Table of Contents

INTRODUCTION.............................................2-9 LESSON TWELVE........................................38-39

3/4 Time Signatures, Grooves in 3/4 Time,
LEARN ABOUT THE INSTRUMENT...............10-11 Rudiment: Flam, Fills in 3/4 Time,
Music Reading: 1st & 2nd Endings,
Play-along Track: “Horseback Waltz”
SETTING UP THE DRUMS / TUNING............12-13
LESSON THIRTEEN......................................40-41
GRIPPING THE STICKS................................14-15 Music Reading: Dotted Notes,
Style: Halftime Feel, Halftime Grooves,
LESSON ONE:.............................................16-17 Play-along Track: “Halftime Show”, Technique:
The Rebound Stroke, Accented Paradiddles, Paradiddle Grooves
Rudiments: Singles, Doubles, Paradiddle
LESSON FOURTEEN....................................42-43
LESSON TWO:............................................18-19 Syncopated 8th Note Beats, Syncopated
Sticking Patterns, Bass Drum Technique, Combos, Technique: Single Hand Accent,
Hi-Hat Pedal Technique Play-along Track: “Synco de Mayo”

LESSON THREE...........................................20-21 LESSON FIFTEEN.........................................44-45

Right Hand Hi-Hat Technique, First Rock Beat, Music Reading: Sixteenth Notes,
Music Notation Basics 16th Note Grooves, 16th Note Fills,
Technique: Grid Diddles, Style: Rock Ballad
LESSON FOUR............................................22-23
Music Reading: Quarter/Half/Whole, LESSON SIXTEEN........................................46-47
The Ride Cymbal, Play-along Track: Music Reading: 8th/16th Rhythmic
“Rock Steady” Combinations, Syncopated LH 16th
Grooves, Technique: Accent Grid,
LESSON FIVE..............................................24-25 Syncopated BD 16ths, Style: Syncopated Rock
8th Notes, 8th Note Rock Beats,
Music Reading: Quarters and 8ths, LESSON SEVENTEEN...................................48-49
Play-along Track: “Solid as a Rock” Music Reading: 16th Rests, Dotted 8ths,
16th Based Rhythmic Permutations, 16th
LESSON SIX................................................26-27 Beat Combos, Rudiment: The Ruff,
New 8th Note Rock Beats, Technique: Style: 8th Note Funk
Independence, The Crash Cymbal,
Play-along Track: “8 Ball in the Corner” LESSON EIGHTEEN.....................................50-51

LESSON SEVEN...........................................28-29 Syncopated 16th Note Grooves,

The Toms, New Beats Using the Toms, 16th Open Hi-Hat Combos, Syncopated Fills,
Rudiment: Multiple Bounce Roll, Style: 16th Note Funk
Play-along Track: “Jungle Drums”
LESSON NINETEEN.....................................52-53
LESSON EIGHT...........................................30-31 Technique: Controlled Rebound, Play-along
Drum Fills, Concepts: Sustaining Track: “Slow Motion”, Rudiment: Flam
Momentum, Play-along Track: “Solid Time” Tap, Style: Train Beat, Rudiment: Lesson 25,
6 & 7 Stroke Rolls
LESSON NINE.............................................32-33
Open Hi-Hat Sounds, Rudiment: 5 Stroke LESSON TWENTY.......................................54-55
Roll, 8th Note Combos, Cross Stick, Music Reading: 12/8 Time Signature,
Play-along Track: “Spy Games” 12/8 Grooves, Technique: Accented 3’s,
12/8 Fills, Style: 12/8 Blues
LESSON TEN...............................................34-35
Quarter Note Ride Pattern, Technique: LESSON TWENTY ONE...............................56-57
Independence, Style: Two Beat, Play-along Triple Sticking Patterns, 12/8 Reading,
Track: “Two Bits”, Technique: Tap, Down and Triple Combos, Triple Hi-Hat Combos,
Up Strokes, Time Check Play-along Track: “Crooked Stick Blues”

LESSON ELEVEN.........................................36-37 LESSON TWENTY TWO..............................58-59

Music Reading: 8th Rests, Upbeat Ride Pattern, Music Reading: 16th Notes in Triple Time,
Style: Disco, Fills Using the 8th Rest, 12/8 Grooves Incorporating 16th Notes,
Play-along Track: “Build it Up” Technique: 12/8 Accent Patterns,
12/8 Fills with 16ths, Style: 12/8 Rock

4 A FRESH APPROACH TO THE DRUMSET

LESSON TWENTY THREE............................60-61 READING APPENDIX...................................84-97
Music Reading: 8th Note Triplets, Style:
Blues Shuffle, Technique: Swing Sticking, DUPLE/TRIPLE STICKING COMBINATIONS...98-99
Style: Texas Shuffle, Style: Rock Shuffle
ACCENT PATTERNS................................100-101
LESSON TWENTY FOUR..............................62-63
Technique: Controlled Rebound, Part 2, RUDIMENT CHART.................................102-103
Style: Halftime Shuffle, Play-along Track:
“Backstreet Shuffle”, Rudiment: Swiss Army
Triplet, Music Reading: 16th Note Triplets, MUSICAL GLOSSARY.............................104-105
Style: Hip Hop, Play-along Track: “Go Dog”
NOTATION REFERENCE CHARTS.............106-107
LESSON TWENTY FIVE................................64-65
Style: Jazz Swing, Technique: Triplet Accents,
Jazz Fills, Technique: Swing Accent Patterns,
Play-along Track: “Swingin‘ Easy’ Play-Along Tracks: Style Index
ROCK / POP / COUNTRY STYLES
LESSON TWENTY SIX.................................66-67
Jazz Comping, Technique: Independence Basic Rock.......20, 23, 25, 27, 29, 31, 33, 37
Two Beat...................................................34
LESSON TWENTY SEVEN............................68-69 Disco.........................................................36
Setting Up Ensemble Entrances, Incorporating
Fills, Technique: Paradiddle-diddle/6 Stroke Rolls Country Waltz...........................................39
Play-along Track: “Kick it Old School” Halftime Feels............................................41
Syncopated Rock.................................43, 47
LESSON TWENTY EIGHT.............................70-71
Catching Ensemble Figures, Music Reading:
16th Note Rock.........................................45
Ensemble Articulations, Technique: Train Beat..................................................53
Independence, Jazz Chart Reading: Small Group 12/8 Rock..................................................59
Rock Shuffle..............................................61
LESSON TWENTY NINE...............................72-73
Style: Jazz Waltz, Brush Technique, Jazz Ballad
R&B / FUNK / HIP-HOP
LESSON THIRTY.........................................74-75 Funk..............................................51, 53, 55
Afro Cuban Style: Cha-Cha, Son Clavé,
Bass Tumbao, Guiro, Cha-Cha Bell Pattern, 12/8 Blues...........................................55, 57
Conga Tumbao Blues Shuffle.............................................60
Texas Shuffle.............................................61
LESSON THIRTY ONE..................................76-77
Timbale Abaniquo, Play-along Track:
Halftime Shuffle........................................62
“Time to Cha-Cha,” Music Reading: Cut Time, Hip Hop (Go-Go).......................................63
Style: Mambo, Cascara, Conga Tumbao,
Mambo Bell Pattern
JAZZ
LESSON THIRTY TWO.................................78-79 Swing............................................65, 69, 71
Rhumba Clavé, Play-along Track: Jazz Waltz.................................................73
“Mambo Caliente,” Style: Songo,
Jazz Ballad.................................................73
Play-along Track: “Chango’s Songo”

LESSON THIRTY THREE...............................80-81 LATIN STYLES

Brazilian Style: Bossa Nova, Cha-Cha....................................................76
Play-along Track: “Bossa Breeze,”
Style: Samba, Play-along Track:
Mambo.....................................................78
“Escola de Samba” Songo.......................................................79
Bossa Nova................................................80
LESSON THIRTY FOUR................................82-83 Samba.......................................................81
Caribbean Style: Calypso, Play-along Track,
“Caribbean Nights,” Style: Soca, Play-along Calypso.....................................................82
Track, “Soca Dance Party,” Style: Reggae, Soca..........................................................83
Play-along Track, “One Drop Reggae”
Reggae......................................................83

A FRESH APPROACH TO THE DRUMSET 5

 How to Use the Book
Fundamentally, there is no “right” or “wrong” way to And of course, players at every level will benefit from
approach any book, but here are a few suggestions that the fantastic play-along tracks – whether you play the
might help you get the most out of this method. grooves as written or make up your own.

I recommend that beginners progress through the book, I encourage you to really make the most of all the
each lesson in succession (I designed the book so each grooves throughout the book, even if they look simple.
lesson serves as a building block for the next). Drummers Even professional drummers know that just because
who have been playing for a while will probably want to a groove is easy to play doesn’t mean that it’s easy to
skip around and use the book to fill some gap in their play with perfect time and a great feel. Record yourself
training – whether technical, rudimental or musical. often and analyze your own playing to see if you’re re-
ally mastering the groove, time and feel.
More advanced players can apply a “conceptual
approach” to certain aspects of the book. For instance, Expect that there will be times that you’ll get frustrated
you can apply an almost infinite number of practice or discouraged. Not everything you learn is going to
variations to the “Sticking Patterns” or “Reading be easy! But when you become frustrated, don’t let
Studies” in the Appendix. I’ve included a few ideas to discouragement keep you from having fun. Sometimes
serve as a springboard for conceptual applications to get the best practice strategy is to just put the book away
you started. and just have a blast playing the drums!

Book Icons
Throughout the book, you’ll see some common “sidebar” design elements that will help you easily recognize
what type of information is being presented. Here are the types of icons and boxes scattered through the book:

2
A-D
The headphone icon lets you know that there are
play-along tracks located on the CD. The number
corresponds to the Lesson and the letter(s) to the
! The boxes with an exclamation point contain
tips and advice related to the topic or grooves
directly above it.
specific play-along track(s).

Extra
PRACTICE
These boxes give you ideas on how to expand upon the
& Boxes with the “Treble Clef” icon contain
music theory information that’s necessary to
material presented. Helpful if you want to challenge yourself. learn to be able to read music.

Technique/Independence Style Essential

Topics covered in this gray box contain valuable exercises The topic under this header will help you learn
designed to promote hand and feet technical abilities - an essential musical style necessary to become a
and to develop independence between your limbs. well rounded, versatile drummer.

“SONG TITLE”
Play-along tracks that are named in quotes and have a gray background bar are songs
which include other instrumentalists. This makes it easy to tell the difference between
tracks that are just drums from the ones that include a full band. Each play-along song
has two versions: one with drums and one minus drums.

6 A FRESH APPROACH TO THE DRUMSET

32
Lesson
Rhumba Clave’
32
A-D

The rhumba clavé is often used instead of the son clavé to give a tune more of a syncopated, swing feel. The rhumba
clavé is typical in dance forms of African origin – similar to the Son clavé, but with a delayed 3rd note on the 3 side.

2:3 Rhumba Clavé 2:3 Rhumba Clavé with Cascara

j j
Œ Œ ‰ œŒ ‰ œ .. y fy fy y ‰ y fy y fy ‰ y ‰ fy ..
ã C œ œ œ ã C
1 & 2 & 1 & a 2 & a

Now you can add the bass tumbao to the rhumba clavé and cascara. Try to put a slight emphasis on the syncopated notes
on the 3 side of the clavé. The second example moves the cascara to the mambo bell and left hand around the toms.

2:3
y fy fy y ‰ y fy y fy ‰ y ‰ fy .
2:3
t ft ft t ‰ t ft t œt ‰ t ‰ œt
ã C . ã C ..
Œ ‰ œJ Ó Œ ‰ œJ Œ ( œ) œ
Œ ‰ J Ó Œ ‰ Jœ Ó

32

“Mambo Caliente” E-F

This chart has a musical structure that you’ll find in many salsa/mambo tunes: intro, verse, montuno
(chorus), mambo (bridge), verse, outro. Notice how the grooves match each section of the music.

j j j
y yf fy y ‰ y fy y fy y fy Play 10 ˙ .. œ ˙ .. œ
ã C ..
2:3
‰ ‰ ’’’’ ’’’’
Œ ‰ Jœ Ó Œ ‰ Jœ Ó Y

j
Ay y y y y y y y y y
˙ .. œ w Play 12
ã ’ ’ ’ ’ ’ ’ ’ ’ .. ( œ) y ( œœ) ( œ) ( œ) œ ( œ) ( œœ)
ΠΠy Πy Πy Y

^ ^ ^ ^j ^
B Montuno 7
œ ‰ y Œ œ@
1. 2.

ã ’ ’ ’ ’ ’ ’ ’ ’ .. Œ œ œ Œ y Œ Ó
Fill (piano)

R L R

t t t t t t t t t t t t 14 more Fill
ã f œ f f fœ f
Œ ‰ J Ó Œ ‰ J
Ó Y

^ j > j j
C Mambo
t ty t t ‰ t t t œt ‰ t ‰ œt 14 more Fill
ã y œ Œ y œ Œ y
Πy ΠY

j ^ ^ ^ ^j ^
D y fy fy y ‰ y fy y fy ‰ y ‰ fy 12 more
Œ œ œ Œ œ ‰œŒ œ
ã
Œ ‰ œJ Ó Œ ‰ œJ Ó Y

78 A FRESH APPROACH TO THE DRUMSET

Afro-Cuban Styles: Songo
32
G-N

Instead of using the drumset to mimic other percussion instruments, the Songo is the first Afro-Cuban groove
that was created for the drumset from the ground up. Made popular in the 1970’s by Cuban percussionist Jose
“Changuito” Quintana, the songo represents the influence of funk and Caribbean styles of Afro-Cuban music.

One way to start learning the songo is by starting with a

1 t œ t t t
“linear” approach (no hands or feet hit at the same time).
ã C œ œ œœ œ œ ..
Notice that the right hand is playing (half note) downbeats œ œ œ œ
and the bass drum plays an Afro-Cuban bass tumbao. R L R L L R L L R L L

> > >

>
2 t œ t t t
ã C œ œ œœ œ œ ..
œ œ œ œ
By adding left hand accents which run against the tumbao,
the songo begins to take on the characteristic feel.
R L R L L R L L R L L

Next, you can bring in the left foot by playing the songo with either a downbeat or upbeat feel:

> > > > > >

> >
3 t œ t œ œ t œœ t œ œ . 4 t œ t œ œ t œœ t œ œ .
C
ã y œ œ œ œ . ã C œ œ œ œ .
Πy Πy Πy ΠΠy Πy Πy Πy

There are almost limitless possibilities to vary the songo groove. Here are a few variations to get you started:
> > >
>
5 t f t f f t ff t f f . 6 t œ t œ œ t œœ t œ œ .
ã C œ œ œ œ . ã C œ œ œ œ .

o o + L R> L R R L L R> >L R L R> L R L Ro

R

7 y y œ œ y œœ y œ œ . 8 y y y y yyyyy yyyyyy y .
ã C œ
œ œ œ œ . ã C œ œ œ œ œ .
Πy Πy Πy Πy

“Chango’>s Songo”>
32

o
O-P

> >
2 2 2 Fill
4 y y y y yyyyy œ y y y y y y y
ã 4 œ œ œ œ « « « ’ ’ ’ ’

A1 1 1 1 2 2 2 2 2 2 2 Fill (1st X )
ã .. yf œ f œy f f fy œ f œy f « « « « « « « ’’’’
Œ Œ Œ Œ

B 1. 2. ^ ^
ã
12 8 .. 6
’ ’ œ œ
Y Y Y
chorus
A FRESH APPROACH TO THE DRUMSET 79
 Reference Charts
Rhythmic Note Values CORRESPONDING
REST VALUES

WHOLE
ã 44 ˙ ã 44 44 ∑
ã
ã 44
NOTE
1 2 3 4

ã 42 Ó 2
ã 44 ˙ ˙ ã 42 Ó
Ó
HALF

4 ã 4
ã 444
NOTE
1 2 3

ã 41 Œ ã 14
Œ
4 ã 41
ã4 œ œ œ œ ã 42 Œ
Ó
QUARTER

4 ã 2 4
NOTE
1 ‰ ã 4 Ó
ã8 144
1 2 3

ãã 4 8 ‰
ãã 4811 ‰
ã 44
3 3

œ œ œ œ œ œ ã4 Œ
1
QUARTER

1 ≈ ã 4 Œ
NOTE
ã 16&
ãã 216 421 Ó≈
TRIPLET
1 & a 3 a

ãã 4416 1 Ó≈
ã4 1 ‰
ã 44 œ œ œ œ œ œ1 œ œã®ãã44881 ‰
ã 32 11 Œ®
8th

ã
& ã 132 4 Œ®
1
NOTE

ãã 4232
1 & 2 & 3 & 4

ãã24161 Ó≈
ã ã416 1 Ó≈
ã 44 œ œ œ œ œ œ œ œ œ œ œ 㜠81
3 3 3 3
8th
1 ‰
ã 8 ‰
NOTE

ãã 14132
a 1
Ψ
TRIPLET
1 & a 2 & a 3 & a 4 &

ã ã432 1 Œ ®
1 ≈
ã 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œãã 161œ16 ≈
1 ‰
16th

&ã 18a
‰
NOTE

ã 81
1 e & a 2 e & a 3 e & a 4 e

6 ã 132
®
®
ã 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œãã œ32 1œ
6 6 6
16th
16 ≈
1 ≈
&ã 16
NOTE
TRIPLET
1 & 2 & 3 & 4

ã 1
32 ®
32nd
NOTE
ã 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œãœ 32
œ1 œ ®
1 e & a 2 e & a 3 e & a 4 e & a

106 A FRESH APPROACH TO THE DRUMSET

 Drumset Notation Key
DRUMS

ã œ œ f (œ ) y œ œ œ
Bass Snare Snare Snare Snare Tom1 Tom2 Floor
Drum Drum Cross Ghost Rimshot Tom
Stick Note

CYMBALS
o COWBELLS

y y y 1 y 3 3
ã y
Hi-Hat Hi-Hat Hi-Hat Ride Ride Crash Mambo Cha-cha
Open w/ Foot Cymbal Bell Cymbal Cowbell Cowbell

Basic Notation Elements

ã 44
Music is written on a STAFF time signature bar line double bar
1 1 1
1 1
1

The staff has 5 lines and 4 spaces percussion clef measure

A PERCUSSION CLEF tells the player that the music written on the staff is for non-pitched instruments.
A TIME SIGNATURE tells you how many beats belong in a measure and what kind of note receives one beat.
BAR LINES separate notes into equal numbers of beats. A MEASURE is the space between bar lines.
The end of a piece of music is notated with a DOUBLE BAR LINE.

2 2 2 2 2 2 2 2
REPEAT ONE MEASURE TWO MEASURE MULTI-MEASURE
SIGNS REPEAT REPEAT REST

.. 4 4
ã.. 4 ã 44 ã 4‘’ ‘’ ‘
« ’’«« «.. .. .. .. .. .. ’ ’’ ’’’’’
Repeat to the beginning Repeat the previous Repeat the previous Rest for the number of
or the similar sign measure 2 measures measures indicated

The volume of the music is indicated with DYNAMIC markings.

p f
P F
= PIANO = soft = FORTE = loud CRESCENDO
= gradually get louder

π ƒ
= MEZZO-PIANO = moderately soft = MEZZO-FORTE = moderately loud
DIMINUENDO
= PIANISSIMO = very soft = FORTISSIMO = very loud = gradually get softer

A FRESH APPROACH TO THE DRUMSET 107

APPENDIX
Rudiments
The following are the 40 International Drum Rudiments as adopted by the Percussive Arts Society (www.pas.org).

> >
Ͼ Ͼ
(9) (9)

I. Roll Rudiments œ œ
10.Nine
Stroke Roll
R R L L
1. Single
œœœœœœœœœœœœœœœœ >> >>
œæ œ œ ‰ œæ œœ‰
(10) (10)
Stroke Roll 11. Ten
R L R L R L R L R L R L R L R L
Stroke Roll
R R L R R L

3 3
>> >>
œœœœ œœœœ œæ œ!œ ‰ œæ œ!œ ‰
2. Single (11) (11)

Stroke Four 12. Eleven

R L R L R L R L Stroke Roll
L R L R L R L R R L R L

>j >j
L R L R

œæ. œ œæ.
6 6 (13) (13)

œœœœœœœ œ œœ œœœ œ œ
3. Single 13. Thirteen
Stroke Seven Stroke Roll
R L R L R L R L R L R L R L R R L L

> >
ż œæ œ@. œ œæ œ@. œ
(15) (15)

14. Fifteen
4. Multiple Stroke Roll
Bounce Roll R L R L

> >
L R L R

˙æ œ ˙æ
(17) (17)

3 3 3 3
15. Seventeen
Stroke Roll œ
5. Triple
Stroke Roll œœœœœœœœœœœœ R R L L

R R R L L L R R R L L L

II. Diddle Rudiments

6. Double Stroke æ̇ > >
œ œ œ œ œ œ œ œ
Open Roll 16. Single
R R L L R R L L etc. Paradiddle
R L R R L R L L

> > > >

œ@ œ@
(5) (5)

7. Five
Stroke Roll œ œ 17. Double
œœœœœœœœœœœœ
R R L L Paradiddle
R L R L R R L R L R L L

> > > > > >

œ œ@ œ œ œ@
(6) (6)

œ
8. Six
œœœœœœœœœœœœœœœœ
18. Triple
Stroke Roll Paradiddle
R L R L R L R L R L R R L R L R L R L L
L R L R

> > > >

œ@. œ œ@.
(7) (7)

œ œœœœœœœœœœœœ
9. Seven 19. Paradiddle-
Stroke Roll Diddle
R L R L R L R R L L R L R R L L
L R L R L R L L R R L R L L R R

102 A FRESH APPROACH TO THE DRUMSET

III. Flam Rudiments IV. Drag Rudiments
j j
œ œ œ œ
20. Flam 31. Drag
œ œ œœ œœ
L R R L L L R R R L

> 3 > 3
21. Flam j j
œœ œ œ œœ œ œ
> >
Accent
L R L R R L R L
32. Single
Drag Tap œ œ œ œ œœ œ œ
> > > >
L L R L R R L R

22. Flam Tap j j j j

œœ œœœ œœœ œœœ œ > >
œ œœ œ œ œœ œ œœ œ œ
R R L L R R L L
33. Double
Drag Tap œ œ
L R L R

> L L R L L R L RR L RR L R

j j
œœ œ œ œœœ
> >
23. Flamacue

R L R L L R
œœœ œ œ œœœ œ œ
L
34. Lesson 25
R L R L R R L

> > L L R L R L L R L R

j j
R R L R L R R L R L
œœ œ œ œœœ œ œ œ
24. Flam
Paradiddle
> >
œ! œ œ œ œ! œ œ œ
L R L R R R L R L L

> >
35. Single
Dragadiddle
j j
R R L R R L L R L L
œ œ œ œœœ œ œ œ
25. Flammed
œ
> >
Mill
L R R L R R L L R L

> > 36. Drag

Paradiddle œ œœ œ œ œ œ œ œœ œ œ œ œ
j
26. Flam
Paradiddle- œ œ œ œ œ œ œ œjœ œ œ œ œ œ #1 R L L R L R R L RR L R L L

> >
Diddle L R L R R L L R L R L L R R

> > > > 37. Drag

œ œœ œ œœ œ œ œ œ œ œœ œ œœ œ œ œ œ
j j j j
œœ œ œœœœœ œ œœœ
27. Pataflafla Paradiddle
#2 R LL R L LR L R R L R R L RR L R L L
R L R R L R R L R R L

> >
L

> >
R L R L L R R L R L L R
3 3

œœœ œ œ œ œœœ œ œ œ
3 3 38. Single
28. Swiss Army j j
œœ œ œ œœ œ œ
Ratamacue
Triplet L L R L R L R R L R L R
L R R L L R R L

> >
R L L R R L L R

> > > >

3 3

œœ œ œœ œ œ œ œ œœ œ œœ œ œ œ œ
39. Double
29. Inverted j j j j
œœ œœœ œœœ œœœ œ
Ratamacue
Flam Tap
LL R LL R L R L RRL RR L R L R
R L L R R L L R

> 3 > 3
L R L R

j j
œœ œ œ œ œœ œ œ œ
30. Flam 40. Triple
Drag Ratamacue
L R L L R R L R R L

A FRESH APPROACH TO THE DRUMSET 103

 Glossary / Index
Abanico (p. 76) ����������������A Latin timbale rhythm played before the start Dynamics (p. 29, 107) ����Musical symbols or terms describing the
of a new section of music in the Cha-Cha. volume of the music (see also: piano, mezzo
piano, mezzo forte, forte, crescendo, diminu-
Accent (p. 27) ������������������Play the note slightly louder. endo).
Bar Line (p. 21) ����������������Divides the staff into measures. Feathered Bass (p. 64) ���Bass drum technique in which the notes are
played very softly (“felt, not heard”).
Bell (p. 43) �����������������������The raised center dome of a cymbal (also term
for cowbell). Fermata (p. 39) ���������������Hold the designated note or rest longer than
its usual value.
Brushes (pp. 73, 80) ��������Fan of wire strands attached to a handle.
Fill (pp. 30,31,37,39,45,51,55,59,65,68,69)...... Rhythmic pattern at the
Buzz Roll (p. 29) ��������������Roll played with multiple bounce strokes. end of a musical phrase that bridges the gap
into the next phrase – usually played around
Cascara (p. 77) ����������������Latin rhythm played on the shell of a timbale. the drums.
Cha-Cha Bell Pattern (p. 75)....... Rhythm in the Cha-Cha played on the Fine (p. 69) ����������������������The “finish” or end of a musical composition.
Cha-Cha cowbell by the timbale player.
First & Second Endings (p. 39)....... Play the measures under the 1st
Clavé (pp. 74, 79) ������������Latin percussion instrument made of two ending bracket the first time through a pas-
pieces of wood. Also a fundamental two mea- sage, repeat, skip the first ending and play
sure rhythm played in Latin music. the 2nd ending.
Clef (p. 21) �����������������������Musical symbol that indicates how the notes Flam (p. 38) ���������������������Rudiment consisting of a soft grace note
are arranged on the staff. Non-pitched instru- followed immediately by a stronger primary
ments use a percussion clef. stroke.
Coda (p. 73) ���������������������Concluding section of a musical composition. Four on the Floor (p. 36) Steady bass drum notes on the four primary
Common Time (p. 33) �����4/4 time signature. beats in a 4/4 measure.

Comp (pp. 66,67) �������������Accompaniment or complimentary figures Forte (p. 29) ���������������������Dynamic level meaning “loud.”
played under the ride pattern in jazz settings. French Grip (p. 23) ����������Thumb of the matched grip is tilted towards
Conga (p. 75) �������������������Long single headed Latin drum played with the ceiling (also, “ride cymbal grip”).
hands. Fulcrum (p. 16) ����������������Contact point between the thumb and index
Controlled Rebound Stroke (pp. 52,62) ..... An accented stroke fol- finger that acts as the pivot point of the stick.
lowed by a softer, controlled bounce in which Ghost Notes (p. 35) ��������Very soft notes.
the player uses an varying amount of fulcrum
pressure to control the placement and volume Grace Note ���������������������A soft note that is played immediately before
of the second stroke. a primary stroke (see also: Flam, Drag, Ruff).
Coordination ������������������The ability to harmoniously combine two or Grip (p. 14-15) ����������������Holding the sticks with the hands and fingers
more limbs when playing different rhythms. (see also matched, traditional, french grip).
Crescendo (p. 31) ������������Gradual increase in volume. Groove ���������������������������To play perfectly in tempo, with a great feel
within a musical style; A specific rhythmic
Cross Stick (p. 33) �����������Playing technique with a stick across a drum beat pattern within a musical style.
which produces a wooden sound.
Guiro (p. 75) ��������������������Latin percussion instrument consisting of a
Cut Time (p. 75) ���������������Time signature with 2 beats to a measure in hollow gourd with ribbed notches cut into
which the half note receives one beat. one side. Played by rubbing with small wood-
D.C., Da Capo (p. 69) ������Repeat back to the beginning (the “head”). en stick along the notches which produce a
“ratchet” sound.
D.S., Dal Segno (p. 71) ����Repeat back to the sign.
Hemiola (p. 59) ���������������Rhythm in which one note value is played
Diddle (p. 44) ������������������Double stroke or double bounce. against another. A common hemiola is a dot-
ted note played against an undotted note
Diminuendo (p. 37) ���������Gradual decrease in volume (Also, “dim.”). (in a 1 1/2 to 1 ratio).

Dotted Notes (p. 39, 48) A dot behind a note or rest increases its value Independence ����������������The ability to harmoniously combine two or
by half. more limbs when playing different rhythms.

Downbeat (p. 21) ������������The “pulse” or primary beats in a measure. L.V. (let vibrate) (p. 57) ��Allow cymbal to ring without muffling.

Downstroke (p. 35) ���������Stroke that starts high and ends low. After Legato (p. 70) ������������������Literally “tied together”– smooth, connected.
playing a full (accented) stroke, a specific
amount of fulcrum pressure is applied to keep Marcato (p. 60) ��������������Accented note with a shorter duration than
the stroke close to the drum. the full note length (also, “rooftop” accent).

Double Stroke Roll (p. 21)......Roll played using double strokes or Matched Grip (p. 16) ������Both hands hold the sticks the same way in
bounces, also called “open” roll. an overhand manner.

Drag (p. 49) ���������������������Double or multiple bounced grace note into a Measure (p. 21) ���������������Space between two bar lines (also, “bar”).
primary note (see also: “Ruff”).
Metronome (p. 14) ���������Device that delivers a steady pulse, used as
Drumset Notation (p. 22) Musical symbols in specific places on a an aide to develop steady time (tempo).
percussion staff, designating which drums,
cymbals or effects to play. Mezzo Forte (p. 29) ��������Dynamic marking meaning “medium loud.”

104 A FRESH APPROACH TO THE DRUMSET

Mezzo Piano (p. 37) ��������Dynamic marking meaning “medium soft.” Tumbao (p. 74) ����������������A repeated rhythmic figure in Latin music.
Multi-measure Rest (p. 36)...... Rest for the number of bars indicated. Two Measure Repeat (41)...... Repeat the two previous measures.
Multiple Bounce (p. 29) �Stroke with multiple sounds (bounces) per mo- Upbeat (p. 24) �����������������The note halfway between downbeats.
tion. Used in the multiple bounce or “buzz” roll.
Upstroke (p. 35) ��������������Stroke that starts low and ends high. After
One Measure Repeat Sign (p. 25) Repeat the previous measure. playing a soft stroke, the player immediately
lifts the stick to the “up” position.
Open Roll ������������������������Double stroke, or double bounce roll.
Whip Stroke (p. 61) ��������Two quick strokes in succession – from low
Paradiddle (pp. 17, 41) ���Sticking pattern consisting of two alternating to high (soft/loud).Unlike the upstroke, this
single strokes followed by a double stroke. stroke uses a whipping motion in the wrist.
Piano (p. 37) ��������������������Dynamic meaning to play “soft.”
Pocket �����������������������������To play with perfect time and great feel.
Rebound Stroke (p. 17) ��Stroke that starts up and ends up. After
Song Form Glossary
playing a stroke, the stick is allowed to BASIC ELEMENTS
rebound naturally to the up position.
Intro ��������������������������������A unique passage of music that comes at
Repeat Sign (p. 21) ���������Repeat from the beginning, or repeat section the beginning. The intro usually establishes
between the repeat signs. (see also: one the tonality, groove and style of the song.
measure repeat, 2 measure repeat, 1st & 2nd
endings, D.C., D.S.) Verse �������������������������������The section of music that tells the story.
Multiple verses in a song usually have a
Rudiments (pp. 102-103) Fundamental sticking patterns for playing drums. similar musical style and chord progression,
but with different lyrics.
Ruff (p. 49) ����������������������Two single stroked grace notes followed by a
primary stroke. (see also: drag, grace note) Chorus ����������������������������The main refrain or “hook” of a song, often
containing catchy, repeated melodies and lyr-
Shuffle Rhythm (p. 60) ���Rhythm based on the first and third note of a ics. The chorus is usually played at a higher
triplet (also dotted 8th, 16th). dynamic level with more rhythmic intensity.

Slash Notation (p. 30) ����Musical symbol used to denote “playing time” Bridge �����������������������������An interlude or contrasting section between
in a specific musical style. two parts of a song. The bridge is usually
played after repeated sections and gives the
Staccato (p. 70) ���������������Play the note with a short duration, no matter listener an unexpected harmonic modulation
what value is notated. before the final chorus. Often the bridge will
feature a solo instrumentalist.
Staff (p. 21) ���������������������Lines and spaces on which music is notated.
Pre-Chorus (Build) ���������A short phrase added to the end of a verse
Straight 8ths (p. 24) �������Ride pattern using even spacing of downbeat which propels the song into the chorus. Also
and upbeat 8th notes (opposite of swing). called a “climb” or “lift.”
Strokes ��������������������������Various techniques used to play the drum. Break �������������������������������Instrumental interlude between parts of a
(see also: rebound stroke, tap stroke, down- song. Often everything except percussion
stroke, upstroke, controlled stroke, whip stroke, will drop out during a break (sometimes
multiple bounce) called “stop time” or “breakdown”).
Subdivide �����������������������Divide the beat into two or more parts. Outro �������������������������������A unique ending or tag to a song.
Swing (pp. 64-73) ������������Playing with a triple subdivision of the beat.
(Also a musical style)
BASIC FORM STRUCTURES
Syncopation (p. 42) ��������Placing an emphasis on the weak beats for
rhythmic effect. Also, omitting downbeats to AAA ���������������������������������One of the oldest song forms, usually used
create a rhythm which emphasizes the upbeat. in folk music. This form is simply a verse
repeated over and over.
Tap Stroke (p. 35) �����������Stroke that starts low and ends low (soft note).
See also: Ghost Note AB (Verse/Chorus) ���������This is the way many classic rock songs are
formed – moving back and forth between
Tempo �����������������������������The speed of a selection of music. the verse and chorus.

Tenuto (p. 70) ������������������Musical symbol meaning to hold the note for its AABA (32 bar form) ������A variation of the AAA form, this structure
full value. Also can direct the player to place a inserts a bridge after two verses, then ends
slight emphasis on the note. with a final verse. Instead of having a chorus,
the bridge is usually a harmonically and lyri-
Time Signature (p. 21) ���The musical symbol at the beginning of a piece cally contrasting vocal section to the verse.
of music which determines the meter of the
song. The top number indicates the number of Extended AABA ��������������Similar to the AABA form, but with added
beats in a measure, the bottom number indi- bridge/verse sections (AABABA or AABABABA)
cates which type of note receives one beat.
12 Bar Blues �������������������Comprised of 3 four bar phrases. The structure
Traditional Grip (p. 16) ��A method of holding the left hand in an under- is covered in depth on Lesson 20.
hand manner.
Other AB Forms �������������ABABCB:
Triple Time (p. 54) �����������Time signature in which the primary beats are verse, chorus, verse, chorus, bridge, chorus
divided into three parts. BABAB:
chorus, verse, chorus, verse, chorus
Triplet (pp. 60,62) ������������A grouping of three notes in the space of two. AABABB:
verse, verse, chorus, verse, chorus, chorus

A FRESH APPROACH TO THE DRUMSET 105

 Credits
Written by: Mark Wessels
Video Lessons by: Stanton Moore
Photography, Design and Layout: Mark Wessels
Cover Design: Mike Hoff

“Rock Star”, “Build It Up”, “Disco Fever”, “Synco de Mayo”, “8th Note Funk”,
“12/8 Blues”, “Crooked Stick Blues” and “Reggae” tracks written by Scott Metzger
Latin tracks (except “One Drop Reggae” and “Chango’s Songo”) written by Marc Jacoby
“Chango’s Songo” written by Rubén Alvarez
All other tracks written Donny Gruendler and Christian Lundberg

Musicians:
Stanton Moore – Drums on all “music plus drums” play-along tracks
Donny Gruendler – Drums & programming on drums-only tracks
Chuck Silverman – Drums on Lessons 30-33 drums-only tracks
Christian Lundberg – Guitars and basses
Scott Metzger – Guitars and basses on self authored tracks
Dale Jennings – Upright bass on jazz tracks
Tommy Reeves – Piano on jazz tracks
Ron Dziubla – Tenor and baritone saxophone on jazz tracks
Assistant Engineer – Jace McDonald
Rap on “Go Dog” – Interactive RJ

Mark Wessels Publications • 1271 Crooked Stick Drive, Prosper TX 75078

972.335.1537 • http://www.mwpublications.com

Copyright © 2012 by Mark Wessels Publications. All Rights Reserved.

No part of this book or the music on the accompanying CD may be reproduced in whole or in part by any electronic or
mechanical means, including informational storage and retrieval systems, without the express written permission of the publisher.

A FRESH APPROACH TO THE DRUMSET 9