DRUM SFT CONTROL BY MARVIN. DAHLGREN TAELF O° CORTFYTS Introduction. SINGLY eTROWe ROLL (SIVGLES) =--— Baes dru ani hi-hat coordination Twos arouni the drur set. Threes arcuni the irun set- Fours arcuni the drun set---- Patterns arcuni tne drun set— Double stroke bass dru ex Doutle stroke bass drum be Single stroke soacinstions- ONC ROLE (BOUBLY ‘STROKFS)-—. Aaitnz single boss drun stroke: Adding douole strokes in tne bas: Combining long roll patterns---— STROKE A'D STROLY STROK? One han: solo Advanced flat flax patterni Double tees irur vetseen ruff. Double ani sinzle bass drum strok THRFE STROKF RUFF---. SINGLY DRAG--~: FOUR STROKY ROU! FIVE STROKF ROLL~. RUDIVENT #25, (RATAYOT) ~ FIVE NOTS PARADID: Patterns in 3/: tiae- Bio sme Patterns OR ge 9 SOO etonka, Uinnesota 55343 All rights reservedDRUM SET coxTROL The purpose of this book 4s [ rudiments in conjunction with en ence to explore drum, limited to single strokes, double | sinsle strokes and double atrokes in the " ion of the tne OeUPPly.s stendy rhythm apainnt which che ten r ane exercises or solos. The author wishes the ot tie stead Be piat *hytha tho dirterent ways. the conventions ery in whieh the hi-hat sounds on beat number 2 and beat nunuer fy rag nner now being used Sone Grusmera in which the hi-hat sounda on all four tesco” veetboduce the hichat sound on beat number two sna’ beat number bee advisable to play the hee! of the hichat feot Beet emer gthrees Thie menna.the hichat foot will be reeetg back and forth | pere(on 2) Poe(on 2) Heel(on 5) Toelon 4). evauthor Poke this method will regrontgtlite the stendy rhythm in the hichets Raining sey lowering the entire Tee etch best, but Keeping, the toe preoaing’ on the Mino beats one and se riea nesdsctttaue sed by! some, drumeer for foreisntas playing. Try this | method as well, | The steady hi-hat on all four beats may be nr |) siene(pivoting the foot trom the heel) or ben | W8E while keeping the ankle fnirly scitt. The best way to play the tras dran ia b Bee ettag Cmonutlicihcel> This Ws the caly ‘aethod thet Citi rive you the control Books Pct ie ee fast, doubles and ayneopations sou wilt Siveofet in this book. I would like to mention Faise the heel of their bass drum foot on an accented bass dr if it is the Inst note in a series of two or three fast #5. sowever, this technique will Fer pel trnen nore took Secause tha exercinen are orictel we ecially to help Dau fo dete neg the Placement of bees drum nates, In sanee words, to train ay f° waeiyour babs Grun foot on if it were a third hard’ wae first third of thas book is devoted to the stroke roll around the drum set, on beat number one and ‘oduced by using the ankle isin- and lowerin the entire Using the ankle, Again think I | | development of the sincle The next ten pares develop tie long rel Berets coeiene 484 (thin. 1s) rotlousdiby exereiagceren tee flan. After th este rudinents(the singles, doubles and flove) ont explored, they fan onrinedtolforacthA other rudinenta in this ortec) ‘Tao NOTE RUDIMENTS(Flam Tap) F THREE NOTE RUDIMENTS(Ruff, Three Stroke Rutt) FOUR NOTE RUDIMENTS( Single Paradiddle,4 Steone Fuft,Sinele Drag,4 Stroke Roll > EIVE NOTE RUDIMENTS(5 Stroke Roll, Rudinene Bo 5 Note Paradiddle) S2X NOTE RUDIMENTS(Paradiddle-diddie, Double Feraainars) f spe His Hisnat Pedal | ST= Small Tom(smal1 ton ton) Re Right Hand _ Lfs Large Toa(large tom toa) Left Hand | BDe Bees Drux Clockwise CCs Counterclockwise +Fhe exaraises,are written in the following aanner: N3 ‘tthe repeat signs are purposely placed high for easy recognition, Notice the bottom line of the five line otaff has been lowered in order to provide room for the ticking (RLFL etc.) to be added directly wider the druns that are played by the hands. This also provides more separation for tic druns played by the feet (Base drum and hi-hat pedal) and thusavoide confusing the bass drum with the large tom, The hi-hat is written under the bottom line Like this: area (an eh when you are practicing the hi-hat on just 2 and 4, play the heel of the left “foot on this note: @B and play the toe of the left foot on this note: Tara ce Heel toe heel toe ‘nen you are practicing the’hi-hat on all four beats, play the toe on every note: toe toe toe toe In general this book hae been designed in this fashion: $i"wuen only the right hand of a specific rudiment travels around the drun get, it moves clociwice. ‘Sh imen only tne left hand of a specific rudiment travels around the drun set, it moves counterclockwise, 31 When both hands of 2 specific rudiment travel around the drum set, there are two exercises. One exercise moves clociwises th. other counter. clockwise. kk, Cross overs are nc? used in this book, Instead, whenever the lopicel extension of an exere: © would result in the right hand passing over tee ett nandor the Left hand passing over the rinnt hans, a dass drum note fe otayed st that point. This gives the performer a fraction of a beat to move bath ands from the drus just played to the drun necessary to continue the exercise. 5. The last measure of an exercise may be practiced separately, and used as a”fiil int(short Break), In sone cases s portion of the last measure yevtareaed with a dotted line if the author thinks that particular portion would make a good“fill ine men an exercise om role ends with a sinrle stroke in the bass drum, the first note of time plaved on the ride eymbal is reinforced with another Grun note. Practice tie following exercise to naster this: