base Tae BLU! eR VRC CU ec Re TT BRUISE LCR CL re OU cp Se RO URL ae To * CD includes exercises, accompaniments and a "Play Now" section inside to get you started immediately D [op] ae mo)CONTENTS PART I: GETTING INTO GEAR Hov: to Plav Basix 3 Using Your Grip—The Wrist 6 Using Your Grip—the Fingers 8 Introduction to the Sinule Stroke Roll 9 S fi symbols for “Symbols for Silence—-Rests 10 : work Reading Your First Lines of Music 12 Using Your Feet 1a The Lines & Spaces—Where lastruments Are Indicated i Where to Play 15 PART Il: THE BASIX™ The Pace of the Music—Tempo......... wow 1G Get Into the Groove « 17 Rockin’, Reelin’, Readin’ and Repeatin’ 18 The Repeat Sign 18 Mixin’ It Up. 19 It Takes Two. 20 Stick to It 2 Crazy Bighths oo... 6. ce cea 22 More Eighths, co Look Ma, No Hands! 24 Keeping Time 25 Phrases saveuseviva angers 25 Mo’, Mo’, Mo'! 26 One-Bar Repeat Sign 26 Introduction to the Double-Stroke Roll. 26 Three's Company ‘Two-Rar Repeat Sign a Fill in the Blanks 28 PART III: MORE BASIX™ Note & Rest Review ‘ 29 Sixteenths : 30 Flags and Beams 30 More Sixteenths 31 Dotted Rhythms... 0... ese 32 Dynamics—Waking up the Music ee, Digging Int Hi-Ht Technique . Rolls Rollin’ Over . Introduction to the Muttiple-Bounce Roll. ‘Triplets More Triplets Pick-Ups. First anel Second Endings Special Techniques Fills Using Special Techniques Swinging PART IV: PLAYING BEATS & FILLS Early Rock Hard Rock/Meta Disco/Dance. Reggie (Ska). nk. Rock Shuffle SITTING IN: Early Rock (60s) Multi-Measure Res The Fermata . Metal Ad lib Reggie Funk. PART V: ODDS & ENDS Acoustic Drums. Electronic Drums Buying Equipment Keeping Your Equipment in Shape . Replacing a Drumhead Tuning Removing Bottom Heads Muffling How to Deal with Noise Where to Go from Here 34 35 36 37 37 38 39 40 al 42 43 44 56 58 58 61 62 62 63 63 64MELZCLAD Getting Into Gear HOW TO PLAY BASIX™ SETTING UP Pages 56-58 show how drumset ‘components are positioned relative to one another. Some dnum and cymbal manufacturers have literature available which shows various artists) setups. It is your decision as to how you place the instruments, depending ence’ and comfort. ‘This is the key. What may be good for a drummer you idolize may not be right for you. II the instruments should be sasily reachable. Your kit should ¥¢ centralized to minimize reach GET A GRIP! There are two grips commonly used: traditional and matched. One is not “better” than the other. The traditional grip is more commen among jazz drummers and those players who come from a more “traditional” background.* On the other hand (no pun intended!), the matched grip evolved from rock players in the "60s. It has been argued that the raditional grip allows more inesse while the matched grip ffers more power. As a result, early all hard rockers choose hh to experiment, but under- tand there are drummers who use both grips, depending on heir needs at the moment. have, but also on personal prefer- + A Matched grip. ing, stretching and twisting. Hardware enables you to tilt or angle the instruments to your liking. Take advantage of this! As you begin to play and gradu- ally improve, chances are that you will find better ways to position the instruments Some switch grips while playing! ‘The choice is yours. ... there is no right or wrong, decision, Since the matched grip is more useful in rock and is learned i more naturally, you may want to go with that, Both grips are | presented so you may experi- E ment * This often implies a study of rudiments. (Rudiments are specific, standardized exercises that build technique, endurance and strength, whi and Jay Wanamaker contain all drum rudiments wing the drummer licks,” which can be applied to playing.) For further study, Zafernational Dnam Rudinentsby Hob Carson