—= SPEED and ENDURANCE STUDIESINTRODUCTION Being a drummer calls for a great deal of physical stamina and strength, which is why | wrote this book of speed and endurance exercises. However, these exercises should be practiced with smoothness in mind, rather than speed Speed will come gradually, if you practice every day It's very important for you to be relaxed and comfortable while you're play- ing these exercises. Work on them one page at a time, Don't push yourself; play up to your top comfortable speed. After playing a page, stop for a few minutes and then return to the same page. You'll notice how much easier it will feel My sticking notation is very important . . . you'll find notation for single and double stroke rolis, and paradiddles (which are a combination of singles and doubles). The sticking can get tricky, but as you become familiar with it, it will feel more natural AND it will strengthen both hands. Alter you've mastered the sticking, and become comfortably acquainted with the exercises, you'll only have to go through this book once a day to feel your hands improve! These exercises should serve you well, and will keep your hands in great ABOUT THE AUTHOR Nick Ceroli, born in Niles, Ohio, attended the Cincinnati Conservatory of Music for one and a half years, and then went on the road with Ralph Marterie. After a two year stint traveling with Ray Anthony, he moved to Los Angeles in 1960, where he played with all the local bands, from Stan Kenton’s to Les Brown's In the prime role of studio musician, he’s worked with greats Peter Matz, Allyn Ferguson and Carmine Coppola and can be heard with Ray Brown and Dudley Moore in the score of Moore’s movie “Six Weeks.” He's performed and recorded with singers Peggy Lee, Jack Jones, Steve Lawrence and Eydie Gorme, Vicki Carr, Irene Kral, Dave Fishberg and Cleo Laine! Ceroli’s recorded with a myriad of jazz stars including Zoot Sims, Al Cohn, Bob Florence, Mundell Lowe, Jack Sheldon, Don Menza, Alan Broadbent, Pete Christlieb, Warne Marshe, Stan Kenton, Bill Berry, Richie Kamuca and Ray Brown. In addition to all the recording, studio and performing work, Ceroli performed on the Merv Griffin Show for seven and a half years, as well as subbing on the Tonight Show. He was also on the faculty at the Dick Grove School of Music, where he taught a weekly drum class._=== SPEED and IEENDURANCE STUDIES: by NICK CEROLI CONTENTS SECTION ONI Accented Endurance Exercises-Groups of Four Single Stroke Endurance Exercises ..... Endurance Exercises . Accented Endurance Exercises-Groups of Three More Single Stroke Endurance Exercises... . More Endurance Exercises a : Accented Endurance Exercises-Groups of Two. Still More Single Stroke Endurance Exercises Endurance Summary 1 : Double Strokes. SECTION TWO Paradiddles...... Sixteenth Note Triplets... Single Stroke/Double Strokes . . . Double Paradiddles .. ri Still More Sixteenth Note Triplets «+. .and Paradiddles .. Fast Double Strokes... . 7 Fast Double Paradiddles.. Simple Accents..........22.. 05 SECTION THREE SECTION THREE ‘Syncopated Accents . ... Accented Sixteenth Note Triplets . Even More Sixteenth Note Triplets... . Thirty-Second Notes/Sinale S Strokes .. Double Strokes . . 152 ©Copyright MCMLXXKII by Dick Grove Publications Copyright assigned MCMLXXXV to Allfred Publishing Co., Inc. All rights reserved. Printed in USA.SECTION ONE This section initially presents warm-ups for each indi and then puts the two hands together. By stressing the accent (with the snap of your wrist), you will build strength in your hands, as well as endurance. ‘dual hand, STAY RELAXED! SSS Accented Endurance Exercises-Groups of Four (GSE ana? oF wersT) > > @> > > > eeee cece €R OR eeeOe cece eeee eee meee ee ee eee ee eeene eter rere rae eee eerie eee ectite ee @) @ oe in we As = aPC erro cere re eee eee terete ee eee eeeeSingle Stroke Endurance Exercises ae a aaa eect ef CO le a eeeer ---- ea. =. RLeL eeEndurance Exercises Peek teiec tat Teteee time Meee eRe eOMeL LOL mm mee Team tat. c te ee Baa ay ee eeeeeeRee Ree e vee beee TEU Lee RRRSaaS Accented Endurance Exercises-Groups of Threecee eeeMore Single Stroke Endurance Exercises teeitee cet ere ieee v cosececresss RU@LR COCPLe ete > > 2 > Ree Oc RR ROR cree CREAun PLRLEL woe eee ween eee ao anne PLAL ceuece __-12 aS More Endurance Exercises @ Tiaceeen 2 e ee ee ceieiie eee eeee Sita miece /R eee rece RAR13, Tlrecececeike RieL Ree R LeceRieieikR ie Reece wee _-- CeCe eee ee eeSS Accented Endurance Exercises-Groups of Two15,Still More Single Stroke Endurance Exercises7 RCRA TR ee re err eee eee ee ences PLT ee pert ree cree rece ree eee eee eee ceeEndurance Summary 1 Teer aie et Avec eel eee eel e------ --------t eee cea19 Eure Teese eee g ee eum AER20 Now, here are double strokes I's very important for you to make each stroke sound the same, so that this: Td RRC will sound the same as this: PPP atat When your speed increases, you can bounce the second stroke of each double, but when you play at slower speeds, you should use your wrists for each stroke: 0 a Remember, smoothness before speed. SSS" Double Strokes @ e@e cLee.cf@c eo co21 (REVERSE STECKENG on REPEAT z z @erc ee Tecc Merc eece u eeoe Loee@icee Lee Lee a22 More Double Strokes Wccec ea eeu MeL eee Liket Meee CMR MPL ALL cioee te tee ew (fi aioe aa en tsk aoa a eee tana Ee @eir@c ec eei Ae Rei eeiiee ciemieliee._-_ _23 Perrepectreceey Ure ee Pit Pe eRe ee CAR ee RL PAL Te cer CL PALL a (shies dans abe tana tweed oe @u eeu ~ =o EC RRR RRMA eee RRL MR RRL Meee et Me RRR eee Ce PLL MPU RPP24 SECTION TWO Before going on to the paradiddle section, practice single paradiddles Start slowly and gradually build to your top, comfortable speed. Hold that top speed as long as you can; keep in mind that you don’t want to tighten up. If you feel that you're getting tight, gradually slow down to your starting speed Watch for the accents in this paradiddle section and in the double paradiddle pages that follow. ———————————— Paradiddles @ Tike eee Meer ec © cee. eae mw ie wMereic Pieeitu Meee CML CMRI ALL Pee Ce MeL Ce MLR25 Zae@ce cae Reece Meer CAA Boee ce eu MPR EUR Wee ere cee Mike LR iP mee ALL MRAM RCM CR Tee ALL Ta Pu TROL RPA ROL RUPE ER @ 2a “EL PETE MERC Ee Lee CR Be cei Rc@eL Aim MUReL ML RC Mee Chet MURR TU MPR Lee Le RC LA RRL OR MRL MR RL Cieeten Oe LAL ALARCL MMP OR PAUL RL RCRRL ER26 ee =vxXxvr—.-_ ——_ Sixteenth Note Triplets Pre ec Ace cer eiece ee ceu ALR LececPiec eee (TEVERSE_ STICKING ON REPEATS27 TEETER a Teueeu28 Still More Sixteenth Note Triplets REVERSE STECKENG ON REPEATS) = Le ee co evevee Pee ee SUC RURAL 229 ~@ © cme Zee eee @cRLRL cececkSingle Stroke/Double Strokes SENGLE STROKES) @eee------ €c @ce & cece re... ce ecere(Couns 3 3 3349 > 3 3 33 3 > ~3>3 3 350 The Last Group of Sixteenth Note Triplets (PLAN ToP StLCKING THaUBNONT The PARE, \ WEN KEPEAT THE PAGE USING THE RoTTOM STICKING. 3 =3 ~ 3 a3 3 por 223 3 — Te R c R C t Rg t cr51 cee -3 3 > 3 > pues ——SSSS Se = SS SS 7 fe c R c &52 Thirty-Second Notes/Single Strokes REVERSE STLCKINGS ON REPEATS RLecR RRORR LLL RLELELLL LRELRLRLL RIRLRRREKLY e@E CELE Ree RRELR Re Rlecee ceeRLE LLLP r7 nr RLRL----R RRR Re - =RRUERLR CU RRLRR LRRD CRM IIIc ee Ree! TIULRURE RE CRCRLL RERE eC Re cReCL Ree Ree Rceee URLas as se as so es es se as aeDouble Strokes (REVERSE STECKENGS ON REPEATS) 4} REC RRKRAR LCARLL LL LL RRLCARLLRRLL RRLLRR RRRRY LURE CLEC RRELAR RS RR LER LCRRLLRR CoReee Leue® -RRLURR LURRLLRR LLRRy TUCRRCC RR CURR CL RAUL LLeRR RRLLRR LLRR LE RAUL Wee LL RRLLAR LLRE55 RRL Lee6 PLAY TaP STICKING THROUGHOUT THE PAGE, WEN REPEAT THE PAGE USING THE BOTTOM STZCKING. @ Lee CRLGRERR sod97 y RERRLRUA RRR LRLL RLRL---_- RELL 7 CRUECRERRERLE RLRR LALA. LR ir RRR LALL A RURL Wo RR RACER RR Le TREC RERR CRE R LIL Lee eee RTC R ER 7 @c@RCRCRIRECRERE RRL CECERLRERRRLRLR LLER ~~ WPERCUSSION PUBLICATIONS FROM ALFRED Cea Mow w Play Rock and Roll Drums) sk ony et pee vs veo ‘Aired Begining Dramset 16 Book ans Cassie fost Method or a8 193 Bookenty Lear o Play the Snore and Bass 16876 ook and CO ve Gor You Under My Skins Dram iter Fst 28) ok and Caste cote, 78 ak? 1965 ok only 132 Bok? ‘Basi - Rock Drum Method 14), Mader Drum Studies evs) (ison (Sent) 1676 Book and CO “00 Progressive Stops te Syncopation 167 Book ony 1m toa? forthe Modern Drommer 27) Braciion Percussion Manual Teach Yourseltte Play Drums ———77")-_—Speed and Endurance Studies ‘Satan (sn (Caron) Contemporary Brush Techniques inant MALLET AND MISCELLANEOUS ‘Rersenetsonack) aed tne 2461 Bok and Cava Boch nt PERCUSSION. Contemporary Country Syst Utimate Drumset Reading “08 Gymbals:A Crash Course the Orammer and Bass “Anthology. 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(ansfeldten 138 Book eldsten ack) Fundamental Moth fr Mall fuk oy 78 ook 7 Fetter (Peters) Drumset Independence & Waramate 1806 Book Syncopation 300 VHS Video, Book 1 11807 Book 2 129, Dramest Mie Burs/felisien) say VHS Veen Boch? 16) Marry Brewers Mallet Sole Drumset Principles 50 Aited's Beginning Snare Drum Collection i 27995 Book and Cas 0 Lean Play Keyboard 11 Drumset Res ae ‘Book at CD Percussion (te esdsi) Esseml Sis forthe Drommer Boo re Case and Bait 090) Sa oy aL 1900 ok to cD 6% Aes Begining Save Orem TT Band Directors Perce {007 Seok ton Ca Salen (hac Feiion Apa Manual Ook 7 na cD 909 Ales ltermeiaeSaae Drm 7) ChamponshipAuaay Units {608 ok? nt Ca Sloe (ar other Waranote fosier Wananae ulCowtes a0 ‘00 Aled HudimenaLCones Sale. eatipadtp dso ose oom Salen oc Felton Wana ester Wanamaker Di Cowes “50 Funky Primer forthe Rock 100 Aes Rude Conest els ‘Mutipe-Option Marching Band Drummer \Waranane Teeiques 500) Fahy Theses forthe Rock 5) Aled’ Radiant Deets on 188 eon ‘Wararner 568 Wort 1 tout) © Champions Cope Style Precision Marching Percussion Fotwre Soames 0 Contest Sos rari Ensemble os wart Bok an CO International Drum Rudiments 936 nt 273 ok and Case Wararone are 6) fexkont oo dO Wit fr compa ctg — ‘ed Pabicatons and tui 4 Masic ‘Aired Publishing Co. ne. 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