Joel Rothman's BASIC DRUMMING (Revised And Expanded Edition) ‘TABLE OF CONTENTS ROCK BEATS READING IN 4/4 TIME ROCK BREAKS READING IN 6/8 TIME Rock COORDINATION EAD OLLS DISCO DRUMMING SYNCOPATION STUDIES ‘JAZZ BEATS: TECHNIQUE STUDIES JAZZ BREAKS : STICKING PATTERNS JAZZ SOLOS : LEFT HAND CONTROL JAZZ COORDINATION ‘ACCENT ‘STUDIES DANCE BAND BEATS RUDIMENTS ‘LATIN RHYTHMS: DRUM oe (MARCHING CADENCES: “TYPICAL DRUM. CHARTS AND MUCH MORE!wicerarr’ ELEMENTS OF MUSIC NOTATION consists of five lines and four spaces. Maas All music is usually written upon a staff. The Treble Clef The Bass Claf is placed at the b Qe is placed at the beginning of the music. Music for drums is written mostly in the bass clef. Bar Line Bar Line Bar Line Bar in BAR LINES sepacate the staff imta measures, — ee | measure NOTES AND THEIR EQUIVALENT RESTS ; Whate Note Half Note Guater Note Eighth Note 16th Note 32nd Note “iT Whale Rest Half Rest Guarter Rest Eighth Rest 16th Rest 3Znd = ‘ Tv t THE TIME SIGNATURES The Time Signatures are figures given in fractional form at the beginning of a ptece of music. The numerator tells the numbersof beats to a measure: the denominator tells the kind of note receiving one beat. GLOSSARY TEMPO MARKS indicate the speed at which the music should be played. The mast common marki ngs are: Slow Tempos Moderate to Fast Terhpos Grave ——— Slowly, sadly Moderato —-_-—- At a moderate speed Largo -——— Slowly, broadly Allegra. ———— Quickly Lento ———— Very slowly, very sadly Allegretto --.—— Less quickly than Aliegro Adagio ———— Slowly Presto ——_—--——. Fast Andante -—-——— Ata ieisurely pace Vivace t———— Very fast Andanting ~—— Somewhat faster than Andante Ct meh terms that indicate tampa changes are: 4 apo ~ megns a return to the original speed after there was a change in tempo. Aco wdndo — fabb. accei} — means a gradual speeding up of the tempo. Rit aria — {abb. rit.) — means a gradual slowing down in the tempo of the music. Ad itum — (ab& ad ##} — means at the performer's pleasure. DYE 0 MARKS indicate the degree of loudness or softness of the music. Then. 7ommon terms are: P pia. —— Soft Extra Terms pp pianiss. 9 Very soft Da Capo (2.¢.} — From the beginning my mezzo piano — Medium soft Dal Segno (2.5.}— From the sign (%) J forte ————— Very loud Coda —————— A closing section added at the and If fortissimo Vary loud : of a piece, shown by the sign ci mf mezzo forte —— Medium loud Fine ——————__ The end sfz sforzando A short, strong accent Poco s poco —-— Little by little trescando (abd. cresc. | Staccato ————— Short, detached A gragual iquréase in thewolyms. 0 - Parte; ——-——_ All everySody, ensemble decrescendo (abb. dacresc.] 'ndicates a gradual déereste in the valume of the music. © Copyright 1980 by Joel RethmanVers FF PREFACE For the past several years, teachers have requested that f write an “all-in-one” drum method for beginning to intermediate students. BASIC ORUMMING is just such a book, Obviously, no one study can possibly contain the total requirements of every private instructor saddled with the responsibility of tailoring a course of instruction te meet the individual needs of aach student. Still, this book presents a wealth of highly organized material on a broad range of topics essential to the initia! development of a well-rounded set player. Teachers will find sufficient exercises on most areas of drumming which they find necessary to teach, The one topic not covered in this book deals with the reading of drum charts. There simply wasn't enough room to explore the topic adequately, However, if this is an area of particular interest, | suggest the following books: SHOW PRIMER, CUT TIME PARTS, DRUM ARRANGEMENTS, SHOW ORUMMING, and 1G BAND CHAATS. TABLE OF CONTENTS SECTION ONE — READING BASIC RHYTHMS Rolling in “Quarter” Time... 00.0... cee cece eee ce cece ec cee ee. Pgs. 3-35 Rolling in 6/8 Time... eee cee eee eee. 35-40 SECTION TWO — READING ROLLS 4 Rolling in “Quarter” Time 2... cece cece eee, beveuee 42-50 Rolling in 6/8 Time ..... renee beeen eee beeen eee ena 51 SECTION THREE — DRUM TECHNIOUE ° Basic Sticking Patterns .,................. Lee cee t ee eeenceeeraee 53-60 Left Hand Control - 2... eee eee eee 61-65 Accent Studies 20... eee cece eee ee. tenance 66-76 Rudimental-Type Exercises ben anee be eee e ea eee eee as 71-88 The 26 Standard Rudiments .... 02... 0.0 000 ce eee eee eeee celle, a9 Sticking Patterns with 5's and #3.......00..0000000000000 000 80 SECTION FOUR — BASIC ROCK DRUMMING Rock Beats with 1/8 Notes... ce cececee cece eee, 92-95 Rock Beats with 1/16 Notes........,...... bee eet eee anne 95-706 Rock Beats with 1/16 Note Triplets ......................000 0 >.. 107-108 Rock Coordination Phrased 3/8, 3/8, 2/8............. Meee teen eee eeee 109 Rock Beats with a 6/8 or 12/8 Feel .....................000 ol 170-113 Shuffle Rock Beats... ee eee sete reeee 174 1/16 Note Cymbal Beats ......................... bh bee ede pea eaee 115-117 Rock Beats in 3/4, 5/4, & 7/4 ..0..0.0000 08. de eeewaae bee eceeeeee 178-119 Disco Drumming 2.2... cee eee eee ce cece eens sense, 120-125 Rock Breaks 00... eee eee eee eee ee eee lll tenes 126-131 SECTION FIVE — BASIC JAZZ DRUMMING Cymbal-Snare Coordination»... 00. eee eee ce cee ences. 133-139 Cymbal-Snare-Bass Coordination ................... beet ee nee ee 140 Cymbal Variations .............0.00. Parte eee fee e eee e ee eee 141 Simple Jazz Breaks ©. 2.0... . eee eee eee e eee 142 Four-Measure 80105 22... eee cece cee cece tence cee ee 143-147 SECTION Stx — DANCE BAND BEATS AND VARIATIONS Part One: Rock Beats, Waltz, Lindy, Polka, Peabody, Tarantella, Mexican Hat 149.154 Dance, Irish Jig, Jewish Beats, Greek Beats, Military Beats. Part Two (Latin Rhythms): Clave Beat, Merengue, Bossa Nova, Mambo, Cha 155-158 Cha, Rhumba, Beguine, Bolero, Samba, Tange, Afro Cuban, Conga, Paila Beats, Paso Doble. NOTE: Three pages of drum manuscript paper are presented at the end. © Copyright 1980, by Joel Rothman = eet oerT aa _ ELEMENTS OF MUSIC NOTATiO THE STAFF consists of five lines and four spaces. SS SE —— All music is usualhy written upon a staff. The Trette Clef The Bass Clet THE CLEF SIGN I is placed at the beginning of the music. Music for drums is written mostly in the bass clef. Bar Line Ber Line Bar Line Bar iina BAR LINES = separate the staff into measures, —4 eee Treasure NOTES AND THEIR EQUIVALENT RESTS ; White Note Half Note Quater Note Eighth Note 16th Note 22nd Note : — ; Whole Rest Haif Rest Quarter Rest 32nd Rest = = THE TIME SIGNATURES The Time Signatures are figures given in fractional form at the beginning of a piece of music. The numerator tells the numbersof beats to a measure; the denominator tells the kind of note receiving one beat. GLOSSARY TEMPO MARKS indicate the speed at which the music should be played. The mast common markings are: Slow Tampos Moderate to Fast Ternpos Grave ————— Slowly, sadly Moderato ———— Ata moderate speed Largg ————— Slowly, braachy Allegra. t— Quickly Lente ———— Very slowly, very sadly Allegretto ——— Less quickly than Allegra Adagio ———— Slowly Presta —————-- Fast Andante —--— Ata leisurely pace Vivace —-—— Very fast Andantino Samewhat faster than Andante (Ct wmonh terms that indicate tempo changes are: A Apo — meéans a réturn to the original speed after there was a change in tempo. Ac wiindo — labb. accel} — means a gradual speeding up of the tempo. Rit aide — (aid. rt} — means a gradual slowing down in the tempo of the music. Ad itum — {abb, ad 4b) — means at the performer's pleasure. DYK = 'LG MARKS indicate the degree of loudness or softness of the music. Then, common terms are: p pie. —— Soft Extra Terms Pp Ppisniss. 3 Vary soft Da Capo (2.¢.} — From the beginning my mezzo plane — Medium soft Dal Segno [2.5 }— From the sign (%) ¥ forte ————— Very loud Coda ————— A closing sectian added at the end SF fortissimo Very loud ; of a piece, shown by the sign ¢h mf metzo forte ——- Medium loud Fine The end &fz sforzando A short, strong accent Poco a paco Little by little crescendo (abb. cresc.} Staccato —-—~ —— Short, detached A grivdcal ingease infhewelume © -Srit}-——§_—-— AlL everypody, anemble decrescenda {a6b. decrease. | Lo : . ‘ndicates a gradual degrsasa in the volume of the music. © Capyright 1980 by Joel RothmanPREFACE For the past several years, teachers have requested that | write an “all-in-one” drum method tor beginning to intermediate students, BASIC DRUMMING is just such a book. Obviously, ho one study can possibly contain the total requirements of every private instructor saddled with the responsibility of tailoring a course of instruction to meet the individual needs of each student. Still, this book presents a wealth of highly organized material ana broad range of topics essential to the initial development of a well-rounded set player. Teachers will find sufficient exercises an most areas of drumming which they finc necessary to teach. The one topic not covered in this back deals with the reading of drum charts. There simply wasn’t enough room to explore the topic adequately. However, if this is an area of particular interest, | suggest the following books: SHOW PRIMER, CUT TIME PARTS, DRUM ARRANGEMENTS, SHOW DRUMMING, and 1G BAND CHARTS. TABLE OF CONTENTS SECTION ONE — READING BASIC RHYTHMS Rolting in “Quarter” Time 2... 0... 2c. e cece ec seceecacccceee. Pgs, 3-35 Roliing in 6/8 Time ........ Pee eee ee eee t eee tence tenes , 36-40 SECTION TWO — READING ROLLS 4 Rolling in “Quarter” Time... eee cece ee cece cceceee. 42.50 Rolling in 6/8 Time ..... rn ee eee eee nee 51 SECTION THREE — DRUM TECHNIQUE Basie Sticking Patterns»... 2.2.00. l eee es tenes bene ee nes 53-60 Left Hand Control ook ee eee eee 61-65 Accent Studies... eee cece 66-70 Rudimental-Type Exercises ..2..-2000.00000.0 00. oe 71-88 The 26 Standard Rudiments... 22.00... .0 0 cece see eee eel . 89 Sticking Patterns with 5’sand 7's... 0.00000... ca cs ee lee, 90 SECTION FOUR — BASIC ROCK DRUMMING Rock Beats with 1/8 Nates 2... cece acc eee cece cece. 92-95 Rock Beats with 1/16 Notes... 2.22. ...00.. 0000000000000... 96-106 Rock Beats with 1/16 Note Triplets ...................0. 00000 soso ‘2. 407-108 Rock Coordination Phrased 3/8, 3/8,2/8............- Peete eee beeae 109 Rock Beats with a 6/8 or 12/8 Feel ........ 000.0... 0 sees 110-113 Shuffle Rock Beats... eee ee _ 114 1/16 Nate Cymbal Beats De eee eet eee eas “ba eeeeeeae 115-117 Rock Beats in 3/4, 5/4,& 7/4 220 7118-119 Bisco Drumming .. 0.22000... eee eee eee eee 120-125 Rock Breaks... eee ce eel veces 126-131 SECTION FIVE — BASIC JAZZ BRUMMING Cymbal-Snare Coordination ©... 0... cee cece ceccceee en. 133-139 Cymbal-Snare-Bass Goordination ..........00...000. 0000000 140 Cymbal Variations»... 0... eee eee cece eee 14} Simple Jazz Breaks 22... ee eee eee ee 142 Four-Measure Solos - 2.0... 0.00. cece cece eee eee 143-147 SECTION SIX — DANCE BAND BEATS AND VARIATIONS Part One: Rock Beats, Waltz, Lindy, Polka, Peatody, Tarantella, Mexican Hat 149-154 Dance, Irish Jig, Jewish Beats, Greek Beats, Military Beats. Part Two {Latin Rhythms}: Clave Beat, Merengue, Bossa Nova, Mambo, Cha 155-158 Cha, Rhumba, Beguine, Bolero, Samba, Tango, Afro Guban, Conga, Paila Beats, Paso Doble. NOTE: Three pages of drum manuscript paper are presented at the end. © Copyright 1980, by Joel RothmanSECTION ONE READING BASIC RHYTHM This section contains two main parts. The first, and most extensive part, deals with the reading of rhythm in “quarter” time, where the quarter-note represents the basic beat. The exercises are mostly in 4/4 time, but there are a few in 2/4 and 3/4 time. For added material in odd time signatures such as 5/4 and 7/4, | suggest the book READING CAN BE ODD. The second part of this section deals with reading rhythm in 6/8 time, with the eighth-note acting as the basic beat. The book, READING AND ROLLING IN 6/8 TIME, contains an in-depth study of this topic. Dynamic marks are sprinkled throughout the entire section, However, since the book is mostly for beginners, the dynamics should be thought of as secondary. First, try to gain understanding and fluency with the rhythm in each exercise, then replay the exercises and include the indicated dynamics. A more thorough presentation of dynamics can be found in DYNAMIC CONTROL, and MUSICAL STUDIES FOR THE INTERMEDIATE SNARE DRUMMER. Once this section has been completed, return to the begin- ning and replay selected exercises in cut time. READING. AND ROLLING !N CUT TIME is a separate book containing many etudes on the topic.READING IN “QUARTER” TIME 1/4 NOTES AND 1/4 RESTS aount: 1 2 Ki 4 pes pa SS SS SE ® Copyright 1980 by Joe! Rothman 3SUMMARY OF 1/4 NOTES AND 1/4 RESTS count: ft 2 3 4 1 2 3 4 1 1 2 3 4 pps (SSS Se a eee Spt === SUMMARY IN 3/4 TIME eee SS SS ees 3 - = J ———— 3 = SS SS Ss es SF 41/2 NOTES AND 1/4 NOTES — i 4 1 2 3 L. 2 3 ‘ el ee ny ese ie _ BD a 4 TEL —_> . 1/2 NOTES, 1/4 NOTES, AND 1/4 RESTS 3 1 2 a 4 1 2 3 4 1 2 3 4 1 2 3 4 ee Jo Se er eg It | ——— re io = = JE —— = =|1/8 NOTES AND 1/4 NOTES piss at Seg The + (plus) sign means to count “an” . +4 + 1 2+ 3 + 4 i 2+ 39+4 oS aba sas Fi Bs Sis ve Fa. B =a oI-5-AR Saag crreeree AAR 6SUMMARY OF 1/8 NOTES AND 1/4 NOTES bbb ve pres So a Sa a =A is || Se ee Se Sag a 2 a as ————_ . c | ( Pon énd endings are commonly used in music. First, play the entire exercise including the 1st ending. Then m@at to the beginning of the music. Do not play the 2nd ending at this time. The secong time you play the apis, skip the Tst ending measure and go directly to the 2nd ending, “~~ 2 SUMMARY IN 3/4 TIME > MB 2 eae ' 2+ 3 + 1 + 2 31/8 RESTS ON THE UPBEAT f= ove ae A a aba daa SE bat =e 81/8 RESTS ON THE DOWNBEAT paige : aa 5 a a eg count:1 + 2 + 3 + 4 1+27 43 4 + +2 3+ 4+ pane Nh me ° count; 1 + 2 4 39 4+ 4 + 142+ 5 + 4 + 1+24+ 94+ 44 1+2 +4 +4 +4 ¥ SS FS =A pM A ei TE ty pa Aa Aha ag 9MORE 1/8 RESTS ON THE DOWNBEAT count: T+ 2 3+ 4 + t+ +2+ 4 1+ 2 3 + 4+ 3+ 4 + Eq adap ey dy ee, obit as oe : = ae = ails B ss Bnta eho |. _ eae ya a a z ri oe Se TS — -E- gount:1 + 2+ 3 + 4 1+ 24+ 344+ 1+ 24+ 34 44 1+ 2+3 44 + 2: Hs Ps ae count: 1 # 2 + 3 + 4 74+ 2+ 93 4 1+ 2 (SN ah eae tas ab. toed a : Saas Spoctetetee fs SS Se ov doh apiataheehoha eat 10COMBINATIONS OF 1/8 RESTS ON THE UPBEAT AND DOWNBEAT count) 1 # 24+ 3 + 44+ teeter ZBe_aet 1+ 24+ 3+ 4 4 A p bai Aaa SES Spe tee ares at aw q f HT count T + 24 3+ 4 + 1+2+ 3+ 4 + i+ 2+ Beat Tte2+ a+ 44 OO 2S aay creasc. poco a paco if count:i + 2+ 3+ 4 + i ee ee 1T+t+2+ 3+ 4 + 1+2+ 3+ 44+ papa Pf ae Se — — 11SUMMARY OF PREVIOUSLY LEARNED RHYTHMS tount: 1 + F+ 444 pein The if’ sempre Saal as ee ee pS ea SSS SSS : Beg ae eS a a eee = ee ee Spa NSS BS aS Se [as aS a = SSeS a aay Vee SSS eS See ps Ss r — HTIES WITH 1/4 NOTES {As written) (As played) (As written) (As played) TIES WITH 1/2 NOTES (As counted) (As written) fAs counted) > 72 7. . TIES ONTO UPBEAT 1/8 NOTES /— {As written! (As played) iAs written) {As played} MBcount ++ 2+ 4+ 4+ 1+2+3 +4 1+ 24+ 34+ 4+ 1+24+3 4+ "> ] .| a ie a y aa) i dy “eo 13TIES ONTO DOWNBEAT 1/8 NOTES (AS written) (As counted) {As written) {As counted} count: 7 + 2 + 34+ 4 + Fe ?+e B+ 4+ 1+ 24 3 + 4+ 1 42 434 44DOTTED 1/2 NOTES (As written} cont; 1 2 3 4 1 2 a 4 (As played} (As written} 2 3 4 a“ (As played) 1 Z 4 4 ky } I w| RL DOTTED 1/4 NOTES (As written) count: 7 2 +3 4 1 {As played} fAs written) A single dot placed after a note increases its duration by a half. 15SYNCOPATION WITH 1/8 NOTES AND 1/4 NOTES : {As written) (As played) {As written} tAs pla veel | count: 1+ 24344 + 1.42434 4+ 1424344 1+24 344 No SP Se pe hh Sg ana 1+24+ 24 4+ +2 + 3+ 4 1+ 2+ 3+ 4 (ae DEE Nt hy He FEN a nv ob oN eat boi NS Sao its = P Pe Napa No) ode hey =) Bad A Shh ASS So oa Slate SE tay ——— =>Peay SYNCOPATION WITH 1/8 RESTS ON THE DOWNBEAT yg) a aes a DAR opal hatter es Jabs aaa Sa : SYNCOPATION WITH RESTS AND DOTS SANA AP ANN No Bs bhi ahead Nash e ry Site Dochole= pelted oe polska peep ph Sicleseshests giathiakpestss) ¥ a (Sere jaja SSE aa D.C. af Fine =IMORE SYNCOPATION (As written } (As pla ve (As written} (As played) count 1+ 2+ 3444+ + + 1+ 2 3 4+ i - he 3 Sa aE De = =}. ie aa count: 1 + 2+ 9+ 4 + T+? 439 4+ 4 +2 + 9+ 44+ 1+ 72+3 44+ io — Eh) osINFRODUCING 1/16 NOTES 1+ 2+ Setd4+ 1+2 + Je+gd4t ERE ira abet ote te a aoa cpunt: 1 + 2+ Setddeted ] +2 + Betddetd 1+ 27e+d3+ 4e4+d BVSesCsese Te PSs ss SHocsess fount: 1 + 2+ 3etd 1+ @e +d ad + 1 Tetd2etda3+t+ oT1/16 NOTES ON THE UPBEAT coun: 1+ 2+ 3+ d4d 1+2+ 34+ 4+4 1+324 3+d 44 Peat gt+d4 i ieeree ae Haare) 7 favewead s Jaan Fat 7 rt air: EE ABS PBS a SBS a count; T 4 Zet+d 3 4d +d 1 24+d4+ 4e¢a 2 3etd4t+d i Zet+dataa aa ree ee i al — |j ei a ; | - = S 71/16 NOTES ON THE DOWNBEAT i “oS he +3 +det *3Qet at Sr sasrre Si BA: BaF 3 iS es plésth= Slay f GE SUMING S 6 F SSH SSE EUS PS PS GS GS Wwe1/16 NOTES ON THE UPBEAT AND DOWNBEAT count: 1+d2 34+ 4e+ 1+? +d3 Get + Z+tdteat 1 +d2 [Epona tlt + ae A BBE P poco a poco erese. Sa i A BB BoB SUMMARY OF 1/16 NOTES IN 3/4 TIME Count Fe +d Pt dda st Tetd? +d 304 letd2?e+ 3 +q Tetd2et 3 +d IES S81 ee. — To Coda = aU 6 CODA = AEBrtp od etdzdatd 1/16 NOTE RESTS Te*d 2@ertd > oF ae ey pe pp py _ Sea (Se a ™, a 38 sp? [Sap eres = pee P 23TIES ON 1/16 NOTES {As written} fAs count ed) {As written) (ge eae a ais aS pa me (aa pp [PH Sy e a [Se a pp ae [Sepa Spee pS SS ae pee Se SeDOTTED 1/8 NOTES {As written} {As played) : + +d 2 + eS = =F] + 2 3 +d 4 1 + 24d 3 4 + ted? + F asad 55 SaaS -t: Ztddet+d4 ttd2e+d 3+ 2+ dt+ddedid pas 3, SS 3 ERLE = ABS count: 1 +2 + 3+ a+ Ttd 2+d 34d 4td mf a tas: See boa dams _— ps 25DOTTED 1/4 NOTES WITH 1/16 NOTES ON THE UPBEAS (As written) (As played} count: T 2+ 43 4 +d pps count: 142 4 Bet d 142+ d etd a4 V42 +44 deta 1+2 +d 34+ 40 +d PARE Bao SE DOUBLE DOTTED 1/4 NOTES (As written} (As played} (As playeci} count: 1 2+d $3 44+¢a 1 2+d 3 44d 71 24d 3 4 +q peta a aa ‘Foes ve count: 1+2+ FJe+a4 W4?2?+ d3etdd T+2?+d dead 4 142 a de 4 " saree eee after a note increaces its duration by three quarters of its Griginal value, 26SYNCOPATION WITH 1/8 NOTES AND 1/16 NOTES {As written} {As played} {As counted) count: 1 etd 2et+d 1Tetd2edad Tetad2?e+td aesesceeee es 4 i a i b a) Sqecreses » Jf P— —s eé*+d 2? e+d oo etd 2e + di toe + od 2 a+ ad 1 e+ did 2 e + d »1/8 NOTE AND 1/16 NOTE SYNCOPATION— WITH RESTS AND DOTS count: Tic td? @ +d 1 e+d Fe+d 1 +d 2 Eps Se 3S SS Ss count: Te +d 2 etd Te+d 2 &€ + pane ES a my = SS i count: 1 ¢ + ¢ 2 e+ ad Tetd? e + @ 1 +d? e4d eos Se f count: 1 etd # ¢ +d Tetd 2 etd 1 etd zi ervwd pee ASS if Sf 28INTRODUCING 1/8 NOTE TRIPLETS 1 2 3 Stripiet 1 2 3 4triptet 1 2 3 triplet 4 1 2 3triptet 4 3 3 pS SSS at " 3 3 3 3 3 3 + a 3 Joe 3 milan. AR AR SR ay In playing triplets, there are several counts that ean be weed. | suggest the student first count 1 trip-let, 2 trip-let, 3 trip-tet, 4 trip-let, After developing a feel for the triplet rhythm, the count may be reduced to 1, 2,3, 4. Jnioh The student should also become familiar with two distinct sticking patterns for the triplet. The first is alternating hands. The second is playing the triplets with two rights followed by a left {RAL}. This pattern enables the player to always lead with his right hand. The triplets can also be played more rapidiy with this sticking, and a natural accent falis on the third part of the triplet producing a more “swinging” sound. Both stickings are tmportant and each should be incorporated at the appropriate time. 291/8 TRIPLETS WITH A REST ON THE UPBEAT 3 3 — _— 3 3 3 3 3 3 3 3 3 3 = = * "= E 3 3 3 J a 3 se ptisisiab eee = ieee 1/8 TRIPLETS WITH A REST ON THE DOWNBEAT 3 J 3 3 3 3 a pale aaa SS 3 3 3 a a 3 3 a 3 a 3 a Sa aa aa fees fat z oe ats Faas eee 3 3 3 3 3 —_— 3 —_ 3 a “ph aS 3 BAN 3% St et 7 —— ° Sh The fermata sign over 4 note (*S}) means pause before proceeding. SUMMARY IN 3/4 TIME 3 3 3 pee RSs - ee 3 401/8 TRIPLETS WITH A REST IN THE MIDDLE J 3 3 3 3 j J P 3 3 3 J ns saeial Se aaa . SUH SSS ES Ure’ bp i we eee “F Be ag aay iad i rae ES CECT OT TCS SCC RUE TOSS SUS 311/8 NOTE TRIPLETS WITH TWO RESTS (SS Sas f, = Be =e Baa Ea aia aie ao f a SS aries 3 3 a 3 J ae eee 321/4 NOTE TRIPLETS (As written} (As played) (As written) {As counted} i—— 3 —T -—3 (a 6 ete’ e Sain aaa ae a lg IS i” — . 1/2 NOTE TRIPLETS J mp = ‘As written) {As played) (As written} (As counted} es —-3— —3I—- —-3— a + 30d 3 5 ee =- aes ae 2 Sea = r— #4 Ta 4 7 rr | o” dr 3.3 den ——— 3 — ge sfeshs m2 3 3 3 3a p93 —4-- —- 3—1/8 NOTES AND 1/8 NOTE TRIPLETS pre Tae eR ae he SR spate rreee Es pee Shes. Tas AR ee @ poce «1 pa SRS nae ee Sf SS , a 3 RAED 1/8 NOTE TRIPLETS AND 1/16 NOTES a ——— jn oomn, 3 3 341/16 NOTE TRIPLETS — FROM THE UPBEAT 3 J ~ ee 4 —— | fap eb 7 ae perder z no %, - — 3 3 fener e ” ? br 7 = - o . 1/16 NOTE TRIPLETS FROM THE UPBEAT : AND DOWNBEAT 3 3 ne pO 3 3 a 3READING IN 6/8 TIME 1/8 NOTES AND 1/8 RESTS pps sae BR eS Se Sa eas pee Sasa: ees aS = 25 = =1/4 NOTES AND DOTTED 1/4 NOTES Se C'S Weer 123045 6 BE: ee SS PSS SSS vs a ase pans yy : GEES Sy pe: SESS SS Noa ase 2 a SyINTRODUCING 1/16 NOTES count? 702 3 4 5 B+ eS Seay SEALER: Jf sempre ERLE i+2 434 5 6 i209 445464 1 2443 41546 Sth Ti SRA. a, 1+2+9+4 54 6 a T+ 2*a 4 5464 # fied Eee e pve cdecine oreke = Te? B+ a+5 G ae1/16 NOTE RESTS ie 1+? 344756 + rage | 1+? 344 45 8+ ” = r3+4a + be 2 ttDOTTED 1/8 NOTES count! 7 2+ 3 454+ 6 t+ 2 3 4 846 1+24+3 4546 ToF+3+4 546 oi | Tt+2+344 546 12+ 45+ 4 EE a = Fn SR he (Sig Sa i SE. = 12 344 56+ TO 23+ 4 + a SS HEE. eae sivas 4 aa, eenVeCLSReSS eve ceRsVeeseeesceessSsssessessesegsys FB Vt SECTION TWO READING ROLLS There are two methods tor teaching rolls. One is the press roll app- roach, where the student is able to produce a sustained roll in a com- paratively short period of time. Rolls preduced in this manner, how- ever, initially sound sloppy and uneven. As the student progresses, it is expected ihat he will develop a finer skill to execute these roils with smoothness and finesse. Proponents of this approach assert that for all practical purposes, since the press call is the roll that is actually used, especially in orchestral playing, students should be trained early in their studies to think of a roll simply as a continuous and smooth sound tor a given length of time. The second method for teaching rolis is based upon the rudimental or traditional approach, which requires a student in the early stages aft learning to play a precise number af “open” double strokes when he © reads a written roll, As the student’s technical prowess increases, he is able to play the open doubles at an increasingly greater speed, Even- tually, the student will reach a maximum speed with open doubles, at which point the closed or press rall comes almost naturally, It takes an average student anywhere from one to two years to play a smooth closed roll through the rudimental approach. Although this method is initially tedious and time-consuming, its advocates claim that as an end result, the student gains much greater contro! and overall technique than in the press roll approach, Moreover, this greater control with open doubles and its resulting machine gun-like sound on the snare is extremely useful when it comes to playing jazz and rock solos around the drum set. In general, this author tends to agree with the advocates of the latter method, and the approach that is notated on the following pages is basically a traditional or rudimental one. Ail exercises are presented as “measured” rolls, with a predetermined number of double strokes for each beat, The two approaches, however, are not mutually exclusive, Teaching the press roll should be initiated and incorporated at an early stage, in combination with the approach that | have chosen to illustrate. In fact, the exercises in this study not only can be played as written, with a predetermined number of double strokes per beat, but they can also be played with press rolls, It should be added that the same exer- clses could even be played with alternating sticking, thereby providing the reader with the opportunity to develop his single-stroke rolls. One final point — the pages in this section contain measured rolls which are based upon doubling sixteenth-notes, enabling a nine-stroke rail to be played for each beat. If the section is replayed in cut time, the rolls would he played as five strokes to a beat. However, another group of measured rolls exists, based upon doubling sixteenth-note triplets, allowing thirteen-stroke rolls to be played for each beat. Since there isn‘t enough room to present a separate study with these triplet rolls, | suggest that the reader reptay all the exercises, using thirteen-stroke rolls to a beat. Page 83 cortains a series of exercises to develop triplet rolls. For a further study of rolls in all their ramifications, | recommend the books ROLL CONTAGL, and ROLLS, ROLLS, ROLLS.ROLLS ON 1/4 NOTES Nine strokes to a beat {quarter-note}. (As written} (As played} | ge a i to oL LLRRLiRALROLLS ON 1/2 NOTES ft a ht =p ivi Vuveue — "a i r : f= is ~: 5 SS ee re ee eee ee = © = s«, ROLLS ON DOTTED 1/2 NoTES a. —— stot ff ad ee =f = ——— ROLLS ON WHOLE NOTES wee TRS at x —wSesSSiRS ©1/8 NOTE ROLLS FROM THE DOWNBEAT (As written} i (As played . gon = == 4 ARLLCLA LELRRAEeE ‘— 5 strokes —1 pee Se Een Tae ABR. Fis BS eA eae Fae Sit fai (SBF fae See 6 ss (As written] (As played) OT C1 [SS a hh 3 =H Ceo el ft = s1/8 NOTE ROLLS FROM THE UPBEAT {As written} (As played} %: pele h, | RR, 4 | A RAL LA L—§ strokes —! Beemeees SEU ER1/8 NOTE ROLLS FROM THE UPBEAT AND DOWNBEA BEA AT ARSE ER RFE tS AAS Aes Alo COMBINING PREVIOUSLY LEARNED ROLLS ati h Bt Ans WL be my ” th ih (Getta tGto avs Ea ot eee woROLLS ON SYNCOPATED RHYTHMS (As written} (As played) {As written} (As played) {As written) = (As played} messesROLLS WITHOUT TIES [As written} (As played) (As written} (As played} f | E73 SH Si tt a Sith f py Fi SUMMARY OF ROLLS WITH AND WITHOUT TIES ee ee ee ee eeiietp toa NS Shirt py 9 eB hs = iit ee ft td 4 _ 7 48 = nrROLLS TIED TO 1/16 NOTES ee a a ar a Pit: ieee ed LD BD ae, (Aas written] (Aa played? (46 played) mmo _— TERDOTTED 1/8 NOTE ROLLS ON THE DOWNBEAT (As Written) {As Piayed} I} 2 . . d x L oR L RALLARL RRLLARL ¥ stroke ralls pp eS a, SEE EG BA i Be [bred Jeter) 5 =Ee= fe foe Fess {As {As written) {As As Plaved) atk oN ft FB DOTTED 1/8 NOTE ROLLS ON THE COUNT of “e” « (45 Written} (As played} Tetd? + yy Sy TF atroke roll stroke roll - o pam ise Se SS Es aia rise ate, * 50ROLLING IN 6/8 TIME ste Se asi SS = fa i aaa SSS si S Ss = SSS - * = SSS pists ook ty a eae tests pt 6 eee] me om = ne > a 4 a .SECTION THREE BASIC DRUM TECHNIQUE This section starts with basic sticking patterns using eighth- notes and triplets. For the most part, the right hand is featured, and it predominates in all the exercises. Replaying each exercise in reverse will allow the left hand to play the predominant role, and the second part of this section Presents a comprehensive study tailored specifically to develop left hand control. The third part of Section Three is an accent study with eighth-notes and triplets. By playing all accented nates on various tom toms, and ali unaceented notes on the snare, the reader wiil be able to develop fluency with fundamental patterns around the drums, If you desire extra material along these lines, 1 suggest the follawing two books: A QUARTET GF RECIPES AROUND THE GRUMS, and CROSS STICKING ARGUND THE DRUMS. After the accent study, there is an extensive presentation of tudimental-type exercises including flams, ruffs, drags, single- stroke rolls, double-stroke open roils, paradiddles, the 26 standard rudiments, as well as special exercises with quintuplets and septuplets, EASY DRUM SOLOS TO DEVELOP TECHNIQUE its anew book which incorporates all these tepics in easy-to-play four-measure solos,BASIC STICKING PATTERNS WITH 1/8 NOTES (Featuring the Right Hand) 1. 2 3, 4 VRARALLLL RRRARLLL RA ALARRL RARLLLAL jy 1-1/0 4 0 dd I-tood JJ] “ARLRARLA- seeceese ef recsedees if eceeeesesl [Jy 2Jd 04 y20 J Ty (JTL Jd 110d, Hee eeedee: “RRLRLLAL Heeeeee ee: finteee ee ced "RALRURCR. [teeeesede: peeeeceee al Heese deel ily po j-LT 1 J leeeceeee if “RLARALLAL eecesse ei secesessecf Ji iJ4 TT. pool 4 uJ dd LTT a . | , “RALLAELULL “ARLLRRLL — = — ARLLARRL. RRLLAALR todd Jdd, j:-J IJ 0d Ly I JIT 4 TT 4 eeed dace “RRLLRALAL. hateeeeee: }eeeeeeee: ete dee sof “RLALALAR "RLALRLLL “ALRULRALL. 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B. poo, SOY poo, one RLALARLA RLLAL ALL RLALARLA RLLALLR | ALALARLA LRLRALALR RLALRAALR LALALREFA pony ony }oon.ams RLALRALA LRARLRALA RLALRPALRS ELALLARALf 5 Group Three o 6. a EY onamy os RLARLRAL A LRRLERLA Y RL ARLARL RULRRLALE gh RR l I seeereee | JJ i) Jit ALAALRRL a TD fa ee ee deeeceeedl a om = ast - ~~ Group Four 4. J 0 Oty po Ate RLAALALLE ALARLAAL A Tam ny pI AR ES RLRAL ALL RALLARAREL RLRALALL ARLRAAL BL fereebprrlrcrpeerel Ml a tetreccamttetarisl RLARALALL RALRLARL HER EEH ERE | pS | Jy ALARLALEL RLLAALLA RLRPAARLALL RLERLRELE spammy po es RLRALALL “ ALRAL ALL RLLALARAGroup Five A LLALCLROE ALARRiRA LALLRALRL p TOOT ono, RLLALLAL LRLiRAARLA LRLALRELL i TE RLELRLELLAL 2 fi leod dy RLLALLAL 4 pO RLERLLAL oo RLAL LAL j-OTL os ARLRALALL To. 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[eeceteed| -esecee edi , . 4 I, Sn omy poo mmmmy ALLRLALR ALRALAAL ALEALALR ALLAALLAR i TTT Ty TAT, Ty RELLALALA LAL RERLL RLLALRBLA ELALEALL bp he 20 Le 1. IIT) STII y 1. JIT. Ty coceccde | seeweeee [Reeetec te | -eeeedees S? eeeSTICKING PATTERNS WITH EIGHTH NOTES FOR FOUR MEASURES RLARLARL AL AREER RE on, mn | TT... RLRA RL RLR LRL ALRAL yg RLARL ALA RLARLAL R ,onon mom RLRALA LAR LALALALR. WT |e ARLARL AL RR LARLELARAL RALA LALA LALRPALAL I ono on oo, aa RRLALARL RRLRLA RL A ALRLA LR LEALAERRE (_ oon 4 ao AA LR E REE RALALALL () un Wo, on RLULURLRAL RiLtRLA AL JA ARLE A RELL ITT RALRLERE RLLAL ALR LRERL AR mon, aan RLLAALROE A LLRRLAL WA RFLLARLCLOR ALLERALRPAE poo J a TO JTL bd ALLALBLR ALLALAL AR pi TL Joa RLLALCELRE LALLARAELL ITT IT Te RLELALLRAL RLALERRL ia ALALPALAL RLRLLAR poo TO TI RtLAL RLLA AiRERLLE JT RPLLARLELLA RLRLALL SE 58* - BASIC STICKING PATTERNS WITH TRIPLETS - 1 3 3 3 2 3 3 d d RAALLAL ARLLAL RRLRLL RRLRALE a 3 3 3 3 5. 3 a 3 d 5. 2 3 3 7 , ALAALR RLRALR tl I: RLARLL RLRALL il I RLRALARL RL RALRL il ~“@ | a 3 3 3 3. J 3 3 3 9. 3 3 3 3 JTL y pL INT 5, JT. RLARLLR RERLLR i “ ALLRAL ALURRL ll ‘ ll RLLRLR RLLALRA ' ee 3 LLARLR LLRAEAR LRLLAA LALLRRA LRRALAA LARLAR COMBINATIONS OF BASIC TRIPLET PATTERNS euew’: 4 a 3 3 2, J 3 a a 4, 3 a a a ‘A RLRLRL ARLARL | I ALRLRL ARALCARL i I RLRALRL RRLALL a 3 3 3 ALALAL RLRAREAR ll : be a 3 3 3 9 ALRLALE RLRRLL ALALARL atedee-f ” 3 é 3 3 8. 3 3 J 3 9. 3 3 a i RLRLRAL ALLRLL | RLALAL RLLARL H RLRALRL RLLALR a 3 3 3 i ALALRL LHLRLR RALALAL LALRLL RLALRL LALLRL i o£ 3 23 LRALRL RLALAL LARLLA ALALAL RAALLE Bs 3s 3s es 5» 3 3 3 3S 4 3 3 3 3 MT). LLAALL RLALAL LLALRE RLALAL recess af 59 ’ Sam ra errs errra a a a es deere ooeeral fi RRLARL RLLRALL l 3 ALLALL ALL AAL 7. 3 3 3 3 3 3 J i RALALL sareer il 10. 3 3 3 3 IT). RALLAL ALARLL 3 3 ji ALRALE RRLRARL 16. 4 + 3 3 3 ll RLLARL sereee 19, 3 3 at I RLARLR coreesal 22. 3 | RLAL“LR LLALLA 3 25, Ta TT ap RLLRER LRRELAL 28, 3 3 3 J J d ‘ooh ALRALAAR LALALL 1. 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