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HL06631474

Master Studies
by

Joe Morello
edited

uv

Rick Mattingly

Copyright 1983, 2000 by Modern Drummer Publications, Inc.

International Copyright Secured All Rights Reserved
Printed in U.S.A.

Published bv
u

MODeRn

DRummgR''Publications Inc.

12 Old Bridge Road, Cedar Grove, New Jersey 07009

ExcLUSIVELY DIaTRIBUIED BY

Zf,HAL.LeotvARD@
l<-coFrpoFtATIoN

Dedication
Although the actual writing of this book began about ten years ago, in concept it was born many years earlier, while I was
studying with Mr. George Lawrence Stone of Boston. At that time, the only book Mr. Stone had to his credit was Stick Control,
which I practiced religiously. However, being a bit precocious, I would frequently experiment with different ways to practice my
assignments. At my lesson each week, I would show these ideas to Mr. Stone and ask his opinion of them. He always seemed
to enjoy them, and one day, he honored me with the dedication of his second book, Accents And Rebounds, which he claimed
was inspired by some of my experiments.
Still not satisfied, Mr. Stone suggested that I rewrite Stick Control. I told Mr. Stone that I felt Strbk Controlwas perfect just the
way it was. I would never consider rewriting it, but I would love to collaborate on a new book with him. Unfortunately, my hectic
tour schedule and Mr. Stone's untimely passing turned this dream into an impossibility.
I therefore dedicate this book to Mr. George Lawrence Stone, and to my other two teachers, Joseph D. Sefcik and Billy
Gladstone, and to my wife, Jean Ann.

Design and Layout: David Creamer

Cover Photography: Rick Mattingly
Soecial thanks to:
Debbie Andreas
Jerry Bogner
Steve Forster
Danny Gottlieb

Contents
Introduction
by Jim Chapin

Preface

by Joe Morello

ACCENT STUDIES

8th Notes With Accents

Triplets With Accents ...
8th-Note and Triplet Combinations

6
12
18

BUZZ ROLL STUDIES

8th Notes With Buzz Rolls
Triplets With Buzz Rolls

20
25

STROKE COMBINATION STUDIES

Single and Double Combinations....
Double and Buzz Combinations. . . .
Single and Buzz Combinations....
Single, Double and Buzz Comblnations....
S-Stroke Roll Gombinations.
T.Stroke Roll Combinations.
S-Stroke and 7-Stroke Roll Combinations. . .
9-Stroke Roll Combinations.

30
31

32
32

34
36
37
39

CONTROL STUDIES
Sticking Exercise
Table of Time...
Endurance

Velocity
Progressive Accents
Dynamics.
The Stone "Killer"

40
42
44

45
48
52

54

FILL-IN STUDIES

Groups of Three With Fill-lns ....

Groups of Four With Fill-lns ....
Threes and Fours With Fill-lns ....
Groups of Two With Fill-|ns.....
Endurance Exercise With Fill-lns. . . . .

OSTINATO STUDIES
FLAM STUDIES

66
70
72
73
75
76

Flat Flams
8th Notes With Flams
Triplets With Flams

82
86
90

Biography

e4

' Introduction

by Jim ChaPin

a complicated recipe, this making of a drummer: the

ability to maintain an even tempo; a firm sense of meter; good
coordination between hands and feet; quick reflexes; the selfdiscipline that enables one to practice hard and with
concentration.
These are fundamental building blocks, and any young

ln his first few months in New York, Joe's intense interest in

drums and his natural modesty often conspired to get him in
trouble. In perfect innocence and admiration, Joe would ask
some respectable, though perhaps not overwhelming' technician to demonstrate a facet of his learning. Falling into the
trap, and without any idea of Joe's capabilities, the "mastef'

the preponderance of their talent usually lies in but one or two

and much cleanerl

Quite

drummer should consider himself blessed if he starts his

career with a sizable chunk of even one of them. Even the
greatest players make it clear that, in spite of their success,
of the above areas.

This is what makes Joe Morello so amazing. He has no

visible weaknesses. His time is impeccable; his taste is
unerringly correct with reflexes like lightning. And his

would display his technique. In all sincerity, Joe would

enthusiastically ask, "ls this right?" and then proceed- to
reproduce whatever had been demonstrated-twice as fast
Until the pecking order had been established, and Joe's

original position

as "new boy in town" had turned into

just as rewarding for the teacher as the pupil.

When I spent a day with Mr. Stone in 1951, he talked about

unhallenged "king of the hill," his sincere thirst for knowledge

made some unwary drummers quite nervous.
The Dave Brubeck Quartet had acquired a respectable
following of jazz fans well before Joe joined the group' Their
concerts were sellouts all over the country' However, Joe
brought a new solo voice into the fray, along with the facility
and flexibility to anticipate and complement Brubeck's search
for new rhythmic directions in iazz. Many composers in the pop
field learned their lessons well at the feet of these master
exoerimenters.
During the Brubeck years, Joe produced a body of recorded
solos that has no parallel in all iazz. In addition to all the
technical excellence on display, the final impression is one of
delightful discovery. The solos are so full of episode, of
delicious surprises, and of theme and variation that they stand
on their own as drum compositions.
Joe has maintained a lower profile recently, concentrating on

"the outstanding kid from Springfield" a good part of the time'

Of course, I didn't connect the "drum monster" I met at the

hearing-

coordination, on many different levels, is unique.

On top of what must have been an outstanding original

talent, the fact that Joe is one of the world's champion
practicers is also largely responsible. Many drummers have
conditioned themselves, sometimes grudgingly, to be with their
drums for some appreciable portion of their waking hours. Joe,
who has been playing drums for over thirty years, is still in the
first flush of a great love affair with the instrument.

Joe first studied with Joe Sefcik in his hometown

of

Springfield, Massachusetts. Sefcik was a remarkable teacher

who gave him a fine background, and then suggested Joe
study with George Lawrence Stone, a delightful man, who was
just overjoyed with Joe. Of course, the lessons proved to be

Valley Arena that very next year with Stone's prize pupil.
As far back as the mid-'SOs, Joe was far along in the process
of developing his own special and devastating technique, a
skill which has given rise to some marvelous drum mythology:
"Man, I never heard anything like it! That cat was rolling with his
left hand!" This technique might be characterized as a sort of
perpetual motion of evenly divided three- or four-note phrases'
Many drummers make a rough attempt at this effect by first
dragging the stick, in a kind of repeated buzz, and then
opening it, trying vainly to produce evenly divided accented
taps. Superficially, it might be said that Joe does the same

thing, but in contrast, his sound is perfectly "round," with no

breaks in continuity.

Probably, it is Joe's most amazing invention, but perhaps

some credit belongs to the late Billy Gladstone and his theory
of "catching the bounce." Joe took only a few lessons from
Gladstone, but all he has ever needed was the spark of an idea
from which to build an imposing edifice.

Speed? Joe can perform with one hand what others need two

hands or more to achieve. How did he arrive at this pinnacle?

Talent, energy-and an analytical mind.

New York's Hickory House was a iazz and steak house for
about forty years. From late 1952 until 1955, when he left
Marian McPartland to join Dave Brubeck, Joe held open drum

clinics there. Sitting

at the oval bar that

enclosed the

bandstand entitled a young drummer to more than the trio;

during the intermissions, one could follow Joe lo a rear table to

watch him perform miracles on a folded napkin.

teaching and cutting down

on personal appearances. But

Joe today is a real revelation. He is a veritable

powerhouse. Part of this relatively recent step forward is his
increased use and understanding of the Moeller system, which
he was forced to achieve from a distance and almost by
intuition.

Sanford Moeller, through years

of

observation,

had

discovered'that there was a common trait that "swift" drummers

seemed

to

share: the look

of the

hands and arms

in

relationship to the sticks. The action of the "thrown" accents

made it appear as though the sticks had a secret power of their
own. The exercises that Moeller invented and compiled utilized
the extraordinary acceleration of whipping accents, and an
axiom of physics: "An object in motion (in this case the tip of
the stick), rivhen allowed to move freely, tends to stay in
motion." Moeller claimed no origination of the system, and he
believed that really gifted students would eventually develop it
naturally through trial and error.

Joe never studied with Moeller. In later years,

Moeller

developed a habit of discouraging students from enrolling for

lessons. His rejection of Joe seems tragic in retrospecl.

Moeller would have been very proud to see what Joe has
accomplished with his system, even from a distance. He has
achieved standards of speed and dexterity that the "old man"

could never have possibly anticipated.

The student of this present work will find a real, bul realistic,
challenge here. For shining out from each exercise is the light
from the lively intelligence of Joe Morello-an all-time
drumming genius.

Preface

by Joe Morello

on technique
Master Studies is not intended to be a "how-to" book. By that I
mean that it's not an instruction book that will teach you

to be able to play what you hear in your mind and to be able to

various hand and stick oositions. nor does this book have
anything to do with any "style" of playing, nor is it intended to
give the drummer some "hot licks." This is a workbook of
material to use in developing the hands for accenting, and for
controlling the different pressures used in single strokes,

Although I am known as alazz drummer, I never studied jazz

drumming with anyone. My teachers were Joseph D. Sefcik,
George Lawrence Stone, and Billy Gladstone, who were not
jazz drummers by any means, but who knew how to get a good
sound out of a drum. In my travels around the world, I've run
into many different approaches and techniques. I think it would
be presumptuous of me to declare my way of playing as being
the "end-all" of techniques. However, there is one thing that I
want to make very clear: l've come to the conclusion that

double strokes, and closed rolls. You can go through this book
using whatever techniques you've been taught, and you can
apply the ideas in this book to any style of music you want.
Furthermore, this book does not have to be practiced in any
particular order. You can skip around and work on whichever
exercises are most appropriate to your needs at any given
time.

Technique is only a means to an end. The goal is to play

musically, but some drummers lose sight of this and approach

the drums strictly from a technical standpoint. Often, they

become so fascinated with speed that they miss the whole
point of music. So just studying this book for the technique
alone doesn't make any sense. You have to apply the
technique to the music you are playing. lf you need to use
accents, for example, this book will help you develop the ability

to put an accent wherever you hear one. But when you are
playing, you should not be thinking, "Well, now I'm going to play
page such-and-such trom Master Studies;'The ultimate goal is

play it instantly.

everything is done with natural body movement. The wrist turns

and everything have to be natural; they have to fit the way the
body is made. You must use everything in a natural way. After
you have been playing awhile, you will develop an individualized style, and each style has its place.
Some of the things in this book are unusual, and they might
give you different ideas about things you can do. For example,

some of the accents are in odd places, and in that respect, it

might open your mind to different patterns. But ultimately, it's
up to your imagination to develop your own creativity. So this
book is just to help you develop your facility, keep yourself in
shape, and help you become aware of what your hands are
doing and how they're working. How you use the technique is
up to you.

using the metronome

I feel that the exercises in this book should be practiced with a
metronome. But it is imoortant to understand what a metronome will do and what it will not do.

A metronome will help you to be rhythmically accurate; it will

not teach you to swing. The metronome can be used to gauge
your development; it should not be used as a challenge. Let's
look at each of these points.
The metronome is useful in teaching you to space your notes
correctly and keep time. The metronome will not slow down
when you play the fast parts; it won't speed up on the slow
parts; it won't change the pulse when you change from Sths to
triplets to 16ths. lt can be very valuable in helping you to learn
rhythmic relationships (such as those in the "Table of Time"
section in this book). lt will also help prepare you for playing
with a click track, if you should encounter one in a recording
studio.

The metronome will nof teach you to swing or groove. That has

to do with feeling, and the metronome has no feeling; it's a

machine. However, don't be afraid of the metronome either.
There has been a myth going around for years that, if you
practice with a metronome, you'll play mechanically. That's not
true. So use the metronome as a guide, but don't let it become
more importanl than it really is.
One way of using it as a guide is by gauging your progress
with it. As your proficiency increases, you can play with the
metronome set at higher tempos. Psychologically, being able
to see your progress is helpful. But don't get involved in a

speed contest with the metronome. When you forget about

being musical and start worrying about speed, you are
defeating the purpose of music. Being able to play 16th notes
at a metronome setting of 270 doesn't mean a thing if you can't
play them musically.
I suggest starting off slowly each time you practice. Make
sure you are totally relaxed. After your muscles are warmed
up, you can gradually increase the tempo, one metronome

marking at a time. lf, at any point, you start to feel tension in

your hands, wrists, or arms, STOP. Move the metronome back
a couple of notches and work from a tempo at which you are
totally relaxed. This is what will eventually build speed.
We all have days when we don't seem to be able to play as
well. Maybe yesterday you were able to play a certain exercise

with the metronome set at 160, but today you feel tension if
you try to go past 148. Fine. Stay at 148. Playing stiffly at 160
won't do you a bit of good. Eventually, you'll work your way
back up to 160. Your top speed may go up and down from day
to day, but if you average your speed and compare it week to
week, you should see some improvement.
Experiment with using the metronome on different beats. You
may want to start with the metronome clicking off each beat of
the bar. But after you can do that, try it with the metronome
clicking off only the first beat of each bar, or set the
metronome to click on the "2" and "4" of each bar, or have it
play on each "and" in a bar. There are a variety of ways to use
the metronome. Use your imagination.

"

Accent Strrdies
8th notes with accents
This section combines alternate stickings with one-handed stickings, while
stressing accents. lt is essential to maintain only two dynamic levels in each exercise: the accented level and the unaccented level. Also, be sure to keep an
even sound when moving from alternate strokes to one-handed strokes, and
vice-versa. Following is a list of suggestions for difierent ways to play this section:
Play without accents-make sure each stick sounds the same, as though the
exercise is being played with one hand.
Vary the dynamic level between the accented notes and the unaccented notes.
For example: 1) unaccented notes p; accents mf . 2) unaccented notes mf; accents f. 3) unaccented notes mp; accents rf. etc.
When one-handed stickings are used, fill in 16ths with the opposite hand. For
example,

1)

LRLLLLLL

RLRRRRRR

| o| aaaaaaaaaaa
--.i --ii -

RL

played:

i-FFi l-FFi ar aI aaaaaaaaaaa

RLRLRLRLRLR

>

>

LL

tTt,7,
--

11)

can be

:>>

>:>

can be played:

_>

LR

LRLR LRLRLRL
>

:>

i_''l
i_'l
aaaaaadJ
--

:>

l--

| a| aoa
i-i r oaaaoata
iiil
i?iRLR LRLRLRLR
RL
a

Interpret Sths jazz style:

l-1

aa

a J aaa Jaa)la)t
LRL

RLRLRLRL
--

-=

Play as triplets. For example:

>> J

3>>

RLRRRR

=J
i-i

iTi

rFr -Tl
adadaa

RRLRLL
J>>

i-i-]

)ta,))J)a)JJa
LRLLLLLLRL
RR

l-l-l

9-

l-Fl

i-i-j

i-i-i

J)J)J)JJJ)))

LLLLRLRRRRRR
3
s
J=

rn JTl fn i-r:'!l

RRRRL

RL LLL

LL

These exercises can also be applied to the drumsel:

Play all previous suggestions while playing various patterns on bass drum and
hi-hat. For example:
H?:',

lf r f r lo'lf F f F lo'lf r-.f I

Lf l"n

Play accented notes on tom-toms; unaccented notes on snare. Various patterns

on bass and hi-hat.
Rights with right foot on bass drum; lefts with left hand on snare; right hand
plays 8th notes on ride cymbal; hi-hat on "2" and "4".
lnterpret Sths jazz style; rights on bass; lefts on snare; jazz rhythm on ride cymbal; hi-hat on"2" and"4".

cym.
S.D.
B.D,
Hi-Hat

Play on double bass drums.

These are only a few of the many ways these exercises can be played. Try to
find ways to apply these exercises to your own situation and your own needs.
Remember: these exercises only have value if they are applied in a musical
way.

:>>

RLRLRRRRLRLRLLLL
l>

:>

RLRLRLRR
t>>

LR
:>

LR

LR
>>

LL

RL
l>

LL

LL

LL
:>

:>

RLRR

>

:>

LRLL

RR

R RR

RRLRL
>

LLR

RL

LR

>

LRR

RLRRLL

RR

RRR

RLRRLLLLLRLLR

RRR

LRLLR

RR

LLRR

RLLLLL

>

RRR

LRLLRRRRR
>:>>

LL

RLRRLRLL

LRLLRLRRL

LLLL

>>:>

LL

>

RLRRLR

LL

RRRR

RRR

:>>

:>

LRLLRL

RR

>>

>

RL

RL

LLLLLLLL

LRLLLLLL
>>

LR

LR

RLRRR

RR

>>

:>

LRLR
>

RL

LL

:>

:>

LLLL
l>

LRLRLRRLLLLLLLL
>:>>>

RLRLLR

RRRRR

>

RRLLR

>

LR
:>

R LL

RLLRRLRLL
:>>

LRR

RR

LR

>

;>

RL

LRL

LRLL

RR LRR
>

LRRLRRLLL

RR

RRRR

LL

RR

RRLL

RR
:>

LL

LLRR
>:>

RLR

LRL

>

>

RRLLRLLL

LLRRLR

>>

:>>

RRLLRRLL

RR

>

>

RR

RRRRR
l>

RR

RL

RLR

>

>>

LR

LLR

LR

LRLL

:>

>

:>

>>>

RL

RRRL

RR

RL

RRRL

>

:>>>

:>

l>

>>>

:>

LRLLLRLL
:>

RLRR

RLR

LR

>

:>

>

LL

LR
l>

;>

LRLLRL

l>

LL
l>

LLLLLLL
>

L LL

LRLLLLL

RL

:>>

RRRR

:>

RLR

>

RL
>

RRLRL
>>

RLL

LRRR
l>

RRR

tz

RLLLLLL
:>

RRRLRLRRLL
>:>

RLL

triplets with accents

This is similar to the first section, but here we're using triplets. Again, strive for
evenness of sound, paying particular attention to the dynamic level between the
accented and unaccented notes'
Many of the suggestions from the first section can be applied to this section as
well. Here are some additional ideas:
Rights on bass drum; lefts on snare; hi-hat on "2" and "4"; shuffle rhythm on
ride cymbal.

cym.
s.D.

an
Hi-Hat

Play straight 8th notes on bass drum against the triplets (two against three)'

L L3
R L RL L3 L >3
>R LR
3
;1
S.D.
B.D.

Transfer one-handed notes to bass drum.

RL

>3
S.D.
B.D.

RL

RLRLLLRLRLLL
3>3

RLRLLLRLRLLL

3>3

3>3

RRRLRLRRRLRL

RRRLRLRRRLRL

3>3

3>3

RLRLRLRRRLRL

>3

RLRLRLRRRLRL
3>

RLLLRLLLRLRR
3;-

>3

LRRRLRRRLRLL
;-

:>3

3;-

;-

RLLLLRLLLRLR

LRRRRLRRRLRL
>3;=3;-33

RLLRLLRLLLLL

LRRLRRLRRRRR

3>

3>

3>

R'LRLRLRLRLLL

RLRLRLRRRRRR
3>3>3

3>

RLRLRLRLRLLL
3>

LRLRLRLRLRRR
> 3
3>
3

3>

LRLRLRLRLRRR
3>

LRLRLRLLLLLL
:>3>3

3>

3
llr

RLRLLLLLLRLR

LLLLLLRLRLHL

>3

>3

>3

>3

>>3

RLLRLLLRRLRR

RLLRLLLRRLRR

>3>3>3:>3

:>3,>-3>3>3

RLRLRRLLLLLL

LRLRLLRRRRRR
3>3>3

LRLRLRLLLLLL

RLRLRLRRRRRR

3 =-3- -3-

:>>>

>>>

RRRLRLRLRLLL

RRRLRLRLRLLL

>3>3>-3>3

:>3>3>3>3

RRLLRRLLRRLL

RRLLRRLLRRLL

3>

3>-

3>

LLLRRRLLLLLL

RRRLLLRRRRRR
3>3

3>3

3>3

3>>

LRRRRRRRLLRR

3 >>

R L L-L L L L L R R L
:>3

3>3

RRRRLRLLLLRL

RRRRLRLLLLRL
3>>

3>

RLLLLLLLRRLL
3 >>

LRRRRRRRLLRR

3>

RRRRLLLLRRRR

LLLLRRRRLLLL

-3-RLLRLLRLRLRR
3 >3
3
3>3

LRRLRRLRLRLL

RLLRLLRLLLRR

LRRLRRLRRRLL

3>-

>-

3>-3

RRLRLLRLRRLL
3

>3

>-3

RRLRLLRLRRLL
3

.>3

RR LLRLRLLRLR
>3

-l

>3

LLRRLRLRRLRL

:>3

l>

RLRRLRLLRRRR

>

LRLLRLRRLLLL

3>3>3

>3

RLLRRRL\LRLR

-l>3>3

LRRLLLRLRLRL
> 3

RLRRLRLLRLRR

>3

LRLLRLRRLRLL
:>33

LRLRLRLLRRLL

RLRLRLRRLLRR
:>3>3>3>3

LRLRLRLRLRLL

RLRLRLRLRLRR
>3>3

3>

RLLLLLRRLRRL

3>-

:>3>3

3>

RLLLLLRRLRRL

r-

-?>

>3

>3

>3

:>3

RLRLRLRRRLRR

LRLRLRLLLRLL

RLLLRRRLLLRR

RLLLRRRLLLRR

>3

3>

LRLRRLRRLRRL

RLRLLRLLRLLR

3>3

3>3

RRLRRLRLRLLR

LLRLRLRLRLRL

RRLLRLLRRLRR

LLRLLRRLRLRL

3>>

RLRLLRLRLRRL
>3>-3

RLRLLLLLLLLL

3>

>3

3>>

RLRLLRLRLRRL
>3

LRLRRRRRRRRR

:>3>3>3>3
>3>3>3

RLRLRLRRRRRR

LRLRLRLLLLLL

>3>3>3>3

RLRLRLRLRLRL

LLLLLLRRRRRR

RLRLRLRLRLRL

RRRRRRRRRRRR

>3

LLLLLLLLLLLL

LRLRLRLRLRLR

3>

>-3

RRRRRRRRRRRR

RLRLRLRLRLRL

3;-

:>3:-3

3;-

3;=

3>-

LLLLLLLLLLLL

LRLRLRLRLRLR

3> > 3

3>-

>3

3:>

3>-

>-

;-

LLLLLLRRRRRR

RLRLRLRLRLRL

3>=>- 3

3;-

RRRRRRLLLLLL

LRLRLRLRLRLR
3;=

>3;-3

RLRLRLRRRRRR

LRLRLRLLLLLL
333J

RLRLRLRLRLRL

RRRRRRRRRRRR

LRLRLRLRLRLR
>.?=3j^J

LLLLLLLLLLLL

RLRLRLRRRRRR

LRLRLRLLLLLL

3>>

RLRLLLRLRLLL

3 >>

3 >>

RLRLLLRLRLLL

8th-note and triplet combinations

These exercises combine ideas from the previous two sections. Remember to
pay attention to the sound you are making, and strive to eliminate any tension
from your arms, wrists and fingers.

RLLRLRLLL

LR

RLR

RRR
3>>

:>

:>

RL

RRR

RLRL

RLLLRLRLL

3>>

:>3>>

RRRLRLLLRL

RR LLLLRLL
j>>

L R L L R LL

RL

LLLLRLRLL

RLLLLLLRLL

RRRLRLLLR

3>->i>

RRL

RL

RL

RR
3>

3>:>

RRLR
3:>- >

LLRL

RR LL
3> >

RRLRLRRLRL

RLRLL

>

R LL

>

R L RLL

RL

3>

LLL

>3

RRLRRLRLRL

RLLLLLRLLL

RL

LR

R L R L L L

LRLRRRR

RR

3>-

>>

R R LRL

R R
R
RR

RLR

3>-

RRRR

RLRL

LLLR

LLLL

>

LR

3',/

:>3

RLRL

L L

LLL

:>

RLRL

RRRRRR

RLR

:>

:>

RLRL

3>

RLLLLLRLLLLR

LL

3>

LLR

3>

l>

RRRL

3>

RRLRRL
>3

L RL

R L RL

LRLL

RLRL

:>3;=3

RRLRLRRLRL

R RL R L RR L R

20

Buzz Roll Studies

8th notes with buzz rolls
Going from single strokes to buzz (multiple rebound) strokes requires a different
pressure, which is controlled primarily with the fingers. The important thing to remember here is that "pressure" does not mean "rigidity" or "tension." sdthese
exercises, then, will help. develop the sensitivity in the iingers that is necessary
to. control this pressure. You must be able to immediately apply the pressure
when needed for a buzz, and then be able to immediateiy r'eiese it for single
strokes.

There are a variety of ways to play this section. Following are a few suggestions:
Play without accents.
Play the buzz notes as staccato as possible.
Play the buzz notes as legato as possible.
Play the buzz notes as double strokes.
Drumset suggestions:

Accent buzz strokes with the bass drum.

12)

.TrrTr,tTtiT,)rl
lv1t
v1l
; l

I l

Play buzz notes on tom-toms, getting a muffled effect by pressing the stick into
the head.
Play buzz notes on snare drum; all others on tom-toms.

ll

RL

RLRL

RLRL

RL

RLRL

>

RL

RL

RL
:>

RL

RL

RL
:>

RL

RLR

RL

>

>

RLRL

RL

RLRL

RL

>

:>

RL

RLRL

RL

RLRL

RLRLR
>

RLRL

l>

RL

>

RLR

LRLRL
>

RLRL
:>

RL
:>

RLR
>

RLRLRL

LRLRL

RL

LLLR

RLLLRL
>>

LR

RR

RL

>

>-

>

:>

:>

>>

l>

RR

LRRRL

RR

RRLR

RL

LRRLRLLRL

>)>

>

RL

LRL
>-

>

RL

LRL

RR

>

>-

>

RLRRLR

)>

>>

RLR
>

RR

LL

RRR
>

RRLLRRLL

RL

LRRLL
:>

l>

LLRRLR

LRRLRLL

LL
:>

:>

RRL

LRR

LRLRR
>

LL

RLL

RRLR

>

LRL

RL

LRL

RL

RL

RL

:>

RLRL

LRL

>

RL

RRL

RLRL
>

RLL

RLRR

>

RLR

LLRL

LRRLRL

RLRR

RRLR

24

LRLRLRL

RL

RL

RLR
>

.>

RL

LRL
>>

LRL

>

>

>-

RL

RL

RR

LLR

>>

RLR
>

LR
>>

RLRL

RLRL
l>

LL

RLR

RR

>>

>

>>-

:>

:>

LRL

>

>

RL

RLR

RL

RL

RL

RL

RL

RLR

LRL

>

RLRL

triplets with buzz rolls

These exercises are similar to those in the "8th Notes With Buzz Roll" section,
in that they combine short buzzes with alternate or single-hand stickings. Remember to stay relaxed when changing pressure between single strokes and
buzz notes.

r>3

RLRLRLRLRLRL

RLRLRLRLRLRL

>3

RLRLRLRLRLRL

RLRLRLRLRLRL

>3

RLRLRLRLRLRL

RLRLRLRLRLRL

r>3>3

>3>3

RLRLRLRLRLRL

RLRLRLRLRLRL

RLRLRLRLRLRL

RLRLRLRLRLRL

:>3

RLRLRLRLRLRL

RLRLRLRLRLRL

RLLRLLRLLRLL

RLLRLLRLLRLL

26

:>3>-3

RRLRR

LRRLRRL

LRRLRRLRRLRR

3-=-

3>-

3>=

RLLLLLRLRLRL
>=3

LRRRRRLRLRLR

LRRRRRL
3>.

>-3

J>

3 ;= 3;- I

RLRLR
3>-

RLRLRLRLRLRL

RLRLRLRLRLRL
3>

>3>

>

RLL LLLRLRLRL
3 >- 3>- 3
>3

LRRRRRRRLRRR

LRRRRRRRLRRR
3:-3:>

LL

RLLLLLLLRL

RLLLLLLLRLLL

????
'>-:>

L R L R L R L RL R L

LRLRLRLRLRLR
?33

RRR

RLRLRLRR
3>.

J>-

RLRLRLRLRLR
3>,

RLRLRLRLRLRR

LRLRLRLRRRRR
:>3

3 >-

3>>

RLRLRLRLRLRL
3

:>-

LRLRLRLRLRLL

:>3

RRL LRLLRRLRR
>3

LLRLLRRLRRLL
3::-3

3>

RLLRRLRRLLRL
J3J3

LRRLRRLLRLRL
3^3^
:>J>J

RRLLRRLLRRLL

RRLLRRLLRRLL

> 3>=

RRLLRRLLRRLL

RRLLRRLLRRLL

3>-3

RLRLRRLRLRLL
3>-

r>3

3>-

RLRLRRLRLRLL
3

RRLRLRLLRLRL

3>-3

LLRRLLRLLRRL

RRLLRRLRRLLR

3>

3>

RLRLRLRLRLRL

3>

RLRLRLRLRLRL
3>-3

RLRLLLRLLRLR

>3

RLRLRLRLRLRL

3>3

3>-

3 :='

::=-

RRLRLRLLRLRL

3>-3

3>

>_3

RLRLRLRLRLRL
3>-

:>-3

3>

LLLRLLRLRLLL

>

:>

>3>

:>-

RLRLRLRLRLRL

RLRLRLRLRLRL

>3

:>3

RLRLRLRLRLRL

RLRLRLRLRLRL

3>

3>-

3 -'-

>3

RLRLLLRLRLLL

RLLLLLLLRLLL
3>=

:>3>3

RLLRLLLLRLRL

RLLRLLLLRLRL
3>r

r>3>33

:>3:>-3

RLLRLRLRLRLR

RLLRLRLRLRLL
3>-33>3

3>=3

:>3,>3

LRRLRLRLRLRL

LRRLRLRLRLRR
J>

3>-

>3->3

j;=

3;=

3>-

RLRLRLRLRLRL
3

RLRLRLRLRLRL

t>-

:>3:>-j

RLLRLLLLRLLL
::=-

s>3

RLRLRLRLRLRL
-l>3

LRLRRRLRLRRR

LRRRRRRRRLRR
>

RLRLRLRLRLRL

3>

-i >

_?>

RLRLLRLLRLLL

3:>

J >>

>J

3 >>

RLRLRLRLRLRL
3

- - 3 =-J

LRLRLRLRLRLR

3--3

>>

LRLRLRLRLRLR
> 3>

> 3:>

RLRLRLRLRLRL
3;=

J??3
>>

RLLLLLLLRLLL
3>-

3>>

>3

-? >_

3:>-

RRRRRRLLLLLL

;-3

3>

3::=

RLRLRLRLRLRL
3>

RRRLLLRRRLLL
3>-

>

RLRLRLRLRLRL

RLRLRLRLRLRL
>-

3>-

LRRRRRLRRRRR
i >j-3

>3

-?

" >

RLRLRLRLRLLL

RLRLRLRLRLRL

3>_

LRLRLRLRLRLR
3>-

LRLRLRLRLRLR
3
-j -=- 3

RLRLRLRLRLRL

LRLRLRLRLRLR

3>-

3-

-3

RLRLRLRLRLRL

3>>

-9

3>_

3>

3>_

J>

LLLRRRLLLRRR
3::=

3:-

RRRRRRLLLLLL

3;=

30

Sfioke Combination Strrdies

lobuzz (multiple-rebound) strokes
Going from single strokes to double strokes
must be able to change the presYou
invotves different ptt,i. on tn" sticki.
the sticls without tension developing in the
sure your fingers
wrists.

;;;i*g-n

strokes, the idea is to get the

when going between single stro,kes and double
roving half as fast when playing
same sound, even though your hands r" oniv
the doubles,
important thing is not to
when moving between doubles and buzz strokes,bethe
moving at the same speeo;

ifi"

tb* *i"t.

The hands will

you
apply with your fingers'
Oitt"tbnce is-the pressure

tiffi;;

r"ring

the hands will be going only

when going from singles to buzz strokes, again,
to get as many.rebounds a:Ig:srhatf as fast on tn" "ri";i"" The idea i
getting
their hands too fat because they're not
bte. Some people ili;;o";
the
making
on
you can..concentrate
enough rebounds. tti lio*ry ut first so
the,roll will not gound T:?I Afsticks rebound, even though at a srow tepo,
get a,good rebound from the stick, vou can Ini;;t;, olurop th abitityio the
roll'
crese the tempo and close

single and double combinations

LL R R

RLRL RRLL R LRL RRLL

RLRLRRLLR

LRLRRLL

RRLRLRLLRRLRLRLL

RRLRLRLLRRLRLRLL

double and buzz combinations

R RL L R R L

RRL

L RRLL

RRLLRRLLRRLLRRLL

RRLLRRLLRRLLRRLL

RRLLRRLLR

RRL LR

RRLLRRLLR

RRLLR

RRLLRRLLRRLLRRLL

RRLLRRLLRRLLRRLL

RRLLR

LLR

RRLLR

LL

LLR

LL

RRL RRL RRL RRL

R LL RRL

LL RHL

32

single and buzz combinations

tTrT-TTltttltttttl

RLRLRLRLRLRLRLRL

RLRLRLRLRLRLRLRL

RLRLRLRLRLRLRLRL

RLRLRLRLR

RLRLRLRLR

RLRLR

R LR LR

RLRLR

RLRLR

RLRLRLRLRLRLRLRL

RLRLRLRLRLRL

RLRLRLRLRLRLRLRL

RLRLRLRLRLRL

LR

RL

LR LRL

R LRLRL

L RLRL

single, double and buzz combinations

'/Jt_:a_f

RLRLRLRLRLRLRLRL

RRLLRRLLRRLLRRLL

RLRLRLRLRLRLRLRL

RLRLRLRLRRLLRRLL

RLRLRLRLR

RRLLRRLLR

RLRLR

RRLLR

RLRLRLR

LRLRLRL

RRLLRRLLLRRLLR

L RL

RRLLRRL

RLRLRLR

LRLRLRL

RRLLRRL

LLRRLLR

RLRLRLRLRLRLRL

RRLLR

LLRRL

RRLL

RLRLRLRLRRLLRRLL

RRLLR

LRLRLRL

94S.strokerollcombinations
PLRL

nfEi-n-r-E-r--nr-nln L R L
N-I-.---NI- R L R L R L R

RLRLRLRLRLRLRLRL

N I-NLRL R L R L R

NNTTNTRLRLRLLRRL
>

R L RL RLRLR

RLRLRLRLRLRL

LR

:>

L RTR L R L R L R L R L R

NNI-I-NLLRRLRLRLRL

RL RL RLRLRLRL

NTNI-RLRLRLRL

:>
>>

>-

)>

NI-NTNI-

RLRLRLRLRL

n-=-rn r- R L RRLLR LLRRL

>

RLRL

RLRLRLRL

RLRLRLRLRL

RLRLRL

RLRLRLRLRLRL

RL

RLRLRLRLRL

RR1 LRLLRRLRLRLRL

RL RLRL

R LRL

RRLLR LLRRL RRLLR LLRRL

RLRLR LRLRL RLRLR LRLRL

RL RL RLRL
>

>

RLRLR LLRRL R L R L R L

RLRL
>

R LRLRL RL R L R L L

R LLRRL R L R L R L L

R LRLRL R L R L R L R L

RL RLRLRLRLRL
t>>>>

R L R L RLRLR L R L R L

R L R L RRLLR L R L R

RLRLRLRLRLRL

RLRLRL

RLRLRL
:>

R LRLRL RLRLR L L L L

R L R L R L R L LL LL

R L R L R L R LRLRL RLRL

RLRLRLRLRLRL

R LLRRLRRLLRLLLLL

R L R L R L R L L L RLRL

RLRLRLRLLRRLRRLL

R L R L R L R L R L RLR{-

36

7-stroke roll combinations

RLRLRLR L R L R L R L

LLRRLLR

LRLRL

>

LRLRLRL R L R L R L R

R L R LRL

RL RL

RLR

>

R L R L R L RLRLRLR L

R L R L RL

L R L RRLLRRL R L R L

L RL RLRLRLR LR L RL
l>

:>

l>

=>

>>t>

R L R LRLRLRL

>

R LR

LRLRLRL

RL

:>

:>

L R L RL R LRLRLRL R

>-

R L R L R L RRLLRRL R L

RLR
l>

RLRLRLRL

:>

R L R L RL R LR LRLRLR

R L R L R L R L R LLRRLL

RLRLRLRLRLRL

R L R L R L R L RLRLRL

RLRLRLRLRLRLRLRLRL

RRLLRRL R L RRLLRRL R L

RLRLRLR L R LRLRLRL R

RLRLRLRLRLRL

RLRLRLR LRLR LRL

LRLR LR LLRRLL R LLRRLLR LLRRLLR

LRLRLRL RLRLRLR L RLRLRL

RL

LRLRLRLR

5-stroke and 7-stroke roll combinations

RLRLRLR

R L R L RLRLR

LRLRLRL R L R L R LRLRL

l>

RRLLRRL R L

L R LLRRL
>

RLRLR L R L RLRLRLR L

LRLRLRLRLRLRLRLRL

RRLLR L R L RRLLRRL RL

RLR LR LRLRL
>

:>

RL R LRLRLRL R L RLRLR

L R L RLRLRLR L R LRLRL
:>>

:>

R LLRRLLR

RL

R LLRRL
>

RLRLR LRLRL RLRLRLR L

LR LRL

RLR L RL

>

>

LRLRL RLRLR LRLRLRL

l>

--

RRLLRLLRRL

RRLLRRLRL

RLRLRLRLR[-

RL

RLRLR LRLRLRL R L RLRLR

RRLLR LLRRLLR

LRLRL RLRLRLRL R LRLRL

LLRRL

RLRL RL

RLRLRLRLRLR

RRLLRLLRRLLRLLRRLLRL

R LRLRLRLR LRLRL RLRLRL

R LRL RLR L R LRLRL RLRLRL

>

RLR LRLRLRLRL

RLLRRLLRLRRLLRLLRRLL

>

RLRLR LRLRL RLRLR LR LRL

RRLLRRL RRLL

RLRLR LRLRL RLRLR LRLRL

LRLRL

RLRLRLRLRLRLRLRLRLRL

RL RR LLRRL

LRL RLRLRL
:>

RLRLRLRLRLRLR

l>

>

RL
:>

RRLLRRL RRLLRLLRRLLRL

RLRLRLRLRLRL

9-stroke roll combinations

RLRLRLRLRL

RL RLRL

RLRLRLRLR

L RL RL R

L R LRLRLRLRL

RRLLRRLLRL

R L RL

RLRLRLRLRLRLR

R L R L RL

LRL

RRLLRRLLR L R L R L R L

RL RL
>>

R L R LLRRLLRRL

R LRL

RLRLRLRRLLRRLLRL

RLRLRLRLRLRL

RLRLRL RLR L R L R L R L

RLRLRLRLRLRLRLRL

R LLRRLLRRL

RLRLRLRLRL

R LLRRLLRRL

RLRLRL

RLRLRLRLRLRL

Always remember that practicing these exercises merely for the technique is
useless. You must apply the technique in a musical way.

40

Control Studies
sticking exercise
The purpose of these exercises is to develop the ability to go from one sticking
to another, without changing the sound. In other words, each exercise should
sound as though it is beihg played with one hand. You should start by practicing
each exerciseindividually.-After you reach a certain proficiency with each one,
try playing them togethei, that is, going directly from the Sths to the triplets, and
then intoifre tOtns. Be sure that you do not tense up when you play the faster
sections; you should be just as relaxed when playing the 16ths as you are when
you play the 8ths.

RLRLRLRLRLRL

RLRLRLRLRLRL

RRLLRRLLRRLL

RRLLRRLLRRLL

RLRRLRLLRLRR

LRLLRLRRLRLL

RRLRRLRRLRRL

RRLRRLRRLRRL

RLLRLLRLLRLL

RLLRLLRLLRLL

table oJ time
This will help your development of the single-stroke roll, and also help you develop the ability to play various subdivisions evenly. At first, you should accent
the first note of each rhythmic grouping, as indicated. As proficiency increases,
eliminate the accents,
Start the exercises slowly, at a metronome marking of about 53. As your technique and speed develop, increase the tempo setting on the metronome. Eventually, you should play this exercise at a marking of about 100. But start it slowly
at first, making sure all the notes are even. Playing this smoothly and evenly is
more important than playing it at a fast tempo, And do practice this with a metronome. (Refer to the section on "Using the Metronome" at the beginning of this
book.)

Following are some suggestions to help you play the larger groupings.

Nrn*-This is based on the 8th-note triplet. Think of dividing an 8th-note triplet

into triplets.
JJJ
lll
I
-FFF-F-

lll

FH FF FF
aaa
aaa aaa

IJJ
3

Ien-Based on the group of five. Play a five on each 8th-note beat, or think ot
playing a five grouping with the right hand, and filling in with the left.

12
R

Eleven-This does not subdivide equally, but at first it might help you to count
as shown.

1+2+3+4+5+6

1+2+3+4+5+6

::
aaa a o a aa aa a

aa oa aaaa aa o---

Twelve-Play a six grouping on each 8th-note count, or think of playing a six

with the right hand while filling in with the left.

--

or

aaaaaJaaaaaa
RLRLRLRLRLRL

endurance
You should play each two-measure section four times before going on to the.
next line. ns witfr the "Table of Time," start by accenting the first note of each
rhythmic group. After you can do that easily, eliminate the accents.
Note: You may want to start out by just doing each line once. When you can do
that comfortably, then increase to two times, then three, finally working your way
up to doing eah line four times. This is another good exercise to help develop
your ability to play the single-stroke roll.

10

11

il

t2

velocity
The faster you play, the looser and more relaxed you have to be. In these exercises, you just need to drop the stick and then keep it going. Try to get your
hand to follow the motion of the stick. To do this, basically, the first note is
struck using the wrist, and the other notes are controlled by the fingers. The important thing is to free yourself from tension, because any tension will break the
flow of energy.
Practice each line eight times, slowly at first. Never play faster than a speed at
which you can play relaxed and cleanly.

46

r-3--r

LL
3

RRR
J

LLLL
3 r-3--r

RRRR
3

r-3----

RRRRR
33
RRRRRR

LLLLLL

RRRRRRR

LLLLLLL
r-

33r

3____-_

r-3 ---

RRRRRRRR

LLLLLLLL

RRRRRRRRR
333

LLLLLLLLL

RRRRRRRRRR

LLLLLLLLLL

r_ 3-_r

--3-----t

RRRRRRRRRRR
3333

LLLLLLLLLLL
3333

RRRRRRRRRRRR

LLLLLLLLLLLL

RRR

LLL

RRRR

LLLL

RRRRR

LL

RRRRRR

LL

LL LL

RRRRRRR

LLLLLLL

RRRRRRRR

LLLLLLLL

RRRRRRRRR

LLLLLLLLL

RRRRRRRRRR

LLLLLLLLLL

RRRRRRRRRRR

LLLLLLLLLLL

48

i
I

LLLLL

RRRRRRRRRRRR

I
I

I
I

LLLLLLLLLLLLL

RRRRRRRRRRRRR
13

RRRRRRRRRRRRRR

LL LL LL LL

LLLLLLLLLLLLLLL

RRRRRRRRRRRRRRR

RR RR RRR RR RR

RRRRR

LLLLLLLLLLLLLL

progresstye accents
The idea of this is to give you the ability to accent anywhere in the bar that you
want. I would suggest that you start by playing this mf and really hitting the accents hard (about tt|. Play each bar eight times and then immediately go to the
next bar until you have reached the end. After you are comfortable with this,
practice with various dynamic levels, for example:
unaccented notes p; accents mp
unaccented notes mp; accents fff
unaccented notes

accents ff, etc.

Another way to play these exercises is with accents on the first four 8th noles,
throughout.

1. > > > > r>

LL

2.>- > :> >

Practice these exercises using alternate sticking, starting with either hand.

3>6

P:

6;-6

16i

6>-

20 :

:>-

50

>>>>

>>>>>

>>>>>:>

>>>>>>>

>>>>>>>>

>>>>>>>

>>>>>>

>>>>>

--=--9

3 >->->9>

3 -=--L-=--

=-=--L=.'=-

3 =--J--=--=--

-=-==L=t-=---L

>>>>>>>>>>

-,=-=-=--L--

>>>>>>

6
>:>>>>

35

==9=-=-

52

dynamics
These exercises are good for dynamic control, and they are also lremendous
endurance builders. Within the crescendos and diminuendos, there should be no
sudden changes in volume. They should be done smoothly so that with the crescendos, each note is louder than the one before, and with diminuendos, each
note is softer than the one before, Take these slowly enough that you can control them.
Each exercise is written with a suggested dynamic range, but don't stop there.
After mastering the range that is written, go back and apply a variety of dynamic
ranges to the same exercises. For example, exercises 1 through 4 are written
with a range trom pp to ff. After practicing with that range, try the following suggestions: pppto fff; ppto mt mpto ft pto f and so on. The more ways you play
these exercises, the more they will help you, and the more control you will gain.

w-

.ff

ffP

ff
>>>>>>>>

p
11

mfW>:>>

nw-

*-

w
w-

ff

ff

w
33

p:ff

l1P

54

the Stone "killer"

George Lawrence Stone wrote this out for me one day, and jokingly sa.id, "This
is a k-iller." I found it to be tremendous for endurance. Originally, he only wrote
out the first four lines of this. I then expanded on it by adding accents and fillins, and then applying the same idea to triplets and duples. The idea, as Stone
explained it, was to work each hand individually before you put them together..
lAitly Gtadstone used this same concept of developing each hand individually.)

These exercises are not meant to be practiced all at once. They are grouped
into sections. First, start with the 8th-note section-the 4's, I's, 12's and 16's.
Play the 4's fifty times each (counting the right hand). Then do the 8's fifty times,
the 12's fifty times, and the 16's fifty times. The first time you try this, you may
not be ablsto do that many repetitions. lf necessary, start by doing each line
only ten times. Gradually work your way up to where you can do fifty repetitions.
It may take several weeks; that's okay. Work at your own pace, depending on
your tage of development. But remember: stay relaxed throughout the entire
xercisel The key to speed and endurance is relaxation. Do not allow yourself to
tense up in an attempt to play faster or longer. As soon as you become tense,
you are defeating the purpose of the exercise.

After you have reached a certain proficiency with the first section, go to the section with the accents on the first note of each group. Practice this the same way
as the first section-gradually working your way up to more repetitions. At this
point, it would be good to continue practicing the first section in addition to the
second section.

After reaching a proficiency with the second section, move to the third sectionaccents on thie last note of each group. At this point, you might stop working on
the first section and concentrate only on the two sections with accents.

Once you feel fairly comfortable with the accent sections, move on to the section wfth fill-ins. Again, start with only as many repetitions as you can handle
comfortably. (Althugh by now, after having spent a few weeks with the first
three sections, you should be seeing an obvious improvement in your endurance.) Practice the fill-in sections in the same manner in which you practiced the
first three sections: work on the unaccented section first, and then add the accented sections.

OnCe yOu have worked your way through all six Sections, you can move on to

the triplet exercises, and then the duple exercises.

Stone "killer" t part one

Section

RRRRRRRR

RRRRRRRRRRRR

RRRRRRRR

LLLLLLL

L L L L L L L L L L LL

LLLLLLLL

R R R R R R RR

LLLLLLLL

Section 2

RRRRLLLL
>>

R RRRR
>

RRRRRRRRRRRR

RRRRRRRR

RRRRRRRR

LLLLLLLL
>

LLLLLLLLLLLL

LLLLLLLL

LLLLLLLL

Section 3

RRRRRRRRRRRR
:>

:>

LLLLL

:>

:>

LLLLLLL
:>

:>

:>

tl

RR

LLLLLLL

LLLLLL

Section 4

RLRLRLR

RL RL RL RL RL RL RL

RLRLRLR

RL

RL

RL

RLRLRLRLR

L RL

RLRLRLRLRL

RLRLRL

RL

RL

RL

LRLRLRL

RL RL

L RL RL RL R L RL RL R L

L R L RL R L R L RL. R L RL R L R L R L R L

L R L R L R L R L R L R L RL

L R L R L R L RL R L

57

Section 5

RLR LRLR LRL

:>

RL

RL RL RL

RL RL RL RL RL RLRL

RL

RL

RL

RLRL

RL

RL

:>

RL

RL RL

RL RL RL RL RL

RL RL RL RL

RL

L RL RL R L RL RL RLR L

L RL RL RL RL R L RL RL R LR LR L RL

RLRL R L RL RL RL RL RL

LR L

L RL RL R L RL RL RL RL

Section 6

RLRLRLRLRLRLRL
:>:>>

RLRL

RL

RLRLRLRL

RLRLRLRLRLRLRLRLRLRLRLR

RLRL

RL RL RL RL RL

RL

RL

RL

RLR L RL RL

RLR

L RL R L R L R L R L R L R L

LRLRLRLRLRLRLRLRLRLRL

L RL R LR L R L R L RL RL

L RL RL R

LRL RL RL RL

58

Stone ttkiller" t part two

Section

RRRRRR

RRRRRRRRR

RRRRRR

RRRRRR

LLLLLL

LLLLLLLLL

LLLLLL

LLLLLL

Section 2

RRRRRR

RRRRRRR

RRRRRR

RRRRRR

LLLLLL

LLLLLLLLL

LLLLLL

LLLLLL

Section 3

RRRRRR

LLLLLL

Section 4

RLRLRLRLR L

LRLRLRLRLRL

L R L R L R L R L R LRLRLR

RLRLRLRLRLR

LRLRLRLRLRLRLRLRL

LRLRLRLRLRLR LRLRLRLRLRL

60

Section 5

LRLR

RLRLRLRLRLR

L R L R L R L R L R LRLRLR

LRLRLRLRLRL

RLRLRLRLRLR

LRLRL

LRLRLRLRLRL

LRLRLRLRLRLRLRLRL

L R L R L R L R L RL

L R L R L R L R L RL

Section 6

RLRLRLRLRLR

RLR

LRLRLRL

RLRLRLRLRLRL

LRLRLR

RLRLRLRLRLR

LRLRLRLRLRL

LRLRLRLRLRLRLRLRL

LRLRLRLRLRLR LRLRLRLRLRL

Stone "killer" t Part three

Section

RRLL

RRR

LLL

RRRRR

Section 2

RRRR

RR

RRRR

RRR

LLLLL

LLL

62

Section 3

R RL

:>:

Section 4

RLRLR

LRLRLRL

RLRLRLRLRLR

LRLRLRLRLRL

-I

RLRLR L R L R L R L R L

LRLRLRLRLRLRLRL

Section 5

RLRL

LRLRLRL

RLRLRLR

LRLRLRLRL

RLRLRLRLRLR

RLRLR L R L R L R L R L

LRLRLRLRLRLRLRL

Section 6

RLRLR

LRLR

>

LRLRLRLRL

RLRLRLRLRLR

RLRLR L R L R L R L R L

LRLRLRLRLRLRLRL

64

Eventually you can practice various combinations of exercises. A few suggestions are given below.

R RR RL L L

RRRRRRRR

RRRRLLLL

RRRRLLLL

RRRRRR

RR RL LL

RLRLR LRLRL

LLLLLLLL

RLRLR LRLRL

RLR LRL

RLRLRLR

LLLLL

RLRLR LRLRL

LRLRLRL

RRRLLLRRRLLL

RRRRLLLL

RRRRL

RLRLR

L LL

LRLRL

RRRRLLLL

RLR

L RL

lhe "Stone Killer" can also be applied to drumset. Here are Some suggestions:

Cvm.
S.Tom

f1{
Bass

R R R RL L L

CVm.

S.Tom
Snare
L.Tom
Bass

RRRLLLRRRLLL

Remember to always use your own imagination to come up with additional ways
to use these exercises.

66

Fill-In Studies
groups of three with fill-ins
The idea of this is to keep a continuous flow of accented triplets with one hand,
while filling in with the other hand. This, again, goes back to the principle of developing each hand individually. lt will also help develop your ability to accent,
and doing the fill-ins will help your coordination. These exercises are written with
a left-hand lead, but you should also practice these with a right-hand lead-accented triplets with the right hand; fill-ins with the left hand.

z=i
LRLRL L L L L L L L L

LRLRL LRLRL

LLLL

:>

l>

)>

L L LRLRL L L

LRLRL L L L LRLRL LRLRL

l>

LRLRL LRLRL LRLRL LRLRL

LLL

LRLRL L

>

LRLRL L

LRLRL L

LRLRL LRLRL LRLRL

>

l>

LLLLLLL

>

l>

:>

:>>

12-L

tq-,
L

:>

l>

:>

>

LRLRL LRLRL LRLRL LRLRL

LRLRL L

LLLL

;>

l>

LL LRLRL LRLRL L

:>l>>

L LRLRL

LRLR

l>

l>

L L L LRLRL L

l>

LRLR

>

L L LRLRL LRLRL LRLR

LLLL

LRLRL LRLRL LRLRL LRLR

>

L LRLRL L

L LRLRL

;>

:>

l>

LL

L LRLRL LRLRL LRLRL LRLR

LL

LL LRLRL
24-

LLLL

LRLRL LRLRL

LRLR

LRLR

l>

L L

>

;>

>

l>

L LRLRL LRLRL L L L

LRLR

LL L LRLRL

LLLL

LLL

>

>

:>

L L LRLRL

LLL

l>

L LRLRL

>

>

L L LRLRL LRLRL LRLRL

L LRLRL L L L

)>

LRL LRLRL LRLRL LRLRL

LR

LLLL
:>

LRL L L L LRLRL LL L

LR

>

LRL
:>

LRLRL L
l>

L LRLRL

LRL LRLRL L L L L L L

LR

>

LR

LRL LRLRL LRLRL

:>

LRLRLRL L L L L

L L L LRLRLRL L L

LRLRLRLRLRLRL L

LRLRLR

L L L LRLRLRLRLRLRLRLRLR

L L L L L L LRLRLRL L

LRLRLRLRLRLRLRLRLRLRLRLR

LRLRLRL

LL LL L

LRLRLR

>>

:>

L LRLRLRL L L L L L L

L LRLRLRLRLRLRL L L L

LL

LRLRLRL
>

LL

LL

>

LRLRLRLRLRLRL

>

:>

LRLRLRL L L LRLRLRLRLRLR

LL LRLRLRL

LRLRLRL

>

LRLRLRLRLRLRLRLRLRLRLR LR

L LRLRLRL

L LRLRLRLRLRLRLRLRLRL

LRL

>

LRLRLRL

>

LRLRLRL

LL

LRLR

:>

:>

LRL L L LRLRLRLRLRLRLRLR

>

L
:>

L LRLRLRL LL LL LL
l>

L LRLRLRL L L

L LRLRLRLRLRLRL

LL

52-.
LRLRLRL

L L L L L LRLRLRL L L

L LRLRLRLRLRLRLRLRLRL

LRLRL L L LRLRLRL L L

LR

L L L L L LRLRLRLRLRLRL

LRLRLRLRL
LRL

LL

>>

LL

>

LRLRLRLRLRLRLRLRL L L

LR

LRLRLRLRL

LRLRLRLRL

>

60

LRLRLRLRL LRLRLRLRL

>

L L L LRLRLRLRL L L L

:>

L LRLRLRLRL L

LRLRLR
l>

LRLRLRLRL

LLL

LRLRLRLR
>

64.

LLL

L LRLRLRLRL L LRLRLRLRL

>t>

l>

L LRLRLRLRL LRLRLRLRL

LL L LRLRLRLRL

>

LRLRL

LRLRLRLRL

LRLR

l>

L L LRLRLRLRL

:>

LRLRL LRLRLRLRL
7Ci-.

L LRLRLRLRL

L LRLRLRLRL L

l>

>

LRLR

:>

LRLRLRLR

72

L LRLRLRLRL LRLRLRLRL

LRLRLRL L LRLRLRLRL L

LR

L L L L L LRLRLRLRL L

LRLRLRL LRLRLRLRL L L

LR

70

groups of four with fill-ins

This is based on the same idea as the previous section. Here, you will be playing accented groups of four with one hand, while filling in with the other hand.
Again, after learning to play these as written, you should practice them with the
stickings reversed.

LL

L L LRL

LRL

4L L L L LRL

LRL

:>

LRLLLLRLLRL

:>>

a)

LLLRLLLLL

LRLLRLLRLLRL

>>

LRL

L L LRL

>

LLRLLRLLL

l>>

l>

LRL LRL LRL LL

LRL LRL LRL

>>

a)>

L LRL

L L L L LR

L L L LRL

LRL

LRL

LR

>>

LLRLLRLLRLLR

L LL
>

:>>

L LRL

L L LRL

L L L L LR

LLLLLRLLR

:>

LRL LRL

L L LR

>

L LRL

22-

LRLR

LL

LL

LL

LR

:>

LL

LRLRL

L LRLR

24-

:>

LL

L L L RLR LRLR

LRLR

>

L LRLR LRLR

26

LRLRLRLR

LRLRLRLR

LL

>>

LRLRL

LRLR L

LL

:>

LRLRL

L LRLRLRLRL

>>

l>

LRLRLRLRLRLRL

LLLLLL

LRLRLRLRLRLRLRLR

BL

LRL

>

LRLLRL

L LRLRL

34LRLRLRLRL

>

L LRLRLRL

L RL LR

>

LRLRLRL

LRLRLRLRLRLRL

>

>>

36

LRLRLR

L LRL LR
:>

LRLRLRL

LRL

L LRL

L RL R L L R L R L
l>

LRLRL LRLRL LRLR

72

threes and fours with fill-ins

This is based on a combination of the previous two sections. lt is recommended
that you practice each of these first without the fill-in notes. For example, number 1 should first be practiced like this:
>3:>3:-3:>

rJ ) ) ) ) ) ) ) ) ))).1
L L L L L L L L L L LLL
-:

Remember to also practice these examples with the stickings reversed.

>3>-3>3>-g
:>3

L LL

LL

2>3>

LLLL

LRLRLRLR
>8

L L LRLRLRLRLRLRLRLR

L,LLL

8.-8.-8

>3>

L R L RLRL R LRLRLRLR L RLR LRLR

LLLLLLLLLLLLLRLRLR
>

LRLRLRLRLRLR
>6:>.6

LL LL
l>

RLRLR LRLRLR
>6

>

LRLR
8

L R L R L R L R L R L R L R L R L R LRLRLRLR
=6->6-=8;=8

RLRLR

L R L R L R LRLRLRLRLRLRLRLR

L R L R L R LRLRLRLRLRLRLRLRLRLRLRLR

groups of two with fill.ins

This section is based on playing accented groups of two with one hand, while
filling in with the other hand. As with the previous sections, practice these also
with a right-hand lead.

LLLLLLLL

LRL

:>r>r>:>>

LLLLLL
l>

ttl

LL

LLLL

L RLRL

>

LLL

:>

>

LLLL

LRLR

>>

:>

LLLLLL

LLLL

LRL

LL
l>

LRLRLRLRL

LL
>

LL

LRLRLRLRLRL

LL
>

:>

LLLLLLLL

LRLRLRLRLRLRL

LLLLLLLL

LRLRLRLRLRLRLRL

>>>>

LLLLLLLL

LL

LRLRLRLRLRLRLRLR

LRLRLRLRL

LLLLLLLLLL

LRLRLRLR_

LLLLLLL

LL RLRLRLRL

12>>>->

l>

>>

LL LRLRLRLR
l>

L RLRLRLR LR LRLRLRL L L L

:>>>

14

LLLL

LRLRLRLRLRLRLRLRL

LLLLLLL

L LRLRLRLRLRLRLRLR

16r>:>>

:>:>>:>

LRLRLRLR

>

:>

L LRLRLRL

L RLRLRLR LRLRLRLR LRLRLRLR

:>

LRLRLRLR LRLRLRLR LRLRLRLRL

t>>>

LRLRLRLRLRLRLRLRL
>:>>>

LL

:>

L L

L LRLRLRLR

>

LRLRLRLRLRLRLRLRLRLRLRLRLRLRLRLR

endurance exercise with fill.ins

This exercise should also be practiced starting with the right hand. Start slowly
and gradually work it up, Each line should be played eight times.

LRLRLRLRLRLRLRLR

LRLRLRLRLRLRLR

LRLRLRLRLRLR

LRLRLRLRLR

LRLRLRLR

LLL

LRLRLR

L L LRLR

L LRL LR

76

Osfinato Strrdies
Note: Before studying this section, you should be proficient with the "Stone Kill-

er" section.
The idea here is to be able to play an ostinato with one hand and have total
freedom with the other hand. Again, we're dealing with control of the instrument.
The more control you have, the more confident you will be as a player.
You should first practice each ostinato figure by itself, using only the left hand.
Then practice each one using only the right hand. (This goes back to the idea of
developing each hand individually and then putting them together. Practicing
these exercises in this way will also be good for accent control.)

'--&

10

Note: this

is merely an accent played on every

third note.

>3>3>-3>3

:> 3>

::>- 3 >

> 3>

>

>=3>-

> 3>.

>3

>3

>3>_3

> 3>=

:>

)>

> 3>-

:> 3>

3"3

>>r>.

After practicing these patterns, the patterns given in the "8th Notes with Accents" section and the "8th-Note Triplets with Accents" section of this book can
also be used as ostinatos by playing each example with one hand.

After you feel comfortable with an ostinato pattern, play the pattern with your left
hand, while playing different rhythms with your right. A few examples are given
to get you started, but don't stop with those. Learn to play any possible rhythm
against the ostinato. After you can do this, reverse hands: play the ostinato with
the right hand and the various rhythms with the left.

11_:

r- 3rr

--31

1--

r-3---r

r-3-r r- 3 -r

3-1r-3r r-

3-r

r- 3r

r 3r

r- 31 r3-r3--J

--

3-r

3r

t-

3-r

r- J-r

r-3r

These patterns, obviously, are only to get you started. After you can play each
of these in conjunction with an ostinato, practice additional patterns of yur own
choice. until you are able to play any possible rhythm with one hand, while
maintaining an ostinato with the other. You should also apply various accents
and dynamics to these patterns.

Once you have reached a certain proficiency, start putting the rhythms together
into phrases. An eight-measure example is given, but again, don't stop here.
Take any reading book and play the music against an ostinato. Also, the "Flat
Flams" section in this book can be adapted to ostinato playing. The ultimate is
to be able to improvise freely with one hand, while playing an ostinato with the
other.

Following are a few suggestions for using ostinatos on the drumsel:

Ostinato with left hand on snare; improvise freely with right hand on cymbals or
tom-toms.
Same as above with various bass drum and hi-hat patterns.
Ostinato with left hand on snare or closed hi-hat; various rhythms broken up between right hand on tom-toms and right foot on bass drum.
Ostinato with right hand on floor tom; left hand improvising freely on snare drum.

Ostinato with right hand on bell of ride cymbal; different ostinato with left hand
on snare drum.

The possibilities for using ostinatos are limited only by your own imagination. Be
creative.
Note:the author used this idea on "Bossa Nova U.S.A." with the Dave Brubeck
Quartet. A bossa nova pattern was played as an ostinato on the snare drum
with the left hand, and the right hand freely improvised on the ride cymbal.

82

FIam Studies
llat llams

exactly together'
The term "flat flam" is used here to describe both sticks hitting
surfaces' They
different
two
played
on
when
roii ffective
These exercises
"r"t*JOltt"rent drums, a'drum and a.cymbal, a drum and a
could be played on
pulse (first 8th notes,
cowbell, or whateve;. n; hand is maintaining a steady
After,learning
varioY,t
plys
hand
in"n Ath-note triptetsj *nif" tn" other
lhytf't:
with combior
feet,
the
with
done
also'be
to do these with the-ant, in"V could
your
imagination'
nations of hands and feet. Use

t-t l i-l li

-l

r.

-?---.-l

-t

[-

r.

-t r ==:

r--

---t

-l

-l

>>

>>

8th notes with flams

These exercises should first be played as written, on a snare drum or practice
pad, without accenting the flams. After playing these at a medium dynamic,
practice at various dynamic levels, from very soft to very loud. You should also
practice different ways of playing the flams, from very closed-almost "flat"-to
somewhat open. As with any excercise, adapt it to your own particular needs,
and to the type of music you will be playing. A rudimental drummer will probably
use a lot of arm motion in playing the flams; a concert drummer might want to
work on these using finger and wrist control; a drumset player might want lo
play the flams between different drums. Use your imagination. These examples
are only to give you ideas.

o= *l
@

@=tJ

O.

O L L @n O L L

@LR O @lR O RLR O @LR

@L R OR O @L

OR O @n R

@L L @r- @ On Qn R OR O

@@@@n O@r RQn

@r-

O@LLL

13

@L @OR O @l

OR O @R R

OR O@l

@l @OLLL

14

@ OL

@OR

L L LL

@ @ Or- L L L L

16

@R@R @R@R

L OL OL Or-

88

@O@CI L L L

@ L @@

@O@OL

L L

@L@O@L@O

@ R L R L R OL

@R R ROL

o@o

@@

@@@@oooo

o(oo@oooo

@O RORO

RO L L

@LLL

@L L L@OR

O@O@ R

@@

OR R R O

@ORORORR

O@ L @ L @ L

@ L @O R O@

@ L @O R O@

O@O @L L r-@O@O
O@O@O@O
L@@RL@@

@R L@@

@Rr-@RL@R

L@R r-@ROL

@LRROL@R

OL@ROR

@L L L@L

L@L@L

L@

t-@R R R ROL

RO

ROROROL

L L L @O R

OL

L L L L L@

triplets with flams

nOn r@r@t-

@n R nOl L l@n R R Ql r- l@n R nOl LL

J

l@ r- R

r-@n@r@n @r nOr- nOr

r n@@r n@

@r-@r RO@L@L nO @n R ROL L L

@n R@ L L r-@n ROL L L@R ROL L r-@n

@nOr@nOr- r@RR Ot@ROL

RR

LL

@nOr@nOl L L@R n n@l L L@R

l@

n@r- LOR

@nRRROLLLI@n

l l@n

RRnOILLL

LLL
3

@r- L@L@On RORO @r- r@r-@OR RORO

@r@OOnOn

l n@n l@l

L nOn

l nQn

L@L

Or- L L L L L r-@r- L L

RRRRRRn@nnR

nOn l l@l

ROL @nOr@n@n r@r

R L R L ROL R L R

L ROR L@O

L R L ROL R L R L

L ROR

RR

nOl

L r-@r-

L R R L L@ L L

nOl

OL

333

n@l@nRRR r-@nOr@ROLL

@n

n n@ n n R @R R R

@ r- L

L@R

L @R L @O@O
3

@O

Qr-

@o@o

L L L@L L

O@O@O

ROL@nO L@O O Or@ROL

o@o

RO

L n n@n L L

These patterns are not necessarily the ones you will use when playing, but you
will be able to use the same techniques any way you want. You may be able to
hear a million "hip" phrases in your mind, but if you can't get them out, they
won't do you any good. So this is to give you the facility to play what you hear in
your mind. These exercises may also stimulate your imagination, which will, in
turn, develop your own creativity.

Biography

Joe Morello was born on July 17,1929, in Springfield, Mass.

Having impaired vision since birth, he devoted himself to indoor
activities. At the age of six, his family's encouragement led him
to studying the violin. Three years later, he was featured with
the Boston Symphony Orchestra as soloist in the Mendelssohn Violin Concerto. At the age of twelve, he made a second
solo appearance with this orchestra. But upon meeting and
hearing his idol, the great Heifitz, Joe felt he could never
achieve "that sound." So at the age of fifteen, Joe changed the
course of his musical endeavors and began to study drums.
Joe's first drum teacher, Joe Sefcik, was a pit drummer for all
of the shows in the Springfield area. He was an excellent
teacher and gave Joe much encouragement. Joe began sitting
in with any group that would allow it. When he was not sitting in,
he and his friends, including Teddy Cohen, Chuck Andrus, Hal
Sera, Phil Woods, and Sal Salvador, would get together and
jam in any place they could find. Joe would play any job he was

called for. As a result, his musical experiences ranged

rudimental military playing to weddings and social
Eventually, Mr. Sefcik decided it was time for Joe to move
He recommended a teacher in Boston, the great
Lawrence Stone.
Mr. Stone did many things for Joe. He gave Joe most of
tools for developing technique. He taught Joe lo read.
probably most important of all, he made Joe realize his
WAS IN
in jazz, not legitimate percussion as Joe had hol
Through
rgh
his studies with Mr. Stone, Joe became known as
' "'--Y"
best drummer in Springfield, and rudimental champion of
England.

Joe's playing activity increased, and he soon found

hi

on the road with several groups. First, there was Hank

and the Grand Old Opry, and then Whitey Bernard. After
consideration, Joe left Whitey Bernard to go to New York City.
A difficult year followed, but with Joe's determination and

Joe during his early years in New York:-

Joe Morello with George Lawrence Stone

The Dave Brubeck Quartet pertorming at the White House.

help of friends like Sal Salvador, Joe began to be noticed.

Soon he found himself playing with an impressive cast of
musicians that included Gil Melle, Johnny Smith, Tal Farlow,
Jimmy Raney, Stan Kenton, and Marian McPartland. After
leaving Marian McPartland's trio, he turned down offers from
the Benny Goodman band and the Tommy Dorsey band. The
offer he chose to accept was a two-month temporary tour with
the Dave Brubeck Quartet, which ended up lasting twelve-and-

a-half years. lt was during this period that Joe's technique

received its finishing touche's from Billy Gladstone of Radio
City Music Hall.

Since 1968, when the Dave Brubeck Quartet disbanded, Joe

has spread his talents over a variety of areas. He maintains a
very active private teaching practice. Through his association

with the Ludwig Drum Company, Joe has made great

educational contributions to drumming, as well as the entire
field of lazz, by way of his clinics, lectures, and guest solo

appearances. With the help of his guide dog, Matthew, Joe has
been performing with his own group throughout the United
States.

Joe has appeared on over 120 albums, of which 60 were with

the Dave Brubeck Ouartet. He won the down beat award for
five years in a row, the Playboy award for seven years in a row,
and is the only drummer to win every music poll for five years in
a row, including Japan, England, Europe, Australia, and South
America. He is mentioned in Who's Who in fhe East, twelfth
edition, and the BIue Book, which is a listing of persons in the
United Kingdom, lreland, Canada, Australia, New Zealand, and
the United States who have achieved distinction in the arts,

sciences, business, or the professions. Revered by fans and

musicians alike, Joe is considered to be one of the finest, and
is probably one of the most celebrated, drummers in the history
ot jazz.