f DALI Progressive: Moving forward Advancing: Proceeding in steps By Bob Burgett Includes beats, fills and solos. Practice hundreds of variations to improve your double bass drumming technique, Special Thanks to: Audrey Kruginire-Design, Tim Sherman-Cover Art, Andy Salas-Musical Typist HAL*LEONARD" CORPORATION {7777 Vi WUveoun RO. P.O,BOR L347 MILWAWEEE, WI BaZa Copyright © 1990, 1994 D.C, Publications 2208 Jerusalem Avenue, North Merrick, NY 11568 International Copyright Secured All Rights FleservedSECTION I Foor ConTrou: BALANCE & COORDINATION 2 Bass Drumms/eighth note patterns 2 Bass Drums/cighth & sixteenth note patterns 2 Buss Drums/oighth & sixteenth note patterns ‘2 Bass Drums/cighth & sixteenth note patterns 2 Bass Drumseighth note triplet patiems 2. Bass Drumsleighth note triplet patterns 2 Bass Drumsleighth & sixteenth note triptet patterns 2.Bass Drumsicighth & sixteenth nove triplet patterns ‘2. Bass Drimseighth & sixteenth note triplet patterns SECTION II ENDURANCE: RIDE CONTROL/SNARE CONTROL, INDEPENDENCE & CREATIVITY 2.Bass Drums with ride cymbal variations ‘2 Bass Drums with triplet ride cymbel variations 2.Bass Drums with snare drum variations 2 Bass Drums with triplet snare drum variations Page 10 u 12 6 18 20 32 435) SECTION I BgAT VARIATIONS 2 Bass Drums/eighth & sixteenth note beat patterns 2 Measure patterns 2 Bass Drums/eighth note triptel beat patterns 2 Measure patterns 2 Bass Drums/oighth & sixteenth note triplet beat pattems: 2 Measure patterns SECTION IV Hann & Foor Coxteou: Fits & SoLos 2 Buss Drums with eighth note sticking variations 2 Bass Drums with cighth note triplet sticking variations Primary R.LAR.L sixteenth note alternations 2 Bass Drums/hand & foot variations with sixteenth notes, 2 Bass Drumsfone measure sixteenth note fills 2 Bass Drums/iwo measure sixteenth note fills Primary R,LAR.L, triplet alternations 2 Bass Drunis/hund & foot variations with eighth note triplets 2 Bass Drimsfone measure cighth note triplet fills | Bass Drums/iwo measure eighth note triptet fills Solo exercise | foto exorcise 2 Salo cxercise 3 Solo exercise 4 Salo exercise 5 Solo exercise 6 39 a2 44 a7 49 55 0 6 6 62 o7 TT Rn 16 B 80 8L a 83 84 85Foot Control Balance & Coordination This section is intended strictly for foot development and is not meant to be interpreted as beat variations. (Refer to Section Three for variations.) How to practice: 1) Use the ride pattern with all variations 2) Always practice at a comfortable speed 3) Use a metronome to ensure steadiness2 BASS DRUMS EIGHTH NOTE PATTERNS repeat cach exercise 16 times xercise A 1+ 2+ 34+ 4 + ride cymbal snare yet SS ~ Tina Sra crereeer coerce _RLRURLRL RLRLRLRL LRLRLRLR LRLRLRLR 3 = 4 | ~ “ Ter tere cee ee RRLLRRLL RRLLRRLL LERRLLRR LLRRLLRR is tae ( RLRRLRLL RLRRLRLL RLLRLRRL RLLRLRRL 7) RRLRLLRL RRLRLLRL RLRLLRLR RLRLLRLR staccato RRRLURRRL RRRLRRRL LLLRLLLR LLLRLULR IL 12) | RRRRLLLL = RRRRLLLL RRRRRRRR- RRRRRRRR 13; | 14) t f : = mecererer “crerteer ccirerer Genrer LELLLELL LLULLLLLL RERLRRLL RLRLRRLL LRLRLLRR LRLRLLRRi 2 BASS DRUMS EIGHTH & SIXTEENTH NOTE PATTERNS repeat each exercise Exercise B L+2+3 444 tide cymbal share , RLRLRLRLRL RLRLRLRERE (3), i | 4) t | eas SSS aa SS] RLRLRLRLRL RELRLURLRLRL RLRLRLRLRLRLRL R LRLRLERLRLRLRL E ; tt 7S ——— pal RLRLR LRLRLRLRL RLRERLRLR LRLRL 1. RLRLERLRLRLERLRLRL2 BASS DRUMS EIGHTH & SIXTEENTH NOTE PATTERNS - repeat each exercise 16 times drercize c d+2+ 3+ 4 + ride cymbat Snare (note that 1-4 & 11-£4 are two bar examples} RLRLRLRLR LRERLRLRL RERLRERER LRLRLRLRL F —— = —————— RL RERLRLRLE RLRLRLRURL LRERLRURL RLRURLRLRLRURLRERLURL RL RURLRURL RLURL RLR LRE R LRLERLRL RLRL £3), roe RL RL RLRELRLER LRLRLRL RULRL RL RLRLRLRLR LRLRL RL RERL RL -RLR LRL RLRE2 BASS DRUMS EIGHTH & SIXTEENTH NOTE PATTERNS repeat each exercise [6 times Exercise D Le 2ea44ae mide cymbal snare (note that 1-4 & 11-14 are two bar examples) RLRLRLRLR LRLRLRERL (2) sh SS St =] RLRLRLRLRL RELRLRLRLRL ior RLRULRLRLRL RLRELRLRLRL15 — eb * RLRURLRE RL RLRLRURLRL (11), RLRLRERURULR LRLERLRULRLERL 12), Leen RLRLERERLRER LRERERLRLRL 13), | | ja SS ae RLRLRLRLRLR LRLRERURL RL ae { | RLRLERLRLRLR LRLRLRURLERL (15), f a : —— RLRLRLRLURL RL2 BASS DRUMS EIGHTH NOTE TRIPLET PATTERNS repeat each exercise sixteen times excise E t 2 3 4 ride cymbal snare @p @) cd = ia —— = | ~ I i RLERLRL RLRLRL RLRLRL RLRLRL (3) coy =y RLRERLE RERLREL RLRLRL RLRLRL 5) ca oy cy oy RURURUELRL RLRLRLURL @) @ RLERLRLURL RLRLRURL (10) (9) RLRLRLRL RLRRL RER (12), by sat Rh pk 34 RLRLRL RLRL RLRL RLR LRL17 fda) Peery x oy (14) 3 Se ee RLR L RLR LRL RLR LRL R LRL (5) LL Gee so ae RLR LRL RLR LRL19 oO) (10) eed Lond R LR -L RER LRL RLRL RL RLRL aa Seo PoO-PoO_Y SPoyPePeyYy RLR LRL RERL R LRU RLERERLER L 2) \ TPT POPOV Spe Pe yey R LRERLRLRLR ~L RELRL RLR LRL (3) \ \ Spopopep,p Spepopey RLRL RULRL RLR LRLR L RURLRL CP OPe Pee Spe pb yt ys RLRLRLR LRLR LRLRLERL. RLRL (15) CPOopoyPoy R UR LR ERE2 BASS DRUMS/EIGHTH & SIXTEENTH NOTE TRIPLET PATTERNS repeat each excercise 16 times 1 +24 dea i+ ercise G ride cymbal snare aM (2) L ES 3 te # 5 a6 RLRLRL RLRURL RL RLRLRLERLRE RURLRLRLERL RL RURULRL RURERL oe m5 — e565 — RLRLRL RL RLRLRUE RL +f | { ep St 6 RL RLRLRL RLRLRL RL2 BASS DRUMS EIGHTH NOTE TRIPLET PATTERNS repeat each exercise sixteen times Exercise F 1 2 3 4 ride cymbal = SSS snare . (note that L-4 & 11-14 are two bar examples) CRE pepey Spt rth syb sy RLRL RL RL R LRLER ER LCR LE Q) | | Serpe ey Cpe yh yey R LRLRL RL R LE RLERLER LER UL QB) poppy Spe sh atts R LR LRLERUL R ~L RL RERER LE @ Ope pepey Spe sb yt ys R LR UR LRLR tL RL RUE RLRL G) (6) | | a —S- | Ee pb whe a RLRL RLRLER EL R LRLERL RLRL a. (8) i a ee Pye eye gts RLRLRLR LRL R LRLRERLR L— 5 rn) RURLRL RL RL RLRLRL 13), os. a ree RLRLRL RL RLRLRL RLRLRL (14) Rept eee) RLRLRL RURLRL RL RURLRL 15) ei re rae RLRURL RLRLRL RLRLRL RLRLRL 2!| 2 BASS DRUMS EIGHTH & SIXTEENTH NOTE TRIPLET PATTERNS repeat each exercise 16 times ercise H 1+2+4+3 +4 + ride cymbal iLL. snare t 2) | { a aguas RLRLELRLRLRL 4) ey RLRURLRLRL 9) | | ee Cy osx pamper) RLRLRLRLERURL RLRLRLRERLRL {7), Ly Ls RLRLRLRLRLRE RLRLRLE RLERLERL (10) Lo Ce {9), Cy by Le ou RLRLRLRLRLRL RELRLURERLRLRL (it) ! (2), | i Ez] z === eS SSS Ce op Oy eye ea RLR LRLER LRLRLRL R LRLR LRLR LCRERLRLRLRLRL RL ym cp ey oo RLR LRLRLRLRLERL LRLRL| 2 BASS DRUMS EIGHTH & SIXTEENTH NOTE TRIPLET PATTERNS Tepeat each exercise 16 times @rcise I 1+ 2+ 344 + 8 tide cymbal snare 5 { { = =f == — + : on uy R LRL RL RLRL RLRLRLRLRL 3} 4) ! === =— = ———- — era C3 RLRL RLRL RL RLRL RE RLRL ——— Gath 3 3 Ce 4 RLURL RUR URL RL RL RLRLRERLRL | | | | St Se Zo I Poe Sees RLRL RLRLRLRL RL RLRLRLRLRL | 19) | = SSS =] bo uy cy a RLRLRLRL RLRL RLRLRLRL RLRL 12) Ce LP OP, RLRLRLRLRL RLRL Cee ye Le RL RLRLRERL RERL 14) Ce be Cy RLRL RLRERL RLRL os RLRL RLRLRLRL RLRLRide Control/Snare Control Independence & Creativity ine very important aspect of double bass drumming is simpte endurance. However sometimes racticing endurance can be monotonous end boring, By adding the ride cymbal and snare drum ariations to your practicing, you will make this experience more enjoyable and gain coordina- ion and new ideas at the same time. How to practice; 1) Use the bass drum patterns with all variations 2) Practice at a comfortable tempo 3) Use a metronome to ensure steadiness2 BASS DRUMS WITH RIDE CYMBAL VARIATIONS cercize A a Tepeat each exercise 16 times27 oo) J J I wo J J) , J» SS 2 Sy ppt 2 po oT, EEL gi ELD,= eS = pagediddle sticking > > > > LRRLRLL RLRRLRLL RLLRLRRL RLLRLRRL 4: (46) 1 (play soft) = > > > RRLRLLRL RRLRLLRL RLRLLRLR RLRLLRLi 2 BASS DRUMS WITH TRIPLET ‘ RIDE CYMBAL VARIATIONS ercigse B ue Aa snate drum ! bass drum Crepe RLR LRL RLR LAL os mi me 4° a2> 34 H3- 4 6 ¥ can Han eaK ¥ y 8 ; =37 3 = 10) — 3 = 3 Taye : 42 =34 “34 35 3 6% —“ 3 m3 3S — 3 Ia ss 3 37 37 0) 3a ok - 3 e 32RL RLL > RLR LRRL ee a 7 m% 2 % double paradiddle selcking 3 5 is Ly L Snare. Fymbal patterns w/fast2 BASS DRUMS WITH SNARE DRUM VARIATIONS repeat each example 16 times excise ¢ ride cymbal snare RLRLRLRLRLRLRLRL CL — = 4 = == SSS 1S 6) 8 —— = — 10) a= SS == : | WW 12) | 13 14) 15 or 16 = === 9) 40. = 41) 42) SS SS SS (43 44 ———— 45) (49)2 BASS-DRUMS WITH ‘TRIPLET SNARE DRUM VARIATIONS j Tepeat each exercise 16 times wrcise > 3 ride cymbal bass drum * oy gt 5) 6) ae J === Ce a4 Ly Lp 7) 8: == == aie Se i = SS Aj Ryu eo 9 10 as = foe op a Lye u 12) CHOP ey ee ee 13 14. to — + — ee — a) Lp wpe ey 15 16 35 a18 Beat, ey ee 19) 20) mg ey CY oy (21 22 | Up a) Ly 23) 24) i T cCPHPey (25° 26) + == ! Sete egy S34 (27) 28 uw a (2 30) + + bay uy - 3a 4 31) 32) . 3 a 33; 34) Ly wu u oe 3 0435, 36) oO 3 4 ~~ 3 04 37, . (38: ~ 3 se 3 1, Sa se 304 39) (40; ra ee bestow AL 42) j eu y oq 3-1 (4. 44) tol boy Ceuoy Levy (43) SCY o, ow byt Play all triplet snare drum variations with fast shuffle bess drums tide cymbal bass drum eeu “sth . RLRE RURL or CRLRLRLRBeat Variations All beat variations in Section Three are based primarily on R,L,R,L alternation, This method is corgmonly used when developing double bass drum beats. Play each variation accurately and in time. Start slowly and work them up to speed, How to practice: 1) Use the ride pattern with all variations 2) Practice at a comfortable tempo: 3) Use a metronome to ensure steadiness,39 2 BASS DRUMS/EIGHTH & SIXTEENTH NOTE BEAT PATTERNS Tepeat each exercise 16 times Exercise A 3 i ride cymbal t snare ili 3 8 Lu2 MEASURE PATTERNS i ] cy i | a si i | ) SS PIL Str est Sor he : + a | HH 3 :(9) (10) (11) (12) dp (14) (15) j (16) A) Play all beat patterns using these ride patterns, %ATTERNS 2 BASS DRUMS/EIGHTH NOTE TRIPLET BEAT P, Tepeat cach exercise 16 times a ticle cymbal Exercise Bee) 3 7: 38) =—— a =}-— ost y 3 oe 39) 40) | = — SS 34 30434 gu ay 42, 3 3 3 434 3 3 43 44: 3 3 3 3 3 3 45} ‘46; 3 3 3 3 aou47 2 MEASURE PATTERNS | 34 Lao 3 3 m3 Lj 3 wan 3 S55 u3H4 ai ~ ER oo — ee =e FERPES49 2 BASS DRUMS EIGHTH & SIXTEENTH NOTE TRIPLET BEAT PATTERNS Tepeat each exercise 16 times fercise ¢ tide cymbal snare .10) 1) 42) 15;18) 19 25 2226) 27, 32)392 MEASURE PATTERNS.12; 13} 15)Play all beat pattems using these ride pattern. @ y (A)Hand & Foot Control Fills & Solos Coordinating the hands and the feet together is easier said than done. However, for creative and lore interesting fills and solos, this type of approach will bring excellent results, How to practice: 1) Practice at a comfortable tempo 2) Use a metronome to ensure steadiness play snare drum notation on all other surfaces (tom-tor, cymbals, cowbells, etc.) 3) Once you can play each exercise as written,VARIATIONS repeat each exercise 16 times bass drum pattem 2 BASS DRUMS WITH EIGHTH NOTE STICKING « g a ih LRLRLRLR RLRLRLRL LLRRLLERR (4 RLERULRRL LRLRLLRR 0) 1 a) RRLLRRLL RRLRLR “repeat each exercise double time for sixteenth notes61 2 BASS DRUMS/ EIGHTH NOTE TRIPLET STICKING VARIATIONS . Tepeat each exercise 16 times Exevicise B A LZ RIL BIL BG bass drum pattem RLR LRU RLR LRL LRL RLR LRL RLR fT] LRL LRL LRL LRL fas LRR LRL RLL RRL RER LLR LRL id) [7] [Tt] Bs : —PRIMARY R,L,R,L SIXTEENTH NOTE ALTERNATIONS Li urérnu pve R R R R 2 R RR RR RR BL Le LE ute RL RL RL RL RL RL RL RL (4) Lo RL RL) RL RL RL RL RL RERL RLRL RLRL RLRL 6) LRL RLRL RLRL RLRL F BASS DRUMS HAND & FOOT VARIATIONS WITH SIXTEENTH NOTES LL UL LE Ly RR RR RRRR = + R RR RR RR LoL ae LbLUutL ERL LRL LRL LRL RRL RRL R_RL R_RL ‘4 R R R L L L L LLRL LRL ERLE ER RLR RLR R 6) R R R R L L L L LLRLURL. LI, RLRL RERL RLRL (8 R RR LE LL LL LRLURL L LRERLRL UL L°RLRL LoL 1 RLRL RLRL 12) RR RR LRE RL EL LRU RL L R RR R L LoL L LoL LRL LL soLRL R R RL RR R RL 16) R RR RRR LLL LL oe RLL LURE L LL ER R R R 1 18 —— he R RR R RR LLL LLL LRL LL LRE OL UL R_RL RRL 19 0 R RRR RR L LL oL LoL LLRL L LLURLL aL R_R RLR RR -RLR 22. —a RR R RR R RL RL RL RL = LL LoUut L RL RERL RL RLRL RL RL RL RL RORL RL RLRL RL RL RL RE RE RLRL RLRL 26 RL RL RL RL | | !RL RL RL RL RL RL RL RLRL RLRL — RL RL RL RL RLRL a =F 0) RL RL RL RL. RL RLRL RL RL RL RL RURL RL RE 3 32, RL RL RL RL RL RL RL RL RLRERL RE RL RL RL (3: 34) RL RL RL RL RL RL RL RL RLRLRE RURL RLRL RL RLRL RL 3 6 RL RL . RL RL RL RL RLRL RERL RLRL RL RL RLRL 38: “ORL RL RL RL RLRL RLRL RL RL RL RLRL RLRL RL. 40 RL RL RL “RL RL RL RL RLRL RURL RL RL RL 41) 42) RL RL RL RL RL RL7) 149) L RLRL RL RL RL RL RLRL RL (44) RL RL RL RL RL RL RLRL RLRL RLRL RLRL RLRL RLRL 46 LRL RLRL LRL RLRL RLRL RLRL RLRL RLRL RLRL RLRL RLRL RLRL RLRL RLRL 50 RLRL RLRL RLRL RLRL RLRL RLRL RLRL RLRL 52 RLRL RLRL RLRE RLRL RLRL RLRL RLRL RLRL 54 RLRL RLRL RLRL RLRL RLRL RLRL 56 RLRL RLRL RLRL RLRL RLRL RLRL RLRL ‘ RLRL 58) RLLR RLRL RLRL RLRL RLRL RLRLRL RLRL RL RLRL RL RE RLRL RL RL RLRL RL RL RLRL RL =a : RL RLRL RLRL RL RL * RL RLRL RLRL RL RE RL RLtN tH ft i a i h ft h H i Ky ty yO. ON iH NW Vo og ¢ h yh hy N HT697 PRIMARY R,L,R,L TRIPLET ALTERNATIONS ca ~ 3, RLR LRL RLR LRL RLR LRL RLR LRL 3 34 RLR LRL RLR LRL'*2 BASS DRUMS HAND & FOOT VARIATIONS WITH EIGHTH NOTE TRIPLETS Exercise Le 374 34 3 3 RLR LRL RLR LRL ma Hynes Hd RLRLRL RLR LRL RLR LRL RLR LRL rary rs ea min a3 mein ein aa RLR LRL RLR LRL RLR LREL RLR.LREL ranma ee Ha -3S Ks Ks LRL LRL RLR ms ma rn RLR rina cm rin LRL RLR RLR LRL Cres rhein RLR LRL RLR LRL RLR LRL RLR LRL19) 21 25. TIM Kae 34 aa RER LRE RER LRL Pence aeH RLR LRL RLRLRL Ts Ks es RLR LRL RLR ae ae eat oe] RLR LRL RLR Pan rR eh RLR LRL RLR Te ~3 RLR LRL RLR PST RH RLR LRL RLR m3 — -—3 RLR LRL RLR rim LRL 37 LRL i LRL 35 LRL os LRL — 34 LRL 22) (28) 32 (34) 36) Ca R34 ran rai RLR LRL RLR LRL recs Hae eR RLR LRL RLR LRL RLR LRL RLRLRL —7 ea m= 37 ry RLR LRL RLR ERL ard rsa oor RLR LRL RLR LRL 34 PR rei RLR LRL RLR LRL rane mK mh RLR LRL RLR LRL ma may RLR LRL RLR LRL rare ran es RLR LRL RLR LRLRER LRL RLR LRL RLR LRL RLR LRL CTH PrReH RH RLR LRL RLR LRL rime rH rh LRL RLR LRL RLR LRL rm a es race LRL RLR LRL RLR LRL - 35 mn m4 rRrw = LRL RLR LRL RLR LRL ao em ra resh RLR LRL RLR LRL RLR LRL78 main ea - ma a ra Mes m3 _ 5 (56 Le see: aS = RLR LRL RLR LRL RLR LRL RLR LRL man eH Rn ri rm oi ma =e eo RLR LRL RLR LRL RLR LRL RLR LRL rin rin min ed Rr ca eH 59) et] PS RLR LRL RLR LRL RLR LCRL RLER LRL| 2 BASS DRUMS ONE MEASURE EIGHTH NOTE TRIPLET FILLS Exercise G shuffle feel timerae ss seh ror sa oe rer Hr} mcs Pear: cies ~ 34-34 csr hei | 2 BASS DRUMS TWO MEASURE EIGHTH NOTE TRIPLET FILLS clipe H fe " cel rs er eh ee a) i 34 ime rare ms 35 37 rm rc an an marae mares Lee eerc 37 i 31 rat co pe LPP —— aSOLO EXERCISE 1SOLO EXERCISE 2SOLO EXERCISE 3 3-r- 37-34 er er 3-3 sr 3 3SOLO EXERCISE 4SOLO EXERCISE 5E 6 SOLO EXERCIS