ID THIGPnI: BiocrraDhv

Considered by mlsicians and critics alike to be one of the finest dnfiilE S

and pelcussionists i\
jazz,
ldl]rnld Thigpen vas Lorn in Chicago Decglber 28,
1930. He iias raised in I-os Angeles, i!*!ere he attended ThcnEs Jefferson Htgh
SchcoL. there, under the instruction of SarTuel Brorne, he gained his firsl
practical jazz
experience playing with the school's s,!.,ing band.
He was the first and only dnnllrr to win the high schcoL's Music Aqalil. Aftel
graduation, he studied at l-os Angeles City Coltege as a sociology nEjor but,
; - i , r i hd ^ ^ : - : r r Dr i n m, c i ^ l aFf : r i ar ^ ha v p: r Hp I i v al f or
- - - a year l - l
St- louis, I'Lissor.r-ri witi his father, Ben Thigpen, well-].J1o!,m as the aL!1irn]er
of the Andy K.irk Bend in the 1930s and 40s.
In 1951, Ed
joined
t]re Cootie wiuianrs Band at tie Sa\.'oy Ba1lio<tr in 1'1ev7 York,
and t-raveu-ed AnErica with many liell-knorn rhythrL-and-bfues singers and
\,ocal
g.].oups,
Serving in the Arrny from 1952 to 1954, Ed becane an instructor on d.runs rvith
tne sixtn AnTry Band Ttaining unit at Port ord, california. later he served in
Korea irith the Ei.ghtl:r Lmry Band.
i'rom 1954 tiiough 1958, he uorked successively with Dina-h washinqiton, Johnny
HoC,ges' Band, ci1 MeLfe, Hutta Hipp, Toshiko Akiyoshi, and finally the BiILy
TayLor Trio. His professlonal activities now included concetts, clubs, record-
'rgs,
t-]le educational Iv series,
"
The Subject Is Jazz", and \dork as a clinician
"or
the Ludrig Dnnn ccfirpany.
In 1959 Ed
joined
t}le Osca! Peterson Trio. This group, consisting oi thigpen'
bassist Ray Brc(,m, and the gtreat Canadian pianist, appeared in nightclubs all
over the lior1d and in concetts with Nonran Granz' Jazz at the PhiltlafiDnic ' lt
made an extensive series of recordings that are stil1 considered classics by
jazz collector:s. In 1959 Ed and Efvin Jones shared a tie New Star Award in the
Down Beat Critics' Po11.
Ed left ttle trio to settle in Canada, br.1t after six fiDnths r{as cafled to go on
ttre road with Ella Fitzger:rld, In 1967 he settled in los Angeles to \^,ork as a
free-lance Itusicj.an in recordings,
jjnqles, and 1\/ and nDvie sound-tlacks.
Drring tnat period he liorked r.rith Jobrmy l4athis, Pat Boone, Andy willialrrs, Pe99'y
l,ee, oliver Nelson, and Gerald wilson, aIIDng others. Tcward the end of 1968 he
- Fj ^:
16. l
Fl
:
ci . ?dor al d
r e
r - er r nanent
nEmber of her Lr - Lo. He st ayed ! ^' i Lh her
until Septqrdre!, 1972, vihen he
(oved
to Copenhagen, Demark.
Since then, Ed has used CopenlEgen as a base for !.,orking throughout ELrrope. He
!^orks frequently \rith Kenny Dreit, 1llad Jones, Ernle l^/ikins, Clark Terry, TeddY
wilson, and rnany other Anerican and Eurooean artisrs.
For the last eight years, Ed has been deeply involved in music education, teach-
ing Jazz oriented Percussion Studies at the Music conserwatory and Jazz Tnstitut
in f4alno, Si./eden. He has his own percrrssion studio in Copentlagen.
Ed has written ard published four books: Ed ThigPn Talking D-!Mt Be our Guest,
with P.ay Bro!''1_r; Rhytlnn Analysis and Basic Co_ordination; and llDst recently The
Sound of Brushes.
Says Max Roach:
"Thanks
to Ed thigpen for giving us a book with a definite
approach tcerards developing the creative aspect of todern di.mring-
"
The use of ni-re blushes is not new, I have been told that as ear]w Fc l-ha
1920's the brushes \,,7ere beccfiring an integral part.f
dl. a-r,r*i"'"qri#-t.
It would be
jnpossible
for a,.ry of trs to develope lrltiout tie
jnffuence
of
others. f nould IiJ<e to ackno\41edge soTe of tie rnen who have had the dreel-_
est inf]uence on nv approach to playing
brushes. My t"ti,.i n""- ff1igp"i,
-J.
Jones,
-Denzil
Best, Art Blakely. Buddy Rich, t4ax Roach, SheUy lvlame and
Elvin Jones. One cannot help bul be influenced by great arcisis.
Sance.tie efiErgence of
"Rock
}tusic', which for the nDst palt reguired heal.l'
drumling, the btushes were set aside or fot mcst of the young pf.yur" *no
began playing
during this period,
have never Lreen used ai afi.'
In 1965 I \rrote a book tltled
"Ed
thigpen Talking Dnfts,, in which was 1n-
9S"9 ?
t.y_
*_o"s
of didqranrned brush strokes. it was sugqested that f do
a book total ly devored to brush LechniquF.
this book is tlle result, Atl of the strokes incfudeal herein I use. deDen.li na
upon tie irnrsicaf situation- Tt is my sincere hope that
;ft"
a;;'.;-;;;;;"
\^'i11 help you in developing effective wire bmsi technique.
z/r+f*-
All rights reserved, which include the right to reproduce this book or
port-ions
Lhereof ^n anv foIln wl^Jrsoever. For it for]nali on addiess
r, J I nl qpen/ Act l on
PeacLron,
Bagersl raede 3, 2nd. L. h.
--_?
V Copenhaqen. Denna.rk
RECOMMENDED
STUDY AND PRACTICE PROCEDURE
IT HAS BEEN MY EXPERIENCE IN THE PAST, THAT MANY STUDENTS, ADVTTCED
AS WELL AS BEGINNERS, DO NOT READ THOROUGHI,Y TI{E WIITTEN TEXT IN-
CLUDED IN MOST ]NSTRUCTION BOOKS. fHERXFORE, I ASK YOU TO PLEASE
READ THE TEXT IN THIS BOOK SAREFULIY. TIIE SAME APPLIES TO TI{E RE-
CORDED INSTRUCT]ONS AND SOUNDS OF IHE VARIOUS BRUSI{ STROKES ON THE
CASSETTE. LISTEN THROUGH EACH EXI,MPLE AT ],EAST ONCE WITHOUT TRYING
TO P],AY ALONO WITH IT. LOOK AT I'HE ILLUSTRATED DIASR.AI'I AND TRY TO
FOLLOW IT VISUALLY FIRST. NEXT TRACE THE DIAGRAI4 WITH YOUR FINGEE
TIPS ONLY. THIS WILL ALLOW YOU TO GET THE FEELINE OF THE STROKE IN
YOUR HANDS FIRST. THT IDEA IS TO TRANSMIT TH]S FEELING FROM YOUR
HANDS THROUG}I THE BRUSH. REI4E},IBER, THE BRUSH LIKE THE STICK, SHOUIJD
BE TELT AS AN EXTENTION OF TH8 HAND AI.ID NOT AS A FOREIGN OBJECT.
]T IS A],SO RECOMMENDED THAT YOU PRACTICE A],t OF THE STROKES ACCOM-
PANYING YOURSEI,F WITH A ST]IADY PULSE ON THE BASS DRUM A]ID HI-HAT.
TINALLY ?RY PTAYING WITH SOME OF YOUR RECORDS OR TAPES TO SEE AND
HEAR IIOW THE STROKES MIGHT FIT VARIOUS MUSICAL SI?UATIONS.
TABIE OF CONTENTS
Page
The Br us h . . . . . . .
2
Br us h Te c hni que- - - Gr i l s f or Pl ay i ng Br us hes . . . . . . . . . . . . . . . . . .
3
R a u r n r r J r 4 u ' . . . ' . . ! . . . . . . . . . . . . .
+
No t a t i o n , Sy / e e p , L i f t a n d T a p Ma r k i n 9 6 . . . . , . . . . . . . . . . . . . . . . . . ,
,
Br ush St r okes f or Pl ayi ng Ti me- - - Basj - c Lef t Hand St r oke. . . . . . . 5
Phr as i ng i n Ti ne
( Tempo)
. . . . . . . 7
Ri ght Hand Punc t uat i on . . . . . . . . . 8
Ri ghl Hand Pu[ ct uat i on wi t h Lef t Hand Ba6i c Sweep. . . . . . . . . . . . .
9
Lef t Hand Ful t uat i - o[ , . . . , , . . . . . 10
Lef l Hand Punt uat i " on wi t h Ri ght Hand Ri de Pat t er n . . . . . . . . . . . .
11
Accent ed
r r l et
count r r of f i r 6t beat , usi ng bot h Ri ghl and
L e f t H a n d s . . . . . . . . . . . . . . , , , . . . " . ) - z
R, < i . L Af + l l - h , i
q v ' a a h
u l i r h Fi d h + I I ' h . i T. h f r i . l z c ^ , , n ^ \
T 6 f + U . h d E \ r ' l 1 a i r ^ 1 6
q + r ^ L 6
- - - - - - - . i e
L e f t i { a n d Ha f f Ci r c l e . . . . . . . . , , I 5
Ri ght Hand Hook St r ok e . . . . . . . . . 16
Combi nati on Left Hand Ful 1 Cj .rcl e wi l h Ri -ght ]Iand l l ook Stroke. 17
Combi nal i on Ri ght l i and Zorro Stroke
-
Lefl l l and Ful 1 Ci rcl e .. 18
C i r c L e s , . . . . , . , . . . , . . . . . . . . . . . . 1 9
Basi c i l i ce Rhyt hm i n
3/ 4
-
Ri gi t ano Lef t Hand St r ckes
. . . . . . . 2C
d . . 6 F + a ^
' r l
^ + . ^ , , n + t r i h < / /
. . . . . . . . . . . ? r
Si x t eent h l i c t e Tr i pl et Punc t uat i on i n
4, / +
i l h" v t hm . . . . . , . . . . . . . Zz
q i v + a A n + l r
\ r ^ + 6 f r i n l 6 t D l r h ^ l - , r . + i ^ h i h Z / J D . r ' + L m
- - l - - - . . . . . . . - . . . . . . 2 3
S t r o k e f o r D o u b l e T i me F e e l i n g . . . . . , . . , . . , . , . . 2 4
A - L l e r e q L r a p r e f ! n u 1 i " L e . . . . . , . . . . . . . . . . . . . , . . . 2 5
T i g h t S h u f f l e S n e e p . . . . . . . . . . . , , . . . . . , . . . , . . , . 2 5
r l t n t J r v e e p a n o r a p s . . . , . . , . . . .
2 7
r f st r ul xr ni n
g
r ' - - Gui
t ar St r oke . . . . . 2A
' l
t h
q r r a 6 h
l . ^ r + i n 6 c f F ^ L 6 l
)v
Ad a p t i n g Br u s h e s t o L a t i n An e r i c a n l . l u s i c . . . . . . . . . . . . . , . . . .
3 \
l i ^ + r l " o , l a F t r c L
q u ^ 6 r
D . + F 6 F h c
- * , . - - . l s
Si ngl e and DoubLe St r ok es
( ex pl anat i - on
on ex uc ut i on) . . . . . . , . ,
3t
q i
h o l d C + r - L 6 I ' v 6 F ^ i c 6 c
. . . . . . . . . . . . . . . . . . , 4
Doubl e St r oke Exer ci ses . . . . . . . .
15
Fl ex and Mul t i pl e Bounce St r okes . . . . . . . . . . . . . .
) 5
l he Brush
The wi re brush i -s constructed wi th
j -n
the 6hape of an opeD far. Tbere
handl es Bade to
q| hi ch
the brush i s
ture6 of four of l he roany.
thl n wi -res bound together
ar e di f f er ent t ypes ol
connect ed. Bel ow ar e
Pl c-
Mo6t !0odel s are oade so that the wi res ca! be retracted
j -nto
t he handl es f or pr ot ect i on when not i n use. The choi ce of t he
t yl e
you
use. l i ke st i cks. i s a l er sonal - one. I { ysel f . f
pr ef er
a- 6r ul t r wl t i r - t ni n and ver i f l exi bl e wi r es, The sl i f f er wi r e'
however . c a- n be u6ed : r ost ef f ect i vel y f or r udl [ ent a1 based so1os.
For a s6f t er sound ar d wi der r ar 8e of ef f ect s, t he t hi n nor e f l ex-
i bl e wi r e i best .
t-
Brush Techni que
Bot h st i cks and br ushes shoul d be t hought ol as. an ext ensj - on
6i -i i r"
-nl i i a
"-hen i n u"e. The one di fference bei ng- that the
t " " " - oi Jr . t "
I t ush ar e f l exj bl e'
r xher eas' l he sl i ck r er dai ns
r i gi o " i nc e i t i 6 maoe f r on a s i ngl e
pi ec e or wJ oo'
The f l exi bi l i t y
of t he br ush af f or d6
us ct her el f ect s
and
sounds whi ch canno! oe naoe i 4' i th a sti ck' Because
-of
the
i i l ' i - i i i i " - ' " i i es
an adci i t i onal
t echni que
muEt be devel oped
i o
get the naxi ri ul i
use from the brushe6'
Grl ps for Pl ayi ng Brushes
The br ushes ar e : 1el c bas1cal 1y t he saf i e as t he sxi cks- .
Ei t her t he cc) l vont i - naI 8r i } ,
or t he mat cheo
Sr r p
can be useo'
I use t he convent i cnal
6i i p
mosl of t he t i me. I have f ound
sl i aht al - t er at i cns i n t he posi t l on of t he l ef l hand
necEssar y f o! sor ne st r okes.
( Thi s wi U be r nent i oned when
n" " " " " t " y on t he i nst r uct i on
c' sAet t e' )
t=
t
t
t
Ri de Rhyt hB i n Jazz
;r".,iloiril'lnlriSi"ii
li"'li,Bxi':"'*{tl"*i":'gli:r::
3i'liln"o.""
i i *i - r"i
-' j "
""tp"ni ne " sol oi st or backi ng up the enserdbl e'
ri "a" u." been l i uch controversy
over whi ch
j .s
the cor' ect fi gure or
r i i "."-i o"
pl -ayi ng a ri .au rtti !n.. I woufd l i ke to cl ari fy thi 6 by
-qi i "i ' -trri f
i i -h"pE"as on re" si vi e ;rd the i nterpretati or
of that
st yl e by t he r ousi ci ans
Pr aYr nS.
F c t ho6e of us br ought up
qur i ng
t he swi ng and
al t er ed t r i pl et on t he 2nd and 4t h
beat s or t ne-
6r nce t he st yl e6 ar d r hyt hmi c i nt er pr et a! 1on
or
r !
Er {
J l . l
t l 7 )
77. r
J-7J
be-bop erasr
_
the
bar i 6
preval enl
t
the ousl c i s based
- t .
of t he r hYt hE of t he nel ody' t he al t er ed
and 4t h
beat s of t he r i de r hyt hd f i t s nor e
- r .
- 3 -
c_ t he t r i pl et . i e.
i ri tteD:
* PI aYed:
l ,[
th i hi s i -nterpre tati on
t i pl et used on the 2nd
netural l y.
i e.
lle lo dy:
^ - ^ l . v i n d c h r r a f l
p
i n any styl e.
I r adi t j - onal or Di xi el and 6t yl e
J;
. ! -
r)
R:.de rhythn:
,l
)
- l -
7 7
I
) .
J;
- : -
r:)
Fi anv of the tradi ti onal or di xj -e1and 6ty1e
pfayers nake rouch use of
. i " l i i f r t
' " i sl t i n
and si xt eent h not es. That i s' . t hei r i nt er pr et at i on
, r - i a! " 0 on" t hi s puLse even t hough t he r hyr hm' 1s. syncopat eo'
, , For "
* Jco@pani @ent i n i hi s st yl e
you wi l I f i nd t hat t he si anoar q nol al eo
r i de r hyt hm wl f l f i - t bet l er
l r u Y I ' r r L r u '
" " J ' J =
J
- f hi s r nv t hn i s al s o v er y el f ec t i v e
f or
Sel t i ng
r en
pl - av i ng
i n a s f ow bal l ad t empor wi l h t he
r i ni nE l he- f ul l ci r cl e or t ne basi c l ef t hand
i i ght I o Lel t t o r i 8ht et c.
t T - 1 |
r en pl ayi ng at a ver y f asl t empo i
l . t i
rratural ri de pattern for sv/i n8r di xi er be-bo!t
t r ' o - + a r n c + wl 6 c
a doubl e-l l me i eel j -ng
l -e ft hand sti l l roai n-
sweep froro l eft to
I
t
I
,f,
gospl e
wi l r be t he
or country-
r hyLhm, [ he al t er ed t r i pf et wi l l
gener al l y f j . t
J-J
e-r
l;r
J-,1
r I
r \ o L a L I U I I r . ! v c e p r r r r L a r q ' 4 . P
Malki.ngs
The dark
ar ea t o
There i s no standard l rotati on for brushes. When brushes are desi red
i " - . " i . . uog" t " n! ' t he wor d Br ushes' Br ' or l t . B. i s
gener al l y. wr i t l en
-
i n at the b6gi nni i rg of the secti on 6f the amangement
i n whi ch l hei r
use i s de si r ed.
* In no6t case6 i t i 6 up to the drun!0er to deci de when the brushes wi l l
pr ovl de t he best e f f ect .
As a gul de I woul ct suggeEt that you vj -11 be safe
.i 4
usi ng l hem when-
. _
ever i he Busi c cal l s i or sof t pl ayi nB,
t t pi ano
r
' r pi a. ni ssi mor r r
et c.
Ther e ar e t j - me6, however ' when t hey - i n be ver y ef f ect i ve i n a
I ' f or i et r
(l oud) dynani s i ange. Thj -s i e because of the sounc of the brush
- pl ayl ng a strong ri de rhythm.
It i s further suggested that you l i sten i o recordl ng6
j -n
v/hl ch.
.
di fferent druroroei i use brushes i n vari ous musl cal sei tl ngs. Thj .s
-
wi l l hel p you to i evel op your own tasl e.
Sweep, Li f t and Tap Sl gns
shadow represents the general
be pl ayed on the drun head.
An amovr pol ntj .ng ri gi l t, means thal the
brush sweep starts on i he l ei t hand si de
of drum and sweeps to the ri 8ht.
.An arrcw
poi nti ng l efl ' neans i hat l he
br ush s\ yeep scar t s r n t he r i ghL nanu si : e
of dr wo head and sweeps l o t he l ef t
'-=?
i . n
" , a ' ' . n " t F f "
c - r r n f . ^ n
f e f t h a n d
s-
*--------7
I \ - - - - - - -
si de of dr um head and sweep ! o r j " ght
pass t he
" 2r r
or vj hi chever count i s
r nar ked, t o t he next count , i . e.
nl et
1" .
^ r " l at , r
c nl ) - : , nd br u6h bac k
t o l ef t pass
' t 4"
or whi chever count i s
n - F L a ; + ^ h 6 v + - ^ r l n +
Brokeu l i ne means to
!!!l
bru6h to next
beat or count roark i n the di recti on of
the arrorv.
Dark fi l l ed ci rcl e neans that the beat
i 6 t apped
( t i ck
sound) .
. ql ' r l J
o
gl i
o
E . q o ^
. q. d E o
S E o
'rl
.rl
-g o
L a . u E o !
. i E1r
! ! d t X k .
q r
o o a )
o o : @
d f r O or r
j
. l o. < 5
o
( 4 !
l r +
q
E Or r O t r
o r i d 3
( ! P
t r O o o ( 0
_ .
q - , -
q o ! E
ol 60d = <)
. f , | c . op c 1r
+il
.,r
q ql
d.q
a I + + o : . C { r
ol k
( o- 1 . r ' o
Oi 6 | r o o
xl rr. d o. q t r E
t4l
L.)
qr
.rr rr
,rl @
5 6 3
F ,
E : ; r l aH
i E
1
r s
* i : P
3 * .
ir aH ?ra$ ?Fi
o l > 6
3 5 . - ' , ,
D c o
: g I $
: E! i . P8 !
i s i g i r t : " . f l st
- i >t J O ' o or r - l d r l ' < o
! i . i a
; ?; ! i
; H:
l ! - f t
I ;
i ; " 1"
' e-
i ; ' e: l i l ; ;
ni . E
E I Es E Ee ; f E5'
: el
" , 1
i 5 " l t
f ; + 9 r 9
h : F
i sl
E;
; ;$
' !;Ai
i E;
I ; l
! ;
! :
; : : ; i ; : r
"s{l [! :* $i :::1fi
3t;
: 31 ! . 3 E : . : . ei i . '
-
. "
i i l
Ei - *s
' i : ! : s: *
r - E l
i t
5 : i r . o ! ? ? t s
n * ;
. =l
! t
r E. E3 Ht t t X
i i l
- ' |
; i 5 f f f ; : '
i 33' 3
Bt E
: i E
;
n : -
l : i ! ;
B[ " *
o ' '
, 3 S 6
: i - * ;
e g E
t i ,
f ' : f ; i i ; l
*: s
:
i a: E . sa: " : i s. 3
! *
t
: Ei f ; Hl i i I
&: :
it E
$ ns
F' lfiii
:+;
a
r
i Hi l El Sl i
-t , f t
Ee
, e
$i : f r31: : "
' -i
i i I 3a? ;-' tl
B;
".ai
3i $
;;i
EHIes s:;
8H f i : i i f i $ef ; B 8l f r
lo
= a
t '
i
rr-r
*
- . -
- . ! , , . \
\
. t *
\
nf
.ufi
llltlt
-W
r;l
?;l
SHI
. .
$Hl
o rr "o
r.\ rr +r rl
, q t r . ! t p F l
! t . _l rr. rJ +) 5l
o. - r o. l qr Cl
qi
o >.r
,.1
ol
o { 4: 6r - r I
c 6l
E 0.,.q : i.,l
..1
{r 1r.r'i b ct
g
{ A+) O @ .
E O rr ]J A | -1 c)
, o q 6 0 i c
p
6 ! . r r o c
b 0 E i r o : r 3 E
l i Obo 0)
. q o. . 1: r J .
E
o ! l l i - i t r P c d
p t i o o
o r !
o o :
- p
( ' p
o ! o x <
q
+r >' ot r.l
( ! q r
o - C O-
! . . i t > - : +
p o
o J r 3 o . 1 r
( 6 ^r ! cu
6 . - Cr i
Eql t r Ql
c ( [ 0 ) 6 0 )
P o E J tr.-l tl
o r j o a \ t c t
14 t r. q-- o o
-. {
o
o 5 +, .q ri
.r.l
t i O o ! v o . e
r J o c r . q r 3
. . - l
C t
-
! o E t O l i
([
O.rl t{ = o -O
+ r { r ^ < o N I o
bol r O 5 O O 0)
. r l . - l F
t i . ! o - l !
r r 6{ r
( o
o ocr o c) o o
Sr r . r r r d 6 p E
I
I
i
l
.l
I
l
I
l
l
E
;
$
E
d
(!
o l
,t4
(0l
o o l
]I EI
.4 0)l
o( i ) l
bo +Jl
F< EI
OJ
EI
7
I
IA
o
-
o
{0
tt
.-l
o
6
F
6 ( 6
5 0' ) l i
( ! r ! k
I
E-I
I
FI
I
F'
qt
c+
. c a a
6 E O q
r d i ! 0
l J C r r C
(| .r{ 6
.rl
( oo
r l
gP | J ul
6 i - l o
r J o . ! E
t a p -
d t r . r l E
t o = r l
t
ro,lJ
N q ( ! ( 0
k 0 l
- i . i . a
o
= o o , p f t
I
I
F
&-
t 6
a)l
r.
pl
o o l
( ! 0
...r r! lrl
o a c
c | E C )
I
I
I
,7
E 6 C )
6 ! O I
] J E i I
!
l ! ! ol
E o
(a
r-rl
a
*'
t
a
EA
I
: g t
.-l
E r r
.-l
!4
FI
.rl
I
I
I
I
I
t
I
I
I
\y
I
I
9l
5l
([I
5l
:l
:l
al
=l
..rl
I
:l
ft
9
I
r r l
60
ql
.rl
ol
I
lr
t : a
I
t
d q )
or 6l I O
I
l
o
rrl
9l
. l
'.1
ol
r 6l
!1
a -
4
: l
- l
6l
: l
A I
E
11
". il
y a
f l l
ro,r4l
OI
g
rll
6 p l
.3
-;l
t *l
olrl
,. {l
t : l .
' E ( )
q o l
6 + r r
o q l
69
^ . .
i a 6
tD
.u (,
.q F.{ ,c
r r t { o
.r{ rd
6 6 : l
t o
.pI
{r ol
o O rll
c r r : l
4 6 0 0 ,
d F > ,
o t
o. +t 4
n E g
q o x
ol 6r J
o l , q l o
zl e,
({ .rr
@
6
(,l
6 o
x =
o o
o
o o
o
I
FI
e
AI
E
*!t'
;l
. : . .
E
l2
AL
N, l i
A 6
Fl t{
o
+{
o l 6
' t n
!-. I
o)
t!)
F
< E
gEI
I
d
I
t
I
$ l
I
l * '
t 5
t 5
A
l .
I E
t g
I
@
' .Fi
I
t
. dl
+r i
c t c 0 g
r s t k t
:El -l o
ol
(u-1 g
o
r
cl
o
c0
o
@
Fl
q,
ql
r_l
d
o
a
@
(d
u!
t
L
o l o
{rl f{
ot .q
zl E4
@
t
t k
I
'lt
to ta
l0 Fi r{
t o t
I
a k 6
o o o
! rr El
F
q. . {
! o o E
c
o o
Q O
a l O t
a
( 0 6
p
H q l
r-l ll tr
o i q l
o o d
d o
6 4 l
o F . L
6 0
g ,
o r l
( !
o o
6 P . (
o rD
q, +
6 |
g F
orl . l
q t . t J
q ,
o E o
h ^ s
a6 t ) 0, i
" q t r O F
@ o
BN r i P
0 1 - { O OS
drr
(n
rl O
F{ O k OF{
. -l c op
o
( ' q
t o o or0)
t i o E E- l
E
qoo' r l
3 L J B o
c o o
-e a-{ Fl..t 5
E
o
- H
a
r.l
,'\ E
t\
6
t h
o
j o
o o
t r @
f 5
ID
{ ( 0
r i
o
P r
! t D
l a
fl
6
(I
(!
@
'fl
o
@
(0
L'
/ ' o
o
.t
o
k
b + ,
p 6
I E
. - { t . ' Ul
. p .
, t t
i i Ot { @l r
d E } r o & q l
qt
. q r l o
F
*' ri cr.o
- o o r l [
E r { A O O!
c l
. P
qr
Eq
A d O
.P(\l
{ r l E t r
c t , . t oo
${ o
i l s @ ol r
, 6 6
Et , i k +' l r
@ d o t 6 @
!
ci @..1
i j a { ( l ) P
t Fl o o e
6 d . O O \
. P E
g ( 0
> o r j s r . P
r { q E i . t t
o-r F o r_l F
a l l J o Cl l . e { O
| {& . q o t {
. P
O
q-r
oq
t O +t ot { . q
d F t a 1
' P @
d r-.t o lr! ct P
id
qi
C.d
${
q{
.ct + r-t o"i
f t t r . qk - l
( Dt
r . { FO U)
4 0 O . . q E 0 )
P > a @
. r t . q
i > q x { r
-CC O '-l t{ l4 ri
+J r.{
.P
>' r{O ti
-
- { c l d a P A
; o o - { P a q t
.!l l4p1
.u (0 p
d O i . { @ O
? { t { F { l r o t r . q >
d r r a e o
. P A
t OQ d O F l O
ql
.-l > 6.d rD >
o t @ r i o
. p - E! oo . t 6
t r P i : { r l t r
qr
d
- P" o - o
.p
qr
l-{ bo o o
ct o c o . r i
( 0
-rl
E. c o. rr
i 6 o o F +
( 0 6 0
k 6
Ol i l d O a . 1
' P O
> f t o o
- E A p
.{ Atr 4J
o o
. { ) t r J @" q
l o
r a a o o r l r r
o q r 6
( 0 >
E J
k I! Fl P
r r o f t t { o = d
A , q . q o f l o ' l q
+r .lr i{ -C
.ri
6
l l o b o k o o t r !
o > c 6 > t r o t
O
qi
a-{ Pi
..1
.o N
. f . C o Ebo E
.
= . . l d
0 6
( D 0 ( )
J + | r E E o r r
. at o o i o ${ . J op o
a > : 6 C & l
d , r . . 1 r r o o @
,C tr FI+) CrJ O oli
o +) 6 { r o. !
. p . p o o > 5 . O O
.q
qr
t{ 60 t{F
tt ,D
Md { g F- r . P. - l
. P
>)
d
q . !
Fe{ . q
L- C i . F| d=@ a_l +) +)
@ o c o ( [ o . c - f
o
j
>, 32 Fr r 60
- CA o o
. l r ' . t O
. u P
O > @. r l | ] r l l r
F { o o
l i o
' . 1 o
@ > > S o d
o. q . q. . 1 . C o t r r r . q h
*q 1r =
(d
Er.-| Er O.pf.\
c k
t 6
o
o
"i
ta
z
FI
&-
H <
1 7
6
= t - o
A A
e1*
,
I
I
I
I
,t
!l
E
1
o fll
lr
1 e
c l a
tl, o
E
Fl
o
Et !0
O
'Fl
= { !
F N
Atl
a ^
g o o )
J 4 6
@
I t 0 &
t E p
F r r o
L'
t
9l
k
o
o
I
I
N
o
@
{
a
,n
d
qt
r
r @
E
. o
e
o E
A E
u 9 a
| { r D
o :
N v
tr
to
E- l
- o
'.1

6 6
Eqr
o o
{
6
o
a
ta
Yo
' t a
Both hand6 Dake ci rcl 1n couuter notl on
\-a' '
\-.'"
't-.1
Not e:
One cEll also ac cent
i! the ci.lcle on the
2 aad
4
courts by adal-
1!g a Ll.ttle press[re
ard slithtly acclerate
the noverert on these
couDts.
LO
tr.5
(!
C)
O A t r E
o
O E
(m,
(9
N
/
' t
. . :
. : .
:t
/ r
l t
il
I
I
I
/ \
l \
t \
I
\ " ,
\
. 9 ( !
! E ( o
( ! 0 ) F
. p E
'=@
rs,
E d
! -b
J
I
u.
(!/
/;\
! l
6l
'l
"c
d
u)
..1
E
O F
:l F
.,-
g
a
o
. 4
P I
- I
o l
-,
1
: l
)
I
T
6
'.2
LL
- c '
) t J .J
coun
tri.p
Si xteenth Note Tri -pl et Punctuati on
The Si xteenth Note Tri pl et i s used qui te often as a vari ati on t' - i r-e
al tered tri pl et for pui rctuati on. Reri ember that i t cones .n the c' -ur-:
of
t t ant r ,
an- t r l p- - 1el , t o be pr eci se. St ar t t he g4 ccunt r i t h t i ' . e
l ef t hanc.
I t--t-t
J ) ) )
4/4
4/4
. :': . .:lt
- t -
- 3 .
I
l
I
I
I
I
r)
{o
(0
qt
6
(t
@
ti
o
o
t{
a
(0
(tl
r.l
F
@
H
3l
a
r-. | J
r-rc
-.-t
at
- 6
-.-J

-1l,'
s
.-l
I
2
1 A
q
FI
60
\ r r
F+' i
F. p o $l o
q)
.-l
C
.r.1.+r
o - f F o
.rr ()
6 r! {,
t r r c
p E
t x 6 l l ) i . , r
o
.rl
o.r-,
o
(o
m-4<
- $ O .
! & q n . . r d
C O( s - t o- o ( D
(!
.ql i t N
EN 6l f i o. r l
x
{r
F.d Fl
.
60
qr (6
6 o) al
E ri rr.q ti
P O r - l o OI J
v t { ( D
5 tr
-.\JI -.o
. . 1
o o( 0 - o ( ,
ol >. c or - ] . l
( | , {
r{ .P .Tt
r.{.-l .-l
ol q , t o t { t J r l
z t H o c o =
p . B
a a
6
P)
4D.
'g
ao
; f
I
. . , i
E I
: l
6 l
: r
! l
i l
I
@
9r
;
t
=
)
!
6
'I
10
t
{
o
c
E
v
I
eo
l
I '
i
2 '
$.ght
Shuffl e Sweep.
.:'"ff
Left Hand
"*TurJffi
1
4
1.
1
aocet!{'
1e'
Rj.aht Hand
2'7
t o@
a t 6 . :
! >r ; :
@ 6 L ;
l . | o o
5 0 ( l )
( D
F
l--r
o
o
t0
E ! o l
_3
\ . ) , .
-"Struludng" (cuitar
Stroke
)
When rvorking wl"th a rhythm
glitar phying a atrai-ght four
beats to the bar, or
j.f
you
have no
ggj-tar
and vlsh to
8et
a LIghl
4/4
rhyttu0
gui tar feel i ng' thl s stroke 16 very effec-
ti ve conbi ned u"i th the l eft herd ful l ci rcl e.
l l
&!"e
The count
neasu!es.
rap
@
of
fi rst
bar
o
I
\
I
/
I
1
\ l
Sluo ,o
Left hal d ful l ci cl e
? bru6h area becoEes the count
nl (
area on al ternate
29
=
,'')
({
,t
a
\
\
*,\
' 1 \
I
I
-
E 4 v
\
i\
i \
!
\
\
I
*"1
(,
=
I
v
\
\
gl
ir
s l
I
I
/
l0
30
.!-
t '
r f u
EI E'
lll
n'----
n
Fl t=)
'{l
^l-'-
n
L]
-\
' i l F'
Tl
^l---
o
Ll
f r
tl
^[-
o
-
[--r
l l --'
L
A-r
d
L,
L
L
L
t )i ,
As nentioned
earri.er'
"":?";:!:i::iii
ii:iiiili*iii
:t"*##ii-;
-llii.3%1"'l;i},i*1"
:$:ii"l;iltr:;:,i:.1*r:;:llr*-;r'
"i'""n,r,
u:;,::*l*lF"liii"
:";rll"lo:,:::;:':l'1i*:::
"":::;":if,
"nli*""'
Frn^rrn
tW ff
f^f I
I
r
a
t ?
Adal ti ng
Brushes to Lai i n-Aneri can
l "l usi c
accent
" oner r
-
the snare drun.
l xa,npl e:
I
one can al so si nul ate the souoci ol the scral l er
"t
qi l l :"":Ltt:l *
-
iFa..n:
:ti::'l;:;i,;iig:q'i!!;hil"riill:l"i'*"1"i;,iiftl;F;l::;
i " r ' i t t t n"
gr oup. Fol l or vi ng ar e a f ev exer ci ses
t o r
rhythmi c
sound e f fects.
1"1:l:'#f, e"
;1"'l?1"il:'.3;3;;"lni3"
o3'iflt3"'xiln
Brush Si ' /eep [xerc i 6e s
for Sa.nba or Bossa l trova
your fj -nger ti ps
sl owl y at fi rst.
/:\
ac c ent
3
ac cent
' l )
rn
-
4/4
z/4
Not at ed Br ush sweeP
Pat t er ns
t-t-t-t t-t-t-l
d ] . t . l t r d t t . l
o
)ln
>'--'----
a a t a
-.+
t/
S-
o
) .
j
:
J
. =
ol l , J -
. f 7 )
) r !
o
)
J , l >
ll, J--J-J
) J)111
t _ J
a,
33
Si -ngl e and Doubl e Strokes
For pr act i ci ng si ngl e ar d cr oubl e st r okes,
i s qui t e appl i cabl e.
Cne shoul d t r y t o pl ay ol f t he dr um head,
i o!' m i nto i t. Thi s i s obtaj "ned by rnaki n8
the hand or hands, usi ng the !rr16t as the
the hand. Thi s i s conmanl y knorc as wri st
be a cl ear cri sp ti ck sound from the drum.
t he i dea of t he up- sl r oke
c ^ + ^ c n 6 . l z r . + h a , + f , h
qui ck do$,n-up moti ons wi th
h , + r ' F . l n ' i v ^ + n ^ i h + f ^ F
act i on. The r esul t shoul d
Fl at Sl aD Sound
; hi s sound i s mcst oi t en usecr f or makj - ng eccent s or
Set t l ng
a heavi er
? ' ' 1 , + c ^ r r r n h 6 . r - , v i h d F ] v + L '
- h 6
c l r b i e 6 h t , i n c . i
u J
! r a J r r r 6
! L r
q
brush fl at and ncre ccl ' rn i nto the drum-head.
T r o f ^ l l . r , i n r o v . - . i h r c i . h ^ r ' o v . F
er ci ses l vi t h t hei r r el at ed st i cki ngs shoul d hel p
r han aoequat e t echnl que. I t i s basi cal l y a good
r f r h 6 c . h o , , r d i n o r r c c + a ^ ' ' i - - -
o - - ! ^ f r 6 :
ti ce wi th si i cks.
The u6e of the open square aJl d the dot or fi l l ed
\ r hi ch hand 1s t o be useci r espect i vel y. The open
hand and t he dot a or f l l l ed ci r cl e f or t he l ef t
h r ^ . + i . a ^ i + h a e a F Y -
r ' ^ ) r i r d 6 r ' 6 1 - h i r r r ^ r 6
L e h i + + ^ n F . . t i . a r ' l l
i hat you normal fy prac-
ci rcl e wi .l l i nci i cate
square cl for the ri 8ht
hand.
Jl ex anc l : ul t i pl e Bounce Sl r okes
i .4ren pl ayi ng fa6t Coubl e strokes or mul tl pl e bounces, that i s three or
mor e bcunceG
( beat s) vi t h each har 1d, t hen t he
l l E
or vi br at i on of t he
vi r e br ush l s ver y usef ul .
The stroke i s executed wl th a
qui ck
dot!' nward wri st acti on wi tbout the
up-i urn as wi i h the si ngl e strdkes. What happens 1s that i nstead of
t ur ni ng t he wr i st up af t er t he l ni t i al - down mot i on, you t i ght en or
squeeze mol e on t he br ush handl e and f ol l ow t he vi br at i ons of t he wi l es
down} r ar d wi t h t he hand. Wi t h pr act i ce one can begi n t o cont r ol t he
. f t he wr i _st .
It i 6 al 5o advj "abl e for the druro-set pl ayer to practi ce al l exerci ses
whi l e nai ntai ni ng a steady
4/4
pul se l vi th the bass-drum addi ng the hl -hat
on the znd. and 4th
beats of each neasure. Try the sal l e exerci Ees u6i ng
the hl -hat on each pul se beat.
34
\r(
hen
pl ayi nA
fast doubl e or nufti pl e bounce strokes
(three or nore
beats' wi i h 6ach ha:rd), naki ng use of the natural fl ex or vl "bratj -ons
^f
the w-i re brush i s necessary.
=he
' rFl ex
Stroke" i s executed w' i th a qui ck downward wri st acti on l dove-
roent w' i thout the up-turn' as i s'
' ,' ri th
the si n8l e and doubl e 6t!okes'
hat happens i s t hat i nst ead of - t ur ni ng l he wr i st u! agai n af t er - t he
owowar-d- novenent
r
you ti Shten or squeeze nore on the brush handl e and
i ol l o!.r the vi brati ons of the wi res domward wi th the hand.
' i t h
pr act i ce you car cont r ol t he anoul t o- f bounces,
get t i ng t wot
-ohree' ,
four or nore bounce wi th each si ngl e novenent of the hand'
Fl ex and Mul ti pl e Bouace strokes
MuLti pl e Bounce Exerci se s
E : o
4
a
! a,a
a o
L a ^
a o
an
I
a
a
4 art
O 1 '
atL
Z o.tr
c l a
4
a
-
lzL z
t = a
I
(t;p
- j -
I
\4
o
i
ftA'
-
LLt
= a - t -
t:*r-)'!
a
37