par). Pay tne ie prt onthe hi-hat, opening Its beat before You close it As an option Bik the rde’wben tne Het len in other ward, donot sek the What with oy anaes wi yor at) ing the seen tes (APE are Bi Combine wo, three, four, of five pattarts to create %,, 4, and grooves. 1 Sepsttute vtious spproprete hint patens (eee p- 151 1 Pay each pattem as inthe content of te (sce p- 6) hands 1 Substitute any ofthe following ride patterns. Play the accented notes withthe shoul- Ger ofthe stick on the cymbal bell or hi-hat edge. 6 Eighth/Sixteenth Note Grooves VI ‘These grooves combine a constant eighth note ride and back-best hi-hat pattern wth ‘ighth/Sixteenth note patterns moving between the snare drum and bass cram. (ote that section "A." mire section “B") 1D Play the rde part ona closed hi-hat (omit the lft foot part) Play the ride parton the hist, opening it Yp beat before you close i. As an option, omit the ide when the hi-hat closes, tin other words, do not stike the hihet with Your sick when you ae closing wth your foat) C Repeatedly alternate patiemn ®AT or #51 with eny other pattern within the same section "A." of “B-) 1 Combine any two patterns within the same section (“A." of “B” Repeatedly alternate patterns with the same number frm Sections “A” and “B.* a fberame WAS wih 83,647 wth 47 te). ‘Swing the sieenth notes (emmy) 1D Substhute various approprite Nat pattens (see p, 151), (CWarations hands {While playing the ride on a cymbal or closed hichat add any ofthe following accent patterns to the ride. Play the accented notes with the shoulder f the stlek on the ‘eymbal bell or hi-hat edge 040, $8Een, 10200, rat FP ee g r T t ee ¥ t tT rn Tea WE) sixcentn nove Grooves In these linear grooves, the hands and bess drum combine to create continuous sixteenth notes. {1 Pray the cymbal part on a cymbal bell or cowbell, 1 Pay the cymbal parton a closed hichat (omit the left foot pat. ] Pray accents on Both beats | and 2 5 Pray some or all ofthe cymbal notes on other surfaces. 5 Combine any two patterns, 1D Substitute various appropriate bichat pattems (ste p. 151), Play each pattern as film the context of time (see p. 6), (avistions] feet 1 Piay the hands as writen. Substitute any ofthe fllowing constant feet patterns. A .. © b, = (1 Play the bass drum par wth Both the boss drum and hi-hat in unison (omit the write hist part). hhands and feet 1 Replace the fis half of any groove withthe following pattern. Ae apt) (al TY t Replace the second ha of any groove wit the following pattern. Example (#21) 2 t a ¥ t t fi r t nan { E, J E t ph cUP, (TEP, fa Eighth Note Triplet Grooves | These gooves combine «constr jt de and constant eet with varous sare prt Fay the sar rum ond besa crm with og el than xr wold hot plage poporrock roves “Pei OFTEN] omit ne bas crm pc abn he thal of any patern (0°) wan he second al of any cer pattem ey Stine any wo pees, 1 Schau ous appropri h-ht an fet puters (ee pp 150-151) ins] hands 1 Subatate any ofthe folowing ride paters, atl, AGG, $50, pl oo, Pray the snare drum parton the bass drum (omit the wien bess drum part). Omit the snare drum completly, or play fron best 2 Example (#86) Compound Meter Eighth Note Grooves ! a EPS “These grooves combine constant hishat ride, snare, and bass drum parts with vaslous Ieft foot hihat parts, Ride on the edge of the hi-hat cymbals with the shoulder ofthe sek fa enhance the opening and closing effect, Cl Omi the ride when the hi-hat closes. (in other words, do not strike the hichat with ‘your stick when you are closing it with your foot) 1 Ride one cymbal, Play the leh foot hihat pert on the bass drum using a double pedal ora second bass rum. 1 Gombine the fst haf of any pater (*2") with the second half of any other patern & 1 Repbiedl alenate pater #1 wi ny oter pater. 5 Cosine ty sve peers fest 1 Substitute any ofthe following bass drum pattems pen fe pe Ee Play the bess drum when Example (#13) the hi-hat is open only fr. Pemasse g FPA a a Eighth Note Trptet Fl Pater or section “B." consecutively to create a sateen 1s appropriate hi-hat and feet pattems (see pp. 150-151), - fr Ah i q. CEE tot te ie ioe 3. Pal 4 rr Eighth Note Tet Patterns 85 (aration oo =e came Ty Tt 1 Pay each om ate a8 jis cee iced pee fee ees ree ieee ene ere tal oe ands and eet err each pater as seen note tps n ine Play quae ots on the tesvarum anda Eighth Note Triplet Fill Patterns It In adidtion to functioning as phrase-ending fils, short triplet patterns such as these are ideal for use as part of big band/janz ensemble set up/lead-ina. In this context, be sure that te fil ends on the beet before the ensemble gure (Kick) you are seting up. The fil should end oa the beat regardless of whether the Agute is on or off the best. ending _Soure/kick ending _Saure/kick aera ] Siegel 5 [Praetice Options] (1 Play each fil in the context of time (seep. 6) oF as pat of set-ups for various igures (see above). D Combine the fst half of any fil (a) withthe second half of any other fll (*b.”) within the some section "A." of “B. Combine any thee halyes (a. =b. CAP of °B.") to create as {Combine any two ils uithin the same section ("A." or “2, 1 Substitute various apprepaate Ri-het and feet pattems (see pp. 150-151), (Clariations hands {Interpret each triplet as any ofthe flowing elghth/sbteenth note combinations. SE Sa eed: hands and feet 1D Interpret each pattern as a one-measure# fil by playing each par of triplets as tee pairs of eighth notes. Use the following feet pater, or "b. =a. - bY) within the same section Example (#814) Interpret each patter as a one-measure ffl. Play each pair of tplts twice as si sixteenth notes. Use the folowing feet pattern, tea ig When playing § fils in the context of me, use grooves such as those found in Study #45, page 83. Example (#48) 88 Elghth Note Triplet Fl Patera i Like the fils n Study #87, these fils set-ups/leadins {Play each fillin the context of ime (see p. 6) or as part af setups for various fgures (seep. 86). I Combine any two fils 15 Substitute various appropriate hishat and fet patterns (see pp. 150-151). Vans] hands ‘deal for use as part of big bond/jatz ensemble {Ptay the last two strokes ofeach fll as elther open double stroke of alternating single stroke siteenth notes, Examples (#5) — f ‘Di Incrpret each triplet as any ofthe following eighth/sateenth note combinations. Ae aa ey hands and feet, 1 Interpret each pattem as one-measure {fill by playing each pair of triplets as three pairs of eighth notes, Use the fllowing feet pattern Example (#2) ai ree ee (Pea es er Pe iPeiee PPS ey eS 90 BB etonen rote Triptet Fu Patterns 1v ‘These fils consist of various triplet sticking patterns spread around the drum set. When playing consecutive notes with the same hand, be sure that you play each note with equal lrtenaty. ([Pisetice Options] 1 Play each filin the context of time (see p. 6) 1 Combine any tvo fil 1 Substitute various appropriate hit and feet patterns (see pp. 150-151). hands 11 Following the indeate sticking, play each fil using the folowing surface combinations ‘— both sight and let hand on snare drum. ight hand stationary on ane tom, let hand on snare, right hand moving from surface to surface, ad lib; let hand statlonary on — Left hand moving from surface to surface, ad liba right hand stationary on snare or cymbal bell _— both hands moving from surface to surface, ad Ub hands and fest 1 Play the tom parton a cymbel bell, and double it with the base drum, Close the hi- hat on beats 2 and 4 (om the writen base drum par). ieticn t t Play the tom part on the snere drum and the snare part on the hi-hat (loosely closed). With the bass drum, double the hend part played on the hi-hat (om the ‘wntten bass drum pat), Example (#16) ch eh 2, Example (#16) EY 92 Elghth Note Taplet Fl Patterns V These fils consist of vious sticking pattems spread around the drum set. When playing consecutive notes with the same hand, be sure that you play each note with equal intensity. {Play each filin the context of time (see p. 6) 1D Combine any tvo fil 1B Substitute various appropriate hi-nat and feet pattems (see pp. 150-151), (CWarations hhands and feet 1 Delete ether tom part and pay the bass drum in space (omit the writen bass um par). Examples (#22) 1D Play the snare drum part with your feet. Play notes above the top line on the bass rum and notes below the topline on the A-hat. Either play the snare drum inn ‘on with the feet or amit some ofall ofthe snare drum nates, Interpret each pattern as sixteenth note tpets. Play quarter notes onthe bass drum and hi hat +t t—t — Fight Note Tepe FL Fates a - wo, Pea 2 Poe ey nf $f} — aC oo) 94 Eghth Note Tplet Fl Patterns V ‘These fils use four note groupings in a triplet setting to create an asymmetrical three against four fel (Praetie Options {Pray each filin the context of time (see p. 6) 1D Play tom notes on various cymbals or »foately closed hi hat Combine any "a." with any "b." with any "cr" Also try siting “a,” "by" or “eu playing ezch half n'a diffrent portion of the measure Example (},012"2"- 45°" #4%e.* = Yt: ar) Combine any tvo fil 'G Substitute various appropriate hi-hat and feet patterns (see pp. 150-151). ions] hands {1 Pray any snare note or any tom note ot an open dauble stroke, Examples (48) Ran fot ii te ‘Delete either the latge tom notes, the smell tom notes, or both, and replace them ‘with bass drum notes (omit the writen bass drum pant) amples (10) a oc Pr ] lar | 7] aoe tena Delete the snate drum notes played by either or both hands, and replace them with bass crum notes (omit the writen bass drum pot), cameo) io ar } 1 t ip t Imerpret e2ch patter as siteenth note triplets Play quarter notes on the bass drum tnd i mat SE EEL ara 2a aa 2 afo Soa h. 7 * | we. Ep to Eighth Note Triplet Grooves It ‘These grooves combine a constant hi-hat and “three agains two" ride with various snare ‘and bass parts. Despite the way the grooves are broken up between the limbs, you should feel a "linea" eighth note tipet pulse throughout [Practice Options] 5 Omit the snare drum part onthe fret half (a.") or second half (*b) of each pattern 5. Combine the first half of any pattern ("a") with the second haf of any ther pater cb) D Combine the second half of any pattern with the fist hel of any atherpatern so that “b.falis on beat I and "a." fll on beat 2. Close the hi-hat on beat 2 only 1D Cémbine any two patterns, IB Substitute various appropriate hishat patterns (see pp. 150-151), (CWawstions] hands 1 Substinte any ofthe foowing ride patterns. am Sa ate ey Es ° sos , woh eT. Cop eer Egnts Hole Grose These grooves combine a constant eymbal/back-beat hand part and constant feet part with another hand part which varies from pattern to pattern, Play the constant cyrebal part on the edge of the hishat eymbals with the shoulder of yout sick to inctesse the pening and closing effect. {1 In section “A. pay the cymbal parts above the topline on a cymbal ell 'H Combine the first half of any pater ("a.) with the second half of any other pattern (2) within the same section "A" of "3." 1 Repeat shernate pater #7 or Bs) eet Substitute any ofthe fllowing feet patterns a ny other patter within the same secon (“A." ‘Compound Meter Eighth Note Grooves Il In these patterns, only the bass drum remains constant. Play the cymbal parts on the ‘edge of the bichat cymbals withthe shoulder of your stck to Increase the opening and losing effect. 5 Combine two, three, four or five patterns to create §, 8. 'F, and grooves Pay exch patieen 95a Bilin the contet of time (seep. 6) ae TH Puy constant ih oes n ter bth hands Eo A 5 ’ ‘ ] Jeet {Pay te bss drum when {Play te bse drum when Behies oper on Reha closes ony ‘Example (#19) os Example (#19) ——4 ET ed hands and fot Di Combine any tyo patterns, interpreting the combination as three groups of two ighth notes inf time, Example (#4-#5) a a So mo. J lle J 109 Eighth Note Triplet Fill Patterns VII “These fls contain movernent between the hands and bass drum. Play the double-stops using elther open oF closed (fle) fame, Play each filin the context of time (see p. 6). ‘Add a crescendo to eech fl 1D Combine any two fils. 1D Substitute various appropriate hichat patterns (see p. 151), (Casto ] ands 1 Pray each Al using various surface combinations Pray each doublestap as two independent 16th notes beginning with either hand. Examples (#20) (Interpret each triplet as any ofthe following eighth/siateenth note combinations. Se ee Sieg earn “ry combining these hythms within sil feet [5 Close the hi-hat in unison with the bass drum (omit the writen hi-hat part). Eight Note Tet Fl Patios vit ooh a Aaa t t RE eee Be ears aed 102 Flghth Note Tripet Ful Patterns Vi ‘These fis contain movement between the hands and bass drum. Played repeatedly at 2 {epid or gradualy accelerated tempo, they make effective extended slo licks 1 Pay each ithe content of tie (se 6) Base any "at wit sy he mat a9) wih ony“ Aso combine we, tes, tnd ve beats to ceste Pf and le 1a Pay hei widnracons The? "Bs" or “G7 consecutvely wo create aetcen fete sue

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