ROCK COORDINATION READING 20 Penne nana a aaa STR STETUUUUULULUYVYTVVVVVVEVVIVIN - BASIC. DRUMMI by Joel Rothman TABLE OF CONTE . “ROCK BEATS ROCK BREAKS READING IN 6/6 DISCO DRUMMING _ . SYNCOPATIS JAIL BEATS TECHN! JAIL BREAKS — STICKING PAT JAZZ SOLOS LEFT HEND.CO JA1L COORDINATION ACCENT sruvitt DANCE BAND BEATS RUDIMENTS. LATIN RHYTHMS vRUM maNuscai 4 AND MUCH MORE!_ag sec ENE aS ® fod tant a—<—<$—<$<— ELL NENTS CF MUSIC HOTAT.ON WAN THE STAFF ree STS tive ines and four set. eat OE Malvern sponse —— The Treble Cet The Baws Cle aia oot SS BSS Festa ie besionng ofthe msi ‘ Turi for drums is writen mostly inthe as ce. brine tr tne fate tartine Ban WINES Bar he stat nto mesure 4 NOTE! AND THEIR EQUIVALENT RESTS — g Vit Move Guat Now Eighth Nolw_——_=SHNow_ aaNet i eNee wawaan ouster Eig Rest tom Rest ‘THE TIME SIGNATURES, ‘The Time Signatures are figures given in fractional form {i the begining of piece of music. The numerator tells the mumbersof beats to. measure: the denominator tells the kird of note receiving one bi Hi | GLOSSARY ‘ « “TEMPO MARKS indicate the speed at which the music should be played, The most common markings a | Slow Tempos Moderate to Fest Tempos ‘ Grave —— Slowly, sadly Moderato ‘Ata moderate speed Urge ——— Slowiy,brosaly ‘lego ———— ue Lame ——— Very slowly, very sly Allegretto ——— Less quickly than Allegro “4 | edosio —— Stoly Fresto -———— Fast © Andante —— Ata leisurely pace Vivace Very fast - | ——adantina — Somenhat fester thn Andante a x eon terms that indicate tempo changes ae: | | A Va = means return tothe original speed ater there was a change inten 4 ‘Ac “sno ebb. accel) — meene a gradual speeding up ofthe temo \ Fe Se abo vic) mess a gradual towing down inthe tempo of the muse q © Ra “iim = abd. 170) means a the performer's pleasure AC MARKS indicate the degree of loudness or softnes of the music a bs oe 2.6) From he beni Beiaedy— From nes 4 7 eae pelo cet ahi ape lgerts Ses j = ie etree 202 © Copyright 1980 by Joe! Rethmanvysyyyy PPPs FFF FFFTTTTTTTTTTTTIVTITIIIFIIIVVIVY! V3 age, sing PREFACE 1 ae She pas svar yet eas hve reese that |e a “alin one dul is ‘eosin to intent talents BASIC DRUMMING sur chs took AACE 180 study can nosy conan the otal esprements of eery phate eens ea =ih the report of alleving a course ef netuction to meet he nes a ‘seh udent SU, this book pres a wealth of highly organized mates eee nt 2f opis extn tthe nial development ef well soundest Sayer nonchen eal ie Snough Tom to explore the topic edeauatey. However, tha an ee Tete imcren sugges the following books: SHOW PRIMER. CUT Tie Sars thie) ANRASIGEMENTS, SHOW DRUMANING, ond BIG BAND CHARTS TABLE OF CONTENTS SECTION ONE ~ READING BASIC RHYTHMS Rolling in “Quart” Tie : Pon, 338 Felling in 6/8 Fine a 3640 SECTION TWO — READING ROLLS Rolling in “Quarter” Time 4250 Rolling in6/8 Time... : el SECTION THREE ~ DRUM TECHNIOUE Basic Sticking Pattee 5360 Lett Heng Cantro! * ates Accent Studies : : 65.70 uscimenta-T ype Exercnes : : : 7188 ‘The 26 Standard Rudiments ‘ : | me Sticking ators with rl 7 . 80 SECTION FOUR — BASIC ROCK DRUMNAING Fock Bests with 1/8 Notes 9298 Fock Seats with 1/16 Notes 96.106, Rock Beat with 1/18 Note Visits 107-108 Rook Coordination Phrase 3/3, 378,28) 109 Fock Beate with = 6/8 or 12/8 Feel 1013 Shute Rock Bast 14 1748 Note Cyinbal Beats 8117 Rock Beatin 3/8, 5/4, & 7/4 18119 Disco Orumming 120.125, Fock Bresks 128.131 SECTION FIVE ~ BASIC JAZZ ORUMMING [Cymbal Snare Coordination 133139 Creal Snare Bae Coortirsiion al Ciba Varistions 144 Seve ler Brea 142 fears Soin saatSECTION ONE READING BASIC RHYTHM “Thig section contsing wo main parts, The st, and most ‘extensive art deals with the reading of tthe in “quarts” time, where the quarter note represents the basic best. The ‘orcnr are morty in 4/4 tine, bat there are few in 214 nd 28 time, For added material in od time ianatures such 4 5/4 anc 714, {suggest he book READING CAN SE ODD. “The second part ofthis sttion dele with eating ym i 5/8 time wth the righ note acting asthe basi beat. The hook, READING AND ROLLING IN 6/8 TIME, eantaine an Indepth study ofthis top, sare sprinkled throughout the entre section Homeve, since the. book is morly. for beginners, the ynamit should be thought ef es secondary. list, Uy 10 thin understoning and fiveney with the mtn fn each beerita, then replay the eee and include the indicated ‘dynamics, A more thorough presentation of dynamies can be found in OWNAMIC CONTROL, snd MUSICAL STUDIES FOR THE INTERMEDIATE SNARE DRUMMER, Dynamic (Ones this setion har bean completed, return to the begin fing and replay selected exercies In cut time, READING AND ROLLING IN-CUT TINE Isa separate book containing ‘many tudes on the tonic Ce CELE EEE EE OOOE EEE EEE EE OEE EGE CURE K SSWOOVVVCV VTA TTT TTT TTT TTT UG TTFTTTTITIAVVVVVVVUUG READING IN “QUARTER” TIME 1/4 NOTES AND 1/4 RESTS aAAAAAAAAAAADAAARARARTDAVE ES SUMMARY IN 3/4 TIME a a° » ° ° . * ® ® ° . . . . ° . s ° 1/2 NOTES AND 1/4 NOTES 23 8 4 1/2 NOTES, 1/4 NOTES, AND 1/4 RESTS | a HALF RESTS, WHOLE NOTES, AND WHOLE RESTS1/8 NOTES AND 1/4 NOTES -4SUMMARY OF 1/8 NOTES AND 1/4. NOTES go det tothe 2nd end, SUMMARY IN 3/4 TIME } = Ld = = = = -” e. =, = = - = = = = = = = = =. = ” - = = = = = = = = = = = = = so = = = = = ° 2 = 2f 1/8 RESTS ON THE UPBEAT eumr ease ee teas a eae teat sees pees gensPUWVUVESLITISISSTNSTITITISTSISTTITIIVSLTSTITIIIY | i 2 i i satasaeMORE 1/8. RESTS ON THE DOWNBEAT ® were zegeas a tg reaeas veaeaeae vereasae Ate GALE G Ae € RAMEE Cigicae wenn 64COMBINATIONS OF 1/8 RESTS ON THE UPBEAT AND DOWNBEAT met ezeaeae teataees tezearee teaeaeas ‘rmse. poco @ poco - Fae combs 2 eases reat atae teararae tearaeags)SUMMARY OF PREVIOUSLY LEARNED RHYTHMS ome ADEE arTIES WITH 1/4 NOTES seen) (Asploveid (newton spire ae aa iat i 14 Lyi 4 7S = es TIES WITH 1/2 NOTES (aswriton| (As countedd (as written) (As counted) TIES ONTO UPBEAT 1/8 NOTES ls eriton) las playest (as orten) (as layed ee Re SRE OT RD ES PA lepegeas Fezeg 44TIES ONTO DOWNBEAT 1/8 NOTES (ascot) we at ase: P aes ns counts) ascend [ns courses reaeaedt teoeaeas TIES FROM 1/8 NOTES ONTO 1/4 NOTES CEU OCR CORR CUCCUC CLOSE CCC eee |ig DOTTED 1/2 NOTES As written (as playect (ss itt (splayed tra ka’ 12 tag 4 Baaaade DOTTED 1/4 NOTES (as writen) (as played! as writtend asa 6 12a 48 PUUUVVVUVTTT TTT TTT LETTE TTT TTTTTTITGG—_= oT SYNCOPATION WITH 1/8 NOTES AND 1/4 NOTES Ina rinten) {As ployee (ne ritend As paved) ome te zeate Lezegeas teaeeiae teat aresry a SYNCOPATION WITH 1/8 RESTS ON THE DOWNBEAT vere ase rezeasa teziaear tereatar a SYNCOPATION WITH RESTS AND DOTS. | 1 ft = E s = = s . DC al Foea.eeananeneeee i MORE SYNCOPATION aswricend (asplavesd as weird (sspleyed) woe qenenaa, pegcoas iiaeanae ps zeae Le a SUMMARY OF SYNCOPATIONINTRODUCING 1/16 NOTES id a — wut VADs aerd Tb aesdas teraz iat. tesdtevaas— 1/16 NOTES ON THE UPBEAT J-g0 come Vi 2035488 TERED Aes Laz aeeas wmct ez ae bts tee see tease tagaea 4 = pos) re c = Sa Sa FP ok UATCTAATATAAAAADTTAATTD | 7 _| 1/16 NOTES ON THE DOWNBEAT omit rz d+ eee 142 desee tenes aes tesasgee ESSSIITIVITITITITIVIINIT. Ls? Ds tess aes geeae tevez aaere 1 zee ae desa1/16 NOTES ON THE UPBEAT AND DOWNBEAT com: $402 D8 des 122 sds ded 1 De atdaes teat gee SUMMARY OF 1/16 NOTES IN 3/4 TIME serzeeses tesa sages tesdzes aed tevezer aoe DS. Code ToCadedes TIES ON 1/16 NOTES Usverition) (Ascountad) fas ucitend (as countedPOVVTTTTTITIIITITITITTITVTITIIIITIIIIIIII III a _-—= DOTTED 1/8 NOTES (As wetant As played cum re2e gees teazee aru adea _ DOTTED 1/4 NOTES WITH 1/16 NOTES ON THE UPBEAT (As wien iasplveed | j | | | teaeear ance DOUBLE DOTTED 1/4 NOTES - (as itend (as played (splayed! DR ee, cum) 20 gated Tedder se tereaaetas 124 aera is place ater note neice is uration by three quarters of ts orsial vueWUCTTT TTT TTT TTT TTT TTT TU UU TTT TTT TTT TUTTI ~~ SYNCOPATION WITH 1/8 NOTES AND 1/16 NOTES Bs writen] {As played! lascounted) SRosazZr 1/8 NOTE AND 1/16 NOTE SYNCOPATION— WITH RESTS AND DOTS ou tered etd etd tate tsar ete teraa eg * wom tese etd Leedte sd 1 satera ever se foots s er etd detdee ed 4 tae eee 4 etae og F com tetd Deed tataz etd Letea eed 1 chee cea > eee meee seem ea asanAaaaaa saa AAAaaasaaaaaaaaaaneee« INTRODUCING 1/8 NOTE TRIPLETS 3 3 rriplers there are several counts that can be use. | suggest the student first count 1 Wl, 2 tele, ‘¢svnlet Alter davelopinga fal forthe tine ttm, te count may be edaced to 1,2, 364 fariiarwth two distinct sticking pattems forthe tiple, The fs ster ete with tw sights fllowed by alate (HAL). Ths pater enabes tre "pers con 80 be played mora rapialy with thi wicking. ene‘The formate sgn over # note (NI means pause before proceeding SUMMARY IN 3/4 TIME eee ewe eenannnn~ To Codes 1/8 TRIPLETS. WITH: A REST IN THE MIDDLE perererereererererorerenorrcerererrocensencoesoe1/8 NOTE TRIPLETS.WITH TWO RESTS1/4 NOTE TRIPLETS A writen) (as playea (as writin (as counted) — 3 3 i 3 3. 1/2 NOTE TRIPLETS (as writer) (As plaved (As itt) (Ascountea) a 3 poe ma 33 31/8 NOTES AND 1/8 NOTE TRIPLETS 2 ACCC A AACA CAAT T ETAT1/16 NOTE TRIPLETS — FROM THE UPBEAT 1/16 NOTE TRIPLETS FROM THE UPBEAT AND DOWNBEAT 33 2 33READING IN 6/8 TIME 1/8 NOTES AND 1/8 RESTS res4se t2a4se t2a4se 1234584/4 NOTES AND DOTTED 1/4 NOTES De URUEEELESECECORECCORCTI ECC CI rit rr EEEEE Az,INTRODUCING 1/16 NOTES | SECC RRRECRRR RRO ROR CCCRRROR OC OU RRR RRO MERE RRO EDSCTTTTITTT,] =~ DOTTED 1/8 NOTES com 1249 45608 epeaeasee tase agies aeeoeerer mata AA DAATABARARADAADING aeSECTION TWO READING ROLLS Taare aro two methods for teeing rolls, One Is the press roll app roach, where the student is abe o grockce @ sustained rll In» com Paretialy short pared of me. Polls produced inthe manna, how et, initily sound sloppy and unten, As the sudent propose ‘expected that he wil develop & Tine vill to meecute thes rll lth sroothness arc finesse. Proponents ofthis sparoch assert tat fora Practical purpose, since the prers rol isthe rol that is actally used, "especially in orchestral playing students ehould be trained ery tn thet ‘dims to think ofall simply 2s eanclauous and imooth sound for 8 ven length of Une, ‘The second method for teaching alle i hazed unon the rudimental or trectional aporoach, which reculer » eudent in the exry sages of learning to play 9 recive umber af “open” double stokes win he rood a written roll. As the student’ technical prowee Increase, he ble to play the chen doubler stan increasingly pester speed Ever “ually, the student ll reach @ mex‘mutm speed wits open doublen, at which point the cloted oF pres oll comer smart naturally. 1 tes an average student anywhere from ona to two year to pay @ smooth lows col trough the rudimental epprosch, Although this method fy Initally tedious and time-consuming its sdeccate claim that en end fesult the student gains euch grater contol and overs techlaue than in the press roll appraseh. Moreover, this grster control wath fen daubiss and ie raulting machine gun ike sound on te sare ts ‘eremely useful when It comes to playing az2 and rock woos aaund the drum et In general, this euthor tends to agree with the advocates of the letter ‘mathod, and the approsch that is notated an the Tolowing pages hoscally 8 traditional or rudhmental one Al axercsts are presented at “maeaured ros, with» predetermined romber of dou svokes fot ‘och best, The two approseher, however, pre ot mutually seek “Teaching the ores rol should be Initiated and incorporated eta ety ‘tage In combination with eve approach thet | have chosen to lustate In fact the exercises In this stuay not only can bs played st writen, leith 8 predetermined number of double ster por bre. but they evs ko be layed with press rll. should be acded thet the same exer Else could evn be played ith altamting stokin, thereby provcing {he reader seth the portunity to develop he singestroke rol ‘One final point — the poses inthis stim contain meaeurd rolls which 1a based upen doubling sixeanth-notes, enabling ninetroke rol 19 tbe played for each best. IF the tection is replayed inevt te, the all would be played ar fie sakes to 9 best. However, another grup of messured rally exists, based upon doubling sixteenth rots ticlets, allowing thiteanstroke ros to be played for aach beat, Snot thers isnt enough rear to present a separate study with thes riplet ol | Suggest that thy reader replay al the exerces, using thirteen soe rolls 10 « bent, Pago 83 contains 9 eins af sxerles to develop set roi, For # further study of roll inal shel ramifietions, | eccmmend the books ROLL CONTROL, and ROLLS, ROLLS, ROLLS.ROLLS ON 1/4 NOTES$$ r? ROLLS ON DOTTED 1/2 NOTES i = PeyesTTT- “J 1/8 NOTE ROLLS FROM THE DOWNBEAT ae tend Ws ployes TORR(as played) Ith, (is wetten) bt 1/8 NOTE ROLLS FROM THE UPBEAT ‘eererrerertenreroeeretererenernrnoneronnnneneeed1/8 NOTE ROLLS FROM THE UPBEAT AND DOWNBEAT CECE CECE CELE COC EEE ECE C ELLER EEL EEL CLERKHF? ROLLS ON SYNCOPATED RHYTHMS. criten! (Aaplayed) Iasuriten) — (Aepiayed) (As written) (Ae olayes)_ ROLLS WITHOUT TIES | tevriten) (as played) Waveitesd fas loyesd Urine!) Sty |ROLLS TIED TO 1/16 NOTES (ETE, Siena.DOTTED 1/8 NOTE ROLLS ON THE DOWNBEAT Us tetra (As Ployes) 41 I RRLEARL, RALEAAL (Aswriten) —[Asplavadh (3 wet (splayed) bey re aa DOTTED 1/8 NOTE = ROLLS ON THE COUNT of “e”” ~ eS ate ling -ROLUING IN 6/8 TIMESECTION THREE BASIC DRUM TECHNIQUE This soetion starts wth bose sticking patterne using eahth roves and wples, For the most pet, te aght han I Feared ane it predominates Ina tho exersies Replying ‘och exerts ip reverse il allow te fete Rand to play the predominant role, ond the second part of this section Drotnts a comprehensive ody tllred.spenfally to ‘evel left hand eonwral, The third part of Section Thess ivan accent study with igith-notes and ples. By playing all accented notes on ‘arlout tom fore, and aii unaenentd notes onthe snare ‘eager wll be able to dbvlep Toney with fundamental pattems around tha dre, you dere extra materia 009 {hese nes, 1 suggest the following to books: A QUARTET OF RECIPES AROUND THE DRUMS, and CROSS STICKING AROUND THE DRUMS. [Alter the accent study, thre Ison extensive presentation of ruigntattype exerciesincding a, ruff, arog, sone Stroke rol, doublestroke open rol, parades, the 26 Sendard. rddlments, as well" @5_ special” exereles with ‘huintupions an vente, EASY DRUM SOLOS TO DEVELOP TECHNIQUE ita new ook wien incorporates all thees topics in ameytosiny feurmesaue los, eeee ne reres eee ece CeCe ROCCE AC TTA TATA TAT AT AAT T TTA T AAA ATTABASIC STICKING PATTERNS WITH 1/8 NOTES (Featuring the oor Hand) UUGdTIIIL. POOOOOOOOT UT TTT TTT TTT T TeaLAG ESACTAAOAAGDEAATADANATAV TTD AAO COMBINING BASIC STICKING PATTERNS. FOR TWO MEASURES Group One RURtR UAL mumtneac! cntRiain Group Two RURUmRiR! RiMAtARE Manan SREB DER Rintwacn! Atinccme |” boadn Saony jm, omay : Umntr! CRtRtaca RURLRRUR! LRiRLAAL Re MR a: HER RUR Rimtanin otPee TTT TTTTTITIITIITTIFIFTTITFITIJITVFFITTIIIIIT.. es Group Three nS TA plea TA Fah bh SR WIRGRHEME i RA AAA Ana pana ay teiie Aiiea eGR aR | Group Four Chmencc! macimate RuRRURLL WAAR RR WAR | PAD PRD aE | ” Sn | iGroup Five WRI AE hy Ritatcne MRT aa ATR Ty Ricmicat rr beR oD Soy MRT my: Group Six ian Ian), Iman, Cncrtnie a ronmtan! cnc ARURmenm! inn WSR im, MER ARID pono, Chat ARMA Adaeaeenanaennnwnnnnes LOLii1ciciieasMISCELLANEOUS EXERCISES ieseee teh [. i stataathsteataatl leestatets pT ITT ST ody Cecaca! mecateae Ih ee KD Ik iT} TT), FT y bea 77d, + <1 y bay BLUniRiR| Rimntan TT Ty create NTT 4 | 22 SREP Ly oa |. TRtmtane ay Raiminte -fam On. fon he Ai. Ty. Tn any RRURURLL Ty | IDI) amy rete. UatmeAce pom amy RLLRRLOR IT omy reseses lestiatte GASTICKING PATTERNS WITH-EIGHTH NOTES FOR FOUR MEASURES T Tentnmt REM ALA AL REA RERLA LRLRLARL yond an aa 4 | AO JT nT, ST RLRRt ALR RLARLR LR RLARLALA LALALALR ST, SOLO TT oy no | ooo ay pono RAL RE REL RRL UR RL RRLRUER EL { J So, ooo, Soy ALOR LARL -RLLRLR AL RELAL ALR LRLRL Rat 1 TO 4, Sy ALLA ALWL RLERRLAL ALLARLER REL RR LAL BLUR LALA RULRLALR RLLALERL ERLE LER I, Ton, | any joo, Oo, oa | Oy * 88PUSTT TTT TTT TTTTTTTTTLULIIVITITIITVIIIITIIIIIY. BASIC STICKING PATTERNS WITH TRIPLETS Ln 4 jy j- Din 4 RU RRERAL RRLURL AMC AL MRURCO RmUMCL ABE WIRY jam, COMBINATIONS OF BASIC TRIPLET PATTERNS a 23 33 ss ws TRUALAL AALLAL | RUMLAL CREALL ly pADMOy py I m 9a De os any oD 4 NOD, pM, 7 abe so Ae se ws pT Dy py py: mintin conten ierececeress winter tnuaue Vo eo ee om Ie jsp cy 2 oly ia soa URC AR CACALL Rintan CUneRe Rurcan termes h~ P45 we BPR 6 OO pL Dy 4 pO y: RRLLAR LURMLL RRLLRA UREREL Betcan contac v~ caLEFT HAND CONTROL LEFT HAND STICKING PATTERNS WITH EIGHTH NOTES FOR ONE MEASURE be TTD ITIT ag i TILT y i Toy cmeuenee (te TOT. fl cetmieea omy [i : TATA ly | TO., Hl catenin k dSd.LTT | baa F 1 fH FFVIII ‘lk ooo ff | i Ty Toon AL Mh pon 4 ban lf tooo. 4 j- oT /TT1_4 betmecne Samy ST crecacce pono, cemcumee Len like pL ATT > saz,=. LEFT HAND STICKING PATTERNS WITH EIGHTH NOTES FOR TWO MEASURES WOW oy ¢ ony omy j TOT, IN TLy jp} TO, Loon ony joy oooy ALLLALEL mEEtLMEE RELEMLEL RELRLLLE j ono oy poy (jonny pono aay jp Ao if pono Anay pono joo ony poy, RLURLERL LoeRtinee LRLURLLE Lemeenee ODI oy FOO. | jn onoy FOI, aniny jay joo eLEFT HAND STICKING PATTERNS WITH EIGHTH NOTES FOR FOUR MEASURES bY) To | JTLT : RELLLE LO meeeuene IRI TT | TTT 4 ST 4 i TTT | om TILT JT ReLtemer meceemie RLURLLML cmteReee jp ST. JFL; TOTTI. Pecumeee meceneee Metmtune emecaece meemeeee Recmtcim veemeten STSSTTSTITITTITTVGAITTTTIVIIY. } FOOD) Ta om, RLEmLOML — mecRetme PULRLOML | Umtemece pT OT {TOT pS | JTLT 7 4 D4 RATT) TTT Ty I77)_4. S71. TTT, TTL iM) oom om |LEFT HAND STICKING PATTERNS WITH TRIPLETS FOR ONE MEASURE imammmy . 3 3 3 3 Atte eu merce 3 3 3 3 I , proommy, spam mms: ce ecd aan na aaa aaa ance eecaaeemalades LEFT HAND STICKING PATTERNS WITH TRIPLETS FOR TWO eee Lowe rerene Moa | Cmte Reeaee MEASURES oh Oo on. 4 ao rach_4 om amy ReeeReceMeee immo A os m4 Reeewe Retine Poo oy, mah y MUL eee meee ia Mmm ,mmamom_y 2 2 a 3 i CoLo och Cmebat cateae (LL 4 th i Auch. ReoeRe HlpT jy Dy ji 4 FEDODy r pT y ACCENT STUDIES #2 ACCENTS ON 1/8 NOTES (For One Measure) poy jy fh IiTDy pT iy PTY. WIT TD - VECUCECCOTECCURECEREET IN CUCLLULLLOACCENTS ON 1/8 NOTES (For Two Measures) f30 imam) a0 Shy. Mm) Gay ian any pinto amiss, a nn Sian 4D Tj TL Til | WIL, FR y jf OT iy | PIT Ty th as Ti! | (Pa iy pha oan, nn aniiny pat, ren ny PARI, Any MAG Shiny joan, missy “cor reeeeesessuaaa ss ISESTIVIVITIVITITY 7 sazF fo —____ , faa ] ACCENTS ON 1/8 NOTES (2A 8 AL (For Four Measures) }=80 ‘ 5 y ¥ pO yoo | i ly q I, ly 7 r t i v ALATA AAA AAAAaoadananananneneennennanaane poo OOo aoa omy POLO OO oo \ a \ D Pree joo Woon, To amy Poon ono amo : pA oeACCENTS ON TRIPLETS J. _ > (For One Measure) ~ jy nmi, Wom Gy pinch, 3 a Spt peeereeee FF FFTITTTIITTITTITIIIIVIVIVIIIINITIies phy pai 3. 3.3 ha = nap = i> LS nate Seats 2 py 5 eth Tq pT, : py Pict pA” wataieets 32 2 229 g 2 4 2 2 3 8 joy inte MERUDIMENTAL—TYPE EXERCISES EXERCISES WITH FLAMS RRReeeeeereenereerererereeerreceronornccceceneesEXERCISES WITH RUFFS 3 STROKE OPEN RUFFS (FROM THE DOWNBEAT) ip LALA y jomAmy joamomy Oe AR ae 3 STROKE OPEN RUFFS (FROM THE UPBEAT) iq CBR oy bonny poo my pA ay : : 3 STROKE OPEN RUFFS (FROM THE DOWNBEAT AND UPBEAT} poo ym homo pimom nOPEN ROLLS—SINGLE STROKES 5 STROKE OPEN ROLLS FROM THE DOWNBEAT IRN Wa bm og jp FRO 4 SRNR ARNO y | Rime Re ae RERLA LAURER L Rimini nine 5 STROKE OPEN ROLLS FROM THE UPBEAT By PSF 4 i BD, am | BERL acacag RUPE RUmcmL Rime RintAL TE. AD) Ay | 5 STROKE OPEN ROLLS FROM THE DOWNBEAT AND UPBEAT HAS CR y MAFRGD | TRO Ay RURLRLR Leung, RURLRED LE RURL | RE miRinimene ATRL SAD) AGL 4 "conor reverererveessse es FeSTTTTTIUTUUTTIIINIY,7 STROKE OPEN ROLLS FROM THE DOWNBEAT 4iny (SRL, jp SRA, rleince Lacee ne RURL ALR ERemtne OA OA, ALR LRLALRLA URL RURLALRL ALAL REAL AtALAL 7 STROKE OPEN ROLLS FROM THE UPBEAT Ey aR y | RLMLRERLALR | LRLRLAL ACRE REALALAL ALAtAL COMBINATIONS OF PREVIOUSLY LEARNED. OPEN SINGLE STROKE ROLLS. 4 |S Ca Rimta cmt ming RoURL RLRLR LAL BAAR 4 j ReRLRLR LAL MORIA RAR TRA tm tatrin eR LRU RU REAL PFA yp. ASR. i AALLP LA CAC Ata ada a nea tanenaaenanncsanccceen |9 STROKE OPEN ROLLS FROM THE DOWNBEAT jp FRA Ly (SS 4 RLERLRURLR Lauren i ITT A | AF SER ST) 0G a y 9 STROKE.OPEN ROLLS FROM THE UPBEAT . ig SAB y Ly (55551, 55a 4 j4 OLA | TBAT a RURLALALRLRL ALALALRLRLRL RLRLALALREAL 9 STROKE OPEN ROLLS FROM THE DOWNBEAT AND UPBEAT RAR A RURURLALA La uRtRuae HAR ER TRARY az——————_—_ OPEN RUFFS AND SINGLE STROKE ROLLS : = IN 6/8 TIME q ant Es pana f pom, PEER | pERB 4 TREE | ©POST T TTT TTTITIFIFFTISSSTTTIIFTIIIFIIVIIIGIAIIIIT. | EXERCISES WITH DRAGS OPEN DRAGS FROM THE DOWNBEAT Woy pony pom Haat * AAA, DADA, PRU RL RRL RRL ARL RAL ARL OPEN DRAGS FROM THE UPBEAT WIASAIA A y bem uer pO aay poSAo SR y | Rum tune RuRUERE RE j OSA Oy ee, OPEN DRAGS FROM THE DOWNBEAT AND UPBEAT HELO Dy jJRO MO y j-CROAD fly jg CAO Ay ”OPEN ROLLS — DOUBLE STROKES 5 STROKE OPEN ROLLS FROM THE DOWNBEAT be fTad al pay ia Ay © RRttR CoRRe aaceananaee il ARLLAL LR 5 STROKE OPEN ROLLS FROM THE UPBEAT Ay jf AR y pam: Roceran RRR 4 4 TR RL RURLLARL BcimmL A LERAL RLRLRLLARL . « « « e e e e e . e e e 7s « 5 STROKE OPEN ROLLS FROM THE DOWNBEAT AND UPBEAT tk RAL ALE RAL i IFRBAL,. DERITR 1 RLU REM AL RUMMLER CR ALL RLRRELR LER AL Ib EL jf, AL. BALL y 2 ARLER LURRL — RALER LER AL ” -« le le . « ce « « « « ;7 STROKE OPEN ROLLS FROM THE DOWNBEAT IRALy LSB 4 Ratinac connie HOTT FAT ae | GAALEB AL y 7 STROKE OPEN ROLLS FROM THE UPBEAT HIB ER 4g, Ry OTS) Ca, I RLRE Start | i RCLORLERLERMLC LBL A CLRRLL COMBINATIONS OF PREVIOUSLY LEARNED OPEN DOUBLE STROKE ROLLS HO) HIRO y poem y Maman y jammy - Fa Fay } CRS iT ARUCRAL RALing RLURRLCR LE RRL HARBORS y 9 ‘ Az ASPPISESUSESSLOLPLESLELS SEP Prerer rie te reais ty9 STROKE OPEN ROLLS FROM THE DOWNBEAT jean FALy SR EAL y RALLR ALOR Lun RtuRaL I i ean | T canrcwnanae " Winvanucnend 9 STROKE OPEN ROLLS FROM THE UPBEAT ja ASRS y Lumrioane RRLLARLER Aarsneetmme eC 9 STROKE OPEN ROLLS FROM THE DOWNBEAT AND UPBEAT jg SRO 4. Aone y RRLERRLLA commccane inte ROR EAA 4 RRUURALLR LERALLARL - - « = = « = = - - = e e = ie e e = - e e e . . « « « ie e . . « . « . « - - « « « . . le . << -prverreweccs ers sTTFTTTTSSETITITITITIVIVIVINNIIY OPEN DRAGS AND DOUBLE-STROKE ROLLS PTR Ry i Sy jo aay p SRL y jy hy Ly pO y fy | (SER 4 AER y fi SEB y | poy fj} ay Sa IN 6/8 TIME TI 4 jo | 4 time rue rau Blt mat RaLe RouuR Lami Sy jp) SEL G_y LORRI, | RaLun RALEM GeaRL RovuRRt RAE Ac mw tummee ARLLAAL RAL STEy ji) THAR 4 fj ORR EER y TERESI y j_ SRBSARy (071) sRRSER 4 aBased on Doubling 1/16 Note (9 stroke roll to a beat) a HL Mo La HISAR FREE CRontae Re sae RORURC RR RLRL BRR WR RRERL BUR RER RUM ROR haba baa MRE Me EXERCISES FOR MEASURED ROLLS ~ ' ‘ ‘ ' ‘ ‘ ‘ ' ‘ 1 ' | m4 ‘ ‘ ‘ 4 ‘ -t ‘ ‘ « « ‘ ‘ ‘ ' ‘ ' ‘ ' « ' le . . . . . * . . . . . . PELs, bee OY ‘anim PRURLE RURAL bE Dy PUBL Ay PERE inane pony bay cay AA AT Po:Preven see sne ses TE TET ERTETTTTTNT EXERCISES FOR MEASURED ROLLS Based on Doubling 1/16 Note Triplets (13 stroke roll to a beat) ss viet (ts Prayeo nia iSERRBR hy MPD 4 phy je ety (Ws wiven) Yas Played) tae (asta nthe Hen incer EXERCISES WITH 4 STROKE RUFFS A STROKE OPEN RUFFS FROM THE DOWNBEAT . ; jaa 4 STROKE ig By an, aR, RURL RLRL AoRcrtaL OPEN RUFFS FROM THE UPBEAT 2 2 3 * 3 3 : fp Ry jp Oy . 23 ALRL ALR LAER ORL BAR 4 ROR Say Roumtm tat meRt A LAL COMBINATION OF OPEN 4 STROKE RUFFS ON THE DOWNBEAT AND UPBEAT a3 33 RLERLRLR LALALAL LRLR LALALAL RUALAL 33 soa 3 jaa ie 3 3 233 os i (SDRC Ag;OU erreneseeeeenge na gente Tener: 4 STROKE RUFFS IN 6/8 TIME bee ToT Ii Sener “ff Tay hk ATR 4 fe BURL ALALA i TELAT 4 en i FT RU EL 4 tmimme BOA, Ane i PUR tntA Rate UmimL “ll i TES 4 Rumcatnin RR URLAR LAL PD TE 4 Rotate unta cme ADDITIONAL EXERCISES ia (SOT ATT y (|S ij TET y a 2 3 ion ae l j}- CE RoLRUR CaLninene i SEE 4 A UmUmeRtALmE ALAR 33 353 3 3 : a 8sPARADIDDLE STUDIES SINGLE PARADIDDLES FORM A . wt ft 8 3 3 ARR ALA CER ORR GAL LAL AR ALL FORM B FORM C (The “aie” atthe beginning (The “ie” inthe mideted COMBINATIONS FORMS A+B FORMS A+C HA HR FORMS B+A FORMS B+C FORMSC +A FORMS C +BPree eese se TTT TIFTTTTTTTSTTTTTIIIVIJIVIVIIIVINN HAA FORMB Freer EEE Eee FORM D. MAR DOUBLE PARADIDDLES FORMA Se 9 ats 9 Hiwai my ROR ORR RL Ae FORM c WS FORM E a atCata | onwcee PARADIDDLE-DIDDLES FORMA FORM B FORM C. a pay TRIPLE PARADIDDLESCOMBINING SINGLE AND-DOUBLE PARADIDDLES ee ee COMBINING SINGLE AND TRIPLE PARADIDDLES - Stet At ae Cath cate COMBINING DOUBLE AND TRIPLE PARADIDDLES 28Fat AtS! MEBIRIA aie THE 26 adie wee | Number 3. The Seven Stoke Rell BA EDD. PERREES ‘lumber lon tap Nnber@ “Te am Accent Rey Number 8 The ai rag th that at eJea) stat) | UTA UR ROAR ER Sumber t ‘Th Fam Peace ile EE eR sa a Number 18 The Single Drag Peredile Number 15 The Double roa Prediile wat wa lat kaw!VUPLUDEL EEE UE LULU CULE LUC URE UE DURE EUROPE Pee -stroke Open Rolls) I DOUBLING 5's (Eleven-stroke Open Rolls) STICKING PATTERNS WITH GROUPS OF 5’s STICKING PATTERNS WITH GROUPS OF 7's 4 taeeaea dl Weeecees amit Rint DOUBLING 7’s (Fifteen. 1SECTION FOUR BASIC ROCK DRUMMING ‘The material inthis section ls designed to develop the neces sil for playing varous forme oF ck musi Includeclare the allowing tose ROCK BEATS WITH EIGHTH.NDTES AND QUARTER-NOTES ROCK BEATS WITH 1/16 NOTE PATTERNS FOR SNARE ORUM ROCK BEATS WITH 1/16 NOTE PATTERNS FOR BAGS DRUM, ROCK SEATSIWITH 1/16 NOTE PATTERNS FOR SNARE AND BASS. ROCK BEATS WITH 1/16 NOTE TAIPLET PATTERNS ROCK SEATS WITH AB? or 12/0 FEEL SHUFFLE ROCK BEATS ROCK BEATS WITH 1/16 NOTES ON THE HL-HAT ROCK BEATS IN374, 5/4 AND 7/4 TIME Diseg Rock aEATS ROCK SAEAKS MH sdded esterial 1s sought, rugest_the following books: DISCO RUNING, THE MONSTER BOOK DF’ ROCK DRUMMING. FOUR WAY INDEPENDENCE FOR ROCK OAUMMING, and ROCK SREAKS IN ANUTSHELL,ONE-MEASURE ROCK BEATS (The Snare on Two and Four). = pee py ee pooPETUULLULIUIT TTT. Ly = rote po (aL. I pee yl Pan, Ape, i a po ep opp res Ee J x om pg om * | we pono | tt ge (OL = Boo e poo a rare see epee ay optoTWO-MEASURE COMBINATIONS Loom Re Ooo on ae ae Oo OO pt a FORO A OA a ae ae a a EEE EO CECE CER ER CECE EC COEG a i a a a A i a cc1/8 NOTE VARIATIONS FOR SNARE DRUM iy Fue Figeoo, SESE Ler es i "! a 1 {t hy Jt r ir) Cao TH &, E ee i a a : x Pia] h r Dd 78 71/16 NOTE PATTERNS FOR SNARE DRUM (Bass Drum Part Omitted) prom, promo, prima, oie. E Rm Ly omy pO, or pO Hy ~~ pM eo POORLY gge jy wy (OLA Oy ee POLEGTAY ee FATS - oe MA: ~ PEO, sl LOOOL OCT AA TATA ATA Aaa Tada aaa aaa eden caaaaiasUCU TORT LALLA UL UUT TELL LETTS TTT . r rt ry Fj re 1/16 NOTE PATTERNS FOR SNARE DRUM (Bass Drum Part Included) Ey g jo be “ToT Rom, pL Cos ot =TUATUAENTAAAT ATA EET AAA aaa ianaannaaeaeeanttaaa1/16 NOTE PATTERNS FOR BASS DRUM — IN 2/4 TIME (Snare Drum Played on the Count of Two) tay Ae, Pate ys ca tts tease iP iB1/16 NOTE PATTERNS FOR BASS DRUM — IN 4/4 TIME (Snare Drum Played on the Count of Two and Four) PICO Py Peon, Tr ploPoORy yg poor. TO te beseeeeeeeeeeanaeaoanamaanraaaaanaaoaasagaanagaa?f PUCVEUUD OER ESEDEGEDUTTTTTT TTT TTT TT TTT TTT TNT TTT ITTF ITTV I TITTY 1/16 NOTE PATTERNS FOR BOTH SNARE AND BASS (IN 2/4 TIME) pO Dt DAD Ae Beg ty Se Ee Al4 :PSSST TTTTTTTTIFTFSTIFIFIFIIFIITIFIIIFIIIITIIIIIT.” ee 1/16 NOTE PATTERNS FOR BOTH 1 | (IN 4/4 TIME) Ty eee SNARE AND BASSPUTT TT ese e eves COROT TTT FTES TTTSTIIISTTIZITIVIVL.” ci a 1/16 NOTE TRIPLET PATTERNS FOR SNARE DRUM4/16 NOTE TRIPLET PATTERNS FOR SNARE AND BASS Gym PARTS OF 1/16 NOTE TRIPLET PATTERNS BETWEEN THE SNARE AND BASS eee ES erateSUTTHISTTSTTSITITIFTIFIFITITIFVIFIZIFIFIIIIVIIIY. ROCK COORDINATION PHRASED 3/8, 3/8, 2/8 mee Se re I peROCK WITH A 6/8 or 12/8 FEEL BASIC CYMBAL PATTERNS eyes cya VAAVG49949994994909 1094 TDIVAY ooaanaraad1/16 NOTE PATTERNS FOR SNARE DRUM (ELTA ent pl Se i1/16 NOTE PATTERNS FOR BASS DRUM BREE PPPPrTCOECeReRTT RTT TTT ere Terteyetttrttrccctct ttmOUTST T STFS STTITTTTSTTTSTTLETITIFAIIIFIFIVIVITITT Rie iE Ea sim, SR eR ia ei Ea Tg oe BOL tha tL spe eeSHUFFLE ROCK BEATS | = Ee (PSPS, = pA, | ! 3 z — PPI ii fl # pee: are ere Poy: » I cyntet 1 7 ‘arf 1 T T T ry I = Ra * :PUTT eee eee TT TTT TTT ATITIITISIIITISIIITIITE, 1/16 NOTE CYMBAL BEAT WITH ONE HAND (For Slow Tempos) Slow DW eo cr alt ow S99 jana Bey al1/16 NOTE HI-HAT BEAT — ALTERNATING HANDS (For Medium Tempos) POSTS ST TTT TTTTTTFTTTITIGIITITTTIITTITVITIVIILyw ewewwnwennnene ve SEEERPEEPUPUUVULUUUULULLLLESSS ROCK BEATS.IN 3/4 TIMEPOF F TTT TTT TTFTTFTIFITFISISTIIIOITISSVSVSEETLTTG 1 | ROCK BEATS IN 5/4 TIME Pee SeA ye pleas Spal SF ee ry LOA om L naa 3 sui Pore re, in od time sionatures, | suggest the book 2, 5, 7,9, ROCK ROCK BEATS IN 7/4 TIME we. papa LDP SLG BG By | TOT ort ote a Ao hay SES ers |AMAL. DISCO DRUMMING HI-HAT OPENED ON UPBEATS I should be opened on that note, se! that note sone, PPPETETTEPRECUTCUTRC UCR CCCRKCKURKCCUCKC KN) | ty J ti kL fh 4 O nPow TTF TFFFFFTTIFTFISIISISISSISISIIIIIVITIIIVITITY HL-HAT OPENED ON DOWNBEAT ik GLO aif Ho roonoc, , pA pe phon, POOL ge ronan, HI-HAT OPENED ON UPBEAT AND DOWNBEAT 1! ipo Ay paode 4) PAA y. poo , ee ee ee PL Tg we j poooony | oOo 4! pe Dg sane Pod ay ip saz,r BASS peu VARIATIONS WITH THE HI-HAT OPENED ~ HE UPBEAT OF TWO (IN 2/4 TIME! is ee BASS DRUM Meee Ue WITH THE HI-HAT OPENED - IN THE UPBEAT OF ONE aacacaancanaaaa’BASS DRUM VARIATIONS WITH THE HI-HAT OPENED ON THE UPBEATS OF ONE AND TWO BASS DRUM VARIATIONS WITH THE HI-HAT PLAYED ONLY ON THE UPBEATS PVVYVVTTTTT TTT TTT TTT TTT TTT TTT TTT ITTF TT TTT TTT F a : : BOEr | DISCO BEATS WITH A: 1/16 NOTE HI-HAT RHYTHM (Played With One Hand For Slow Tempos) aqaaaadeee EY DISCO BEATS WITH A 1/16 NOTE HI-HAT RHYTHM i oooening Hands For Medium Tempos)ROCK BREAKS ROCK BREAKS WITH 1/16 NOTES >iay ona mensure ofan a lib rock beat before each exerci ed ee I nteie POAT » poo POLAR er POLORAO Ay LOT = Poi: PLAT = roo po mam 8) @) =) LLADDDADADDDADADADADDADDDADADRARADARADARRRD DD DDD EEEEE EEE CEE EEE EEE EEL ELLE~ Toe reer ere FF TF TIFIFSISIISISIIIVIITIIVTVIIIITIVIT 1/16 NOTE ROCK BREAKS WITH TIES ~esture of a ad rack brat hers oac OO OA Ro tae OLE AA 4 pa FLT Ty om Rm pO FLL hy boom, Remine POLLoAm y sige MLO 4 wor jo ALA w FO Ay | rete = (2A | ROCK BREAKS WITH 1/16 NOTE TRIPLETS OA hy MAO Thy boncpimy ET Ag pre roa Ay = poo y = MLN x pL dos g uaa a op raz,SS ROCK BREAKS WITH DOUBLE-STROKE OPEN ROLLS Play one messure of an ac i rock bent before each exercise. pOR OG HiSAohs po ye LOE 128 COC OE CECE CECE CECE ECC EECOEEL ELLE UU ADAADADVADADADDADVADDDDDADADDDADADAAADADDDDDDDDwere s FFF FSF FIFIISISSIISSSISISIIIITIIIIFIIIITIIITIIVIO ROCK BREAKS WITH A 6/8 or 12/8 FEELROCK BREAKS WITH HANDS TOGETHER AND BASS KICKS Play enw mearute ofan a ib rock beat before i a joy er rn oe Le a TT ead kancnaanaananaanaaaaaGAQaAa Aad aA aa aaa ssaaaaadPPVTTFTTTTFFTFTTTFTIFIFIFIIFIIIIIIIIFIIIIIIIIIII ONE-MEASURE ROCK BREAKS PHRASED 3/8, 3/8, 2/8 wEREES if Ay. ea Sonsee lan saa Hn A 4 hon, RURLAL REMC AL AEE HAAG parte gs TTL A ® tCratuate POD RR polo pl, atimeteimtiocere OBS pg STL ra poAop.., ARH Lf favre) fave 4 ASE oe TT MALL 1. — a, a, 4 | Br saz,SECTION FIVE BASIC JAZZ DRUMMING “the fist seven pages In this setion presnt exercives to Tevelop tworwey, independanes between the oymbal and Share drum, No bi drum partis writen, but the rade Ty olay hs bess on every boot, or relay each exarce Dbkutng the bees drum forthe hare port. 1 eevn pee [2 one vane emesis flowing tee re acotelog nce y Indepndere ime he See? Seon on. ied main te ee ay Be Sel ike ohoniny, brake” THE PANTASTIC JAZE Savin! eoom “Easy omuMsoLos. FOR Azz BRUM ES, end FOUN WAY INDEPENDENCE FOR Sree DruNBANG tym boat, sip fs vath and without se uly in the books, TAKE A BREAK, end JAZZ SOLOS Na NUTSHELL. 4 ‘ ¢ ¢ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ' ‘ ' i 1 EEE EE EEE CEEOL CCEEElott tress se 99599 FITTTISTIIIITIIIIIIIIIITIIIIIIL CYMBAL-SNARE COORDINATION BASIC SNARE PATTERNS thier Bibel & iit Ie bp by Pa ber 4 ioe Metter err Pea | Biri wx i Mee GP = Hii wie oe MA ae #COMBINATIONS OF BASIC SNARE PATTERNS Group One te Py rz - Hoe : H E be ce fa. 7 s = ., a a Pg fa oe Hp fp , ’ s . os a. 3 by Fa ee He f ws Group Two ae . Toy fp he : ; : , Hi fa = HE ba Pa & GH wo wos 5 a 2 6. = ros wa : : : : ; Ee He HH PE Eo 74 : ° z J 10. pie 0.9.9.0.00.09.0010092990929099299900990000002200000007Ee EP Group Three ae Pay a 4 aa | wn fh dee Pd bef “4 Her 4 oe Hep fg Heft e ee Hopp G4 arf ard 4 om pd tof Pepa Group Four ib bp Pht Phas i bop her P p 7 4 bi Bilt = Haile = bef Hep ti we “Nadie en HED dpi| q EA0000.0.0.0.0.0.0.09090999909999.99999999000000900000900 Group Five ita se bap dg} fas bella ha & Hy filed ep He oe ida Be Group Six 2 4 5 s 2 Hole = Hoi fH a Pro a) = 4 3 4 = bay eH “oe : :Tr ree eee eee F ETF OUTTOVISEEEEEESEY hf YP we bn fa ae MPA He Pa Hep i Meter fe Hof ihe eb Pah | | Group Eight tet fH Pf vm ith | iia 4 oat Mert 4 | MERI EM = Hegde | 1 LefHrr la ct Hef a | ie fhe we = et |el .GroupNine tio ? mn ms br PY Fi etl ome | te PH 18 { Heil = = i s 7 OF : ? i 00.0.0... opera iP w a <FP OTTFFFIFIFITFISISIITIIIISIIIIIITIIITIIIIIIIIIIIN Group Eleven tht fy 4 “use er Fb BRA Merle Ee eB pty I terete = ‘ be Bie th th bor GA SH ‘ee Ha Bi bby Fh oor her indo BF br fh « “ bir Pf Group Thirteen BO itl Bas = hh rl « st br 4 ar 1az,CYMBAL—SNARE-—BASS COORDINATION ay Lege eae 2 = Ee : 21 51 fad | pba fbb iiss et el el el Seger se ae ot ARs VAVUDVAADAAVEADADEDDEDUDAREDADD ADDED ai rth ui naanWootters resseesse ssa 5 SEF TTTITITIIIIIIIIIIIN VARIATIONS FOR THE JAZZ CYMBAL BEAT LEU, LO ly i Blt eu ay ie LE oy GU Ld ay pt ad HL ay PLY Ley Pan LY 4 je MLL y Ped LT | PT 2.| Sr otazySIMPLE JAZZ BEATS . , . PEO CECE ELEC EE LOC EEE ECE CLS casFOUR-MEASURE SOLOS FOUR-MEASURE SOLOS WITHOUT BASS KICKS recede each slo with HARB ins of ze tee WT ia thi deg | ROMP RA cial acy TR Ra TTA hy PT a RA omy | MST ba a oy WPA AA Wr rr err eee ees es ese esos ee eee eREB ENq | FOUR-MEASURE SOLOS WITH BASS KICKS. recede each sola with four measures ofa ib ee time ioe, Man eee aranaanaa 4 bananaaaaaavaaaaaaaqaqaaqaaaaaaaaaaaaaaathe PD PHD oD saenamel oy Bereta a bp AD PD etite pag he 6 TNA ite en | ! gr eree eeeeusagassqassaaaaasasaaataN : a es yg 1 t aud i 1 .SET TUVCCORCRE RU NUNES US ULE N Uy H Tur EVErTT EY YT WER ATr ver eve V ETFS FTTTITISISETITTESOEEES FOUR-MEASURE “patos WITH HANDS TOGETHER S KICKS. ech 1 tor ntact I Ta i Ea me, jam Iza, Hee Doe Pert es ee E pe Gg PE BG Bt eei| Per rity Bt | Br Ha ya ial Ett GB TA v3, |,%8, Ww Ae pay eae ir aaz sonia i i |SECTION SIX BASIC DANCE BAND BEATS AND VARIATIONS ‘he fist pare of this sation includes two pages of Rock Bees, olloving these two pages ee bests and variation oF tt Walt, Lindy, Polka, Peabody, Tar nce sh dye Grew Danese, Jewish Dances, ane Marching Rhyttine in 374 and 8/8 time. tin Beats and Vatiatons fn Pato Doble. Special drum mansorot ot the end ofthe book i provided Perse tesco to write other alvant materi VOC CECE COCO CECE COHEE CO OEEL EOL OEE OOULE EEL aaannnaaay 9a0999499199449.040 00a aanaaaany 4 4 J1 | BASIC ROCK BEATS Simple Beats with 1/8 and 1/4 Note Patterns in the Bass oe ee ha joo a, nn Beats with 1/16 Note Patterns on the Bass i Apo A, Foret “ fof, Beats with 1/16 Note Patterns for Snare and Bass we PECTTIFFIIFFFIFIFIFIIFIIIFIIFITFITIVIFTISSFVTGISERS:_— _ 4/16 Note Cymbal Beat with one Hand (Slow Tempos) RR ARAARARRAA RAR ian Rock Beats with a 6/8 or 12/8 Feel PE Ea Ee Shuffle Fiosk Beats Disco Rock Beats w2b20, 078, aa vii ‘ iidieasandbsadbcce andi— -— - - = = = = = = = = = > = 2. ~ ~ = = s 2 2 ° = = 2° 2 ° s 2 2 2 = 2 2. AMERICAN WALTZ = ig Basic DEAT Basic agar with te Hie) (ith the Het and Top Cymba re dsl q TP 1275: Vaugget thatthe snare pert be playe with both ht together inane ofthe vce wale beat VIENNESE WALTZ easioessr sasicacar ASIC BEAT (orth Hat (with the Hi Hat and Top Cymbal) fe ph 2 Bos 3 Lo te Ee rool BASIC BEAT NUMBER ONE BASIC BEAT NUMBER TWO ‘witha Srare pert) (with Soo part PEEL g SILFH, “t 4 ce DAZ: ALINDY (JAZZ'BEAT) BASIC BEAT NUMBER ONE Basic BEAT | tou he Ht {withthe Hi Hat) oboe ‘Tho HiHet i played onthe counts fof two and four Basic BEAT (ith tne Bass Drum in “two”? pa es BASIC BEAT NUMBER TWO basi BEAT NUMBER THO ‘Bes Drum nwo") tee ( - : : = en ite pee, BASIC BEAT NUMBER THREE (ass rum in "four”) fA mt pop Fite THE JAZZ BEAT THE JAZZ BEAT WITH A LATIN FEEL WITH A SHUFFLE FEEL as PPP ae ae CRADADADAVALTAADAADADAAADADADADADADADDTAAATI1194 Pere cur een enedFPTFIIFTITITITFITIIIITIISISIIIIIIIIIIIIIITIITIIIIIN PLAYING IN “Two” (Polka, Fast Peabody, etc.) BASIC BEAT NUM: BASIC BEAT NUMBER ONE hep blet aes eae ern L — ES Pa 2 fy BASIC BEAT NUMBER THREE MILITARY 2/4 ROLL OFF BEY ek pg PLAYING IN 6/8 TIME (Tarantella, Mexican Hat Dance, Irish Jig, etc.) Basic REAT VARIATIONS e ppt ty Daz:JEWISH BEAT (FREILACH) 3 i B i 2 7 e : a, ome tata s 4 tH -e 3 e : . Te 5 e > | BASIC GREEK BEATS tpt = ttt cranaauyo: right tempo SYRTOS Rect AER weak Rt RE Slow tempo ® KALAMATIANOS {uation Dance of Gree] KARSHILAMAS Te ee apeip fae Letter "o" denotes ‘ofthe drum: ater" denotes the edge of the drumSTITT reese e sess FFF FTF TTT ITTY BASIC LA = TIN RHYTHMS omen CLAVE BEAT —rensscing tJ» JJ Bae a beget A = ep eth ___ MERENGUE é d L. | rep atl _tpett BOSSA NOVA _ ! re Pe PTE MRD, arts ; . MAMBO (MEDIUM TEMPOS) srosearnusset canaries 9 tn snes Pa LG TT y ge reed & vse os5i nea mesen 9 Rear aE fh aul 8 2 eo Be epee poe Serre ! ee Ta, 8. ~ cowbell Geto ule Bor INE (whe Sara Prt) BASIC EAT NUMBER o po SL Le » Pepe ~Ttt BASIC BEAT NUMBER TWO (Without Sneve Part) MAMBO (FAST ae (0 ON DIFFERENT Th THE COWBELL 1k oF Combe {with Snare wae # — | : wean | ferro , Sia |CHA CHA BASIC BEAT NUMBER ONE asic BEAT NUMBER TWO a " e 4 tf) sxscc, pl tr) igre tt BASIC BEAT NUMBER THREE ASIC BEAT NUMBER FOUR seepage ng ee ee ho — Hy SEELCo 4 e e e e e e e € e € ¢é e e € € e ¢ € € € € €e € € € € ¢ ¢ e e ImBortent: ‘The bass drum notes in parenthesis are optional. They may be played or omitted. out of Cowbell = Bak of Conbel vem HUMBA 3 {onthe Sl of he Snare) = Basic BEAT eet tou . ME e ied oon eon . t t VARIATION NUMBER ONE VARIATIONNUMBER TWO, Hg Do, ~ E i Bane + 5 TTT fT? Tt 3 BEGUINE Basic BEAT VARIATION + ott i pat trun 4 ppt atpi gt tt F = “Tt AMERICAN BOLERO {iN (4 TIME? 1d Hae Lae ae SPANISH BOLERO (IN 3/4 TIME) 3 A a 3 sit ce HR tatp tt | pats eet gta es ‘Tis thythmisthe bebe pater in the fermou ptce by Ravel elled BOLERO, 188Wor rrr 2 MILA BEATS — ON THE $i '©or Medium to Fast Tempo Ri SAMBA 3 i (FOUR BASIC ONE. MEASURE PATTERNS) i . a) : / Ty Cane of Snare 7 oF Pa oe Ens AF j ie drum i played in “tn0" jr he counts of ane mens thats brah «played on te r= shat off. Th BASIC TWO-MEASURE poe po DES OF THE DRuM humbas and Mambos) RRL RR ALR nd thes) ana the "forth ethane part brush tests flatly on tho had of the Gna PATTERNS | |ARGENTINI hh noe ral will uly be 2 tive be layed with both hands toast sad ending wth yout hah hand. he hishat may be ped together with te SPANISH TANGO AFRO CUBAN VARIATION. © 6 OE OO OOEE HOLE CEO EE OME OEE EC EECEELEE COLE EERE EL CLES RR0989949999999499499999999999099000099991