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 CHAPTER 3
CONTENTS BasicParadiddle..... ."'""'' 32

Funk Beat (16th Beat)l '. .., ' '. ' 33

RhythmPaltern. . .."33
{

CHAPTER 1
Fill-in (Pick Up) Exercise . .. .. . , 34
StickControl (Tied & Dotted) ........"" "4 SONG5 """" 35
Flam.... ......,.5 SONG6 """"36
Ruff,... " "5 Hi-Hat Open & Close . , .. .. .. '. '38

Coordination (Quarter Note on the Hi-Hat) . """ 6 Articulation(Hi-HatOpen&Close) . ...,....'..'39

RhythmPattern. "'' "6 Funk Beat (16th Beat) 2.. '.. . , .. ., .... ' 40
GroupofThrees....'. """"" 7 RhythmPattern. .. .,,40
Basic... ....,, "7 SlipBeatl(16thBeat) .'.""'''40 :'

Exercise1..,.... " " 8 Exercisefor Bass Drum', , '.,. " ' 42

Exercise2....... "" "9 soNG 7 ........ 44

Exercise 3....... ......' . "10 soNG 8 ,, ' '. '. 46

50NG1 ...'..' 11
Coordination. '...."'' 12
Double Stroke on the Bass Drum & Tom Work '12 CHAPTER 4 ,.

Fill-inExercise .... 12 VariationsonTriplets """""' 48

i

Double Stroke on the Bass Drum . . '" 3 1 StickControl1....... ,.., ", "48
RhythmPatternl """"13 Exercise " ' "'+o ÁQ

RhythmPattern2 (Hi-HatOpen&Close) """'''14 Stickcontrol 2......' """""'49

i

CheckPoint (Notation) ".'"" 15 Exercise " AO

'a7

SONG2 ""'" 16 Coordination(Triplet) '"'"""50 t'

QuarterNoteTriplets "'"'''"' 52

st¡(kcontrol 3....,.. " " " "52

CHAPTER 2
Exercise """"52 i
Accent Exercise (16th Note) '" "iB Sextuplet1.,',.. ""'53
Exercise " " '.18 StickControl 4....... " " " "5J
Change-Up (Sextuplet,32ndNote) ""' 19 Exercise "" "53 i

DoubleStroke ""'"20 SlowRockGroove .'''' 54

Exercise """'20 RhythmPattern. "" '"54
Slowl6thBeat... 21 Fill-inExercise ' ' ""55 i
Rhyth m Pattern .
.71 Syncopation " " ""55
Rhythmic Articulation (Group of Threes & Syncopation)' ' 22 SONGg """"s6
Exercise . ... .. .
.22 StickControl 5(TiedTriplets) " ". ""58
32nd Note ..,,.. 25 Accents(Triplet) . . " 59
Exercise .25 Shuffle """" 60

Fill-in Exercise 1 (32nd Note) .26 Rhythm Pattern. ...... '.60

Fill-in Exercise 2 (Triplet&Sextuplet) '.....',. "'27 Fill-in Exercise '..........61
SONG 3 Syncopation. ....-....61
SONG 4 30 soNG 10. ..... 62 rl

This material is for exclusive use in

yamaha Music School. Unauthorized reproduction or photocopying is an infringement of coPyright.
l!
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(Triplet)
Slip Beat 2 . ..... 64 JazzSwing ... ' . .. .. 92

soNc1l...... .'..66 Comping Exercise. .......93

Exercise .........94
SONG (JazzSwing) .....'..96
CHAPTER 5
Sextuplet2..... ...."...68
StickControl. ..'.... '.. '68 Special Chapter 1 (Advanced Rhythmicalconcept§).........98
Exercise ....... .68 Artificial Groupings (Odd Groupings) '. . . '.... . .98
.

Fill-in Exercise 1 ..... ,. ........ .69 Artificial Groupings ......100

Sextuplet3..... .........70 Orchestrated Applications, Examples for Groups of Threes . . ' . 100

StickControl .......'.'..70 Applications.......

Fill '.. '. '... 100

Exercise .. .... . ..70 GrooveApplications -....'..'..100

!(
FunkBeat(16th Beat) Shuffle ....,7'l
(. Rhythm Pattern. -........71
Fill-in Exercise 2....... ..........72 Special Chapter 2 (Advanced Rhythmicalconcepts) ....'...102
Check Point (Basic 4 Stroke) ......73 Polyrhythms ......'....102
t soNG 12. .........74
Sextuplet4..... ..,....,.76
Exercise ....."'77 .... . ...104
Special Chapter 3 (Advanced Rhythmical Concepts)
\ soNG 13. ' '.... '.. 78 ParadiddleApplicationConcept' .......104
(.

/ CHAPTER 6 Special Chapter 4 (Advanced RhythmicalConcepts) ........106

Bossa Nova ... '.. 80 Three-NoteGroupings '...'.". i06
i Basic Pattern. .. ...... '..80

RhythmVariationofRimClick... .......B0
I

SONG (Bossa Nova). ... '. 81 Special Chapter 5 (Advanced Rhythmical Concepts) ... .. ...108
I
Samba. .... 82 LinerGrooves. .....:.. .....'...108
Basic Pattern. ..... ... . ..82 Exercise . ...... 108

Fill-in.. .. ...... 109

1

SONG(Samba) ...... .'...83

\-i Latin Rock '.. '... ' 84
I Bas¡c Pattern. ...........84
SONG(Latin Rock). '...'.85 Special Chapter 6 (Advanced Rhythmical Concepts) . .. . . . . .1 10
i
Salsa .. '.... ' '.. '. 86 Son Clave 3:2.... ... . ' . 110
( Basic Pattern. . .. . . .. .. . .86 RumbaClave3:2..... ...'..'...'1 12
SONG(Salsa). .,...87 coordination ..........112
6iStime (RhythmPatterns) ...'..88 Fill-in Exercise ..... ,...112
(, Basic Pattern. .. . .. ... . . .88 RhythmPatternExercise .....'.113
SONG(6/8time) .. .'......89 Study for Seven Stroke Roll. .. . .. ....... 114
t 3/4time (RhythmPatterns) ...'..90
I Basic Pattern. ........ '..90
SONG (3/4 time) . ... . '.. . . e1
{

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 I

CHAPTER 1

Stick Control
(Tied & Dotted)
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14
 Notation Abbreviations
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I

Basic Notation
RC ride cymbal
i
cup bell of ride cymbal
Crash crash cymbal
HH hi-hat cymbals
o open hi-hat (half open)
+ closed hi-hat
R right hand
L left hand
3T: -T- BD bass drum
( SD snare drum
Rim rim shot
I HT h¡gh tom tom
T-t: ;- MT middle tom tom
=- FT floor tom

(
(Crash Cymbal Notation)

I
§ sixteenth note

§ eighth note
l
{-}:---
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t quarter note

I I half note

o whole note

Examples of Drum Chart Notation

. Ride cymbal rhythm (right hand) as follows: [-]-T-1 ITn
(t ) Rock Beat (8th Note Beat)
. Snare drum rhythm (left hand) as follows: l J ¡ J
. Bass drum rhythm (right foot) as follows: I ' A I t l;
. Hi-hat rhythm using the hi-hat pedal (left foot) as follows: J i I I

. closed and open hi-hat rhythm as follows:

(2) HH Open & Close
( o:open hi-hat

i,
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lndicates a crash cYmbal accent
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(5) Shuffle -,. -,,
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HH . Rim click as follows: ! I

. Bass Drum rhythm as follows: I ¡ 0 l. ¡

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Slow 16th Beat

Rhythm Pattern

21
 Rhythmic Articulation
(Group of Threes & Syncopation)

Group of 3, Resolving 1 Bar on 3i4 time

Group of 3, Resolvlng 3 Bár.on,4/4 time

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Rhythm Pattern
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35
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.r=eo_roo Rhythm Pattern
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(16th Beat)
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@ J=80 - 90
1.

42
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47
 Coordination
(Triplet)

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2.

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50
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 Quarter Note Triplets
Stick Control 3
)= - ¡116
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6
-b--'. -b

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Exercise
J=100 - [[0

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52

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b"--,-b---b-, b----b---- r-b----b ,-b--.,

53
 Slow Rock Groove
ffieñ

Rhythm Pattern
J=58 - 68

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54
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- 68

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55
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r-q-: t-t, ¡)
7!
LLl 7r '$t
,(

i ¡-Fill-in-¡
¡-Fill-in-1
'.
i
t

i
(

\-r

1
 Stick Control 5
(Tied Triplets)
{

.l=100 - l¿0

JO
 Accents
(Triplet)

L? ?.\a ab--, orl?.\

-bl'-b-",

,t.

59
 Shuffle
Rhythm Pattern

J=90
- 116

l-^ )

L_b ,

@
4.

t-b ' t-b---)

fÁñ\ rr-,
,- )=) )

@
b.

,,1?,

-b- rq) ,_4t Lb_)

a
L

L
Fill-in Exercise
J=90 - llú
Fill-in
b

r
-¿
1-
-4

a)

c)

j.
Syncopation
I

?\\ J=90 - llb

V
I

I
61

I
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i
li
F'
l:',. i
1.1 ,'

[--],
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1,'
rcN@ f,@
t"t l
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cou¡uJ I ) ¡ lj ) ) )
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r.
F,
l:': '
E.
I
[, , )=LLL ll = i'h Fill-in
I (iN?et')
t

t
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[',
[:
8 ,,'
'''
[i
Fill-in . Fill-in
t;
ll
r:-'

l
1

l:.
I

l f{
l,
t:
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[,
F
i',
l',,1

MT

to@
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, i ;;lJ
l i.'l

r@Hu

I
ll' r- Fill-in ---r

__$_.
(
ll,. o
-\-

,\, Q.T. sin rep

o5
 Slip Beat 2
(Triplet)
)= - LLl

1. a)

0. A-
. I L
r-,.-_f

b)

tbi ttL; t--g í ,b'

,-$ -'- ,-\ t), i
L
4 ,-b -"--
-',
c)

tL
I J I 0-

-(_ -J

d)

t$t ,l' ,l' 'b,

2. a)

b)

a.
$t bl
-b=-- -l-
c)

L
| . I T- /-----_]
^
-A_
d)

64
$t lt
t.
\.-

a)
{

,-\----- ,-b r-b--- ,-b-

l
--.,
I

b)
I
,

tsl \l
(

,-\ --- \- ,-\---'.

I c)

d)
{

,\,
I

4. a)
I

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I

- b)

,02, L-, t

-b
{
,*)-- ,--$----- --$-
{

Í c)

I --b--- ,-b--
!

d)
i,

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I
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,w
12tr\

s@N@ f,f,
couxrJ I ) ¡ l,t ) ) J ll

¿--LLb D =F)

f{
@

rore

r,..',,1...+tii,ii
l,, ,:,r-. r.,

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t tQ+coda
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 CHAPTER 5
Sextuplet 2 m: : -3-

l
{
-3- -3-
t--l
aa/a " ¡

)=-LLb Ft=Ft Stick Control iii

-t-3- d'aNl-
-3*,
.
qLA.LqLELqLELALgL
(qeuLcQ,LLQgLLtqLL) A c,

1.

* ?Lq qLe etg gLe

D=ñ (q t L QeL eQL CeL) ,l- A

2.

eLq gr9, gL? qL

LLq LLÍ, LLE \ L)
3.

: A EL LqL LgL LqL

))=)rJ(ee L
L?,e Lge Lgg u)

4.

*
ll=JT) (Ruu
ta,L Lqt LgL LE.L
qtL gLL r u r-) a, a.La.
r 11 f t1 f ¿1

5.

-1- Exercise
J=90- LLb fi=ñ
a
i.

F
i
I

\Ü
qü
Fill-in Exercise 1
=a
#uuntt))li))) i1

.:-
¡
-
J=94 lto ti = fi ¡- Fill-in --¡
ágC
1e0.1 -

r- Fill-in ---r

Fill-in

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a)

f-r I-r - rl
d) e\
69
 ü
ü

Sextuplet 3 ü
t
ü
Stick Control ü
)-- - !,lb
?tQ LCLq Lg LqtCLg Lq LQLq tqL ü
-- b ----- r- b -----,- b -'-- r- b ----.

Ü
ü
gLg L
ü
ü
ü
g LqLE L?,1E LgL q LgL *
,b. ,$. ^ -b-----
,-b
-V
)
J. ü
ü
CLfl,L LqLqL LTTEL ñññ
L Í.Lq.L L ü
AL^0.L
f .1tJ1 t11 lJl f JA 11 tJl tJl b ---. ,- b

4. ü
*
e L QL
'b
,b-
e.
qLetq gLqLg gLgL
b. r4. ,1. 11. ,b', rb., Lt.
v------1 I
5.
-9
t
t
Exercise C
)= - !.!.b
A^
a
1.
C
T
d
§
#
ñ
&

70
#
q
 Funk Beat (16th Beat) Shuffle

Rhythm Pattern
)-90 - LLl,

fE{
§=-*

.)=b0 - ?0
 _-.:il

h
r
F¡ll-in Exercise 2
¿--90
.t-
- !ll,
(Fi
1r,
ü=
CE-
ü=

üE
F
JG t

T4
q t

G
G
,

e+
G
G
}=
G
&
&
{ei

72
 Basic 4 Stroke

ACCENTED STROKES

Full Stroke (F) position to hit'

Strike down from the high
then return to start Position'
i

position to hit'
Strike down from the high
(typically about
f and stop at the low position
i head') Continuous
one inch above the drum
t strokes should be unaccented'

(
UNACCENTED STROKES

Upstroke (U) Hit from the low position and

pull back to
strokes may be
the high position. Continuous
accented.

Tap Stroke (T) then pull back

I Hit light from the low position
strokes
to the same low position'Continuous
maY be taP strokes or uPstrokes'

l
\,1
 (

s@N@ f,2
r_FiIl_in_, ¡
couxrJ ¡ ) t) ))»)t 'b'

H
7
I

)=LLL (iNrro.)
.1- r- Fill-in----r o
aa l7J -tr_ Filt_in _
- .4.-
r:t:: l

to@
r,
A
Fill-in

1,t:

. i'74
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I t'
r"i*ü
rT
hü
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R)
F{g
14
r=r Fill-in

FO
O.$. sin rep

Fill-in
Fill-in

@
HI I

¡- Fill-in ----¡
Fill-in

r+r
S-i{\,
t-
ffi
fir
§r+§
.e+ry
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ffi
e*
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r
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Sextuplet 4 U .

G
J=-90
?LLqLLqLt,!Lt ¡-b-t ¡--b-
f
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tt
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-tF
&
eLe,qLg ¡- b
-.-:
G
b ----:¡
¡-
G
G
IE
LLE.LLq ur-qL*-_b_ ¡--b- G
-\
-b-
U
G
C
Lg,qLqq Lfl,s!eq ¡-b
b--' ,-0- --------- ¡_b- C
d) ,
G
C
C
tqLtqtLqLLgL
--b- ¡-- b ----t ¡- b
C
'-,7 ---t
-b-.=--'t G
C

!,fl,t9?,1?,e,t ¡_- b-------

t
,-b- r--- C
C
C
G

(
a

l6 a
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, .::ri l

lul : ,i,:
: r
ii i :;;: 1 : i . l
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Exercise

11
 t'

:l'
:. - ,

s@N@ f,B
¡ Fi ll_in ¡
,]
r:. ll :
couxrJ ¡ ) 1 lJ ) ) / ll

,. :r. ,

,a':. :;:
)=10Fill-in-¡
G?ií')
g0
:r,' ll
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i:.
',;. r
..

., .i
'
ri
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'l
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rFill-in------r

..,-r-.:.:,--;,;::,,-:..:i

i:.:f i:
=ü
T
-Ü
{

Y
=

-ü

=t l,l, .
A Ó o O ¡-Fill-in1
I

Fill-in

(?[6rúa] ,-Fill-in-- ,-Fill-in-1

,.- Fill-in ---1

,79
 üs
r
h
CI{APTER 6 E
F
Bossa Nova F
F
Basic Pattern
te
üÉ
J=!00 - 3=
@
A.- fÉT
t
@ CE=

B.' G
G
G
Rhythm Variation of Rim Click G
@@@ atr
;E
t
G
atr
G
G
G
&
ük
hl I tt
u, e*
€F
ln the late 50's and early 60's,Samba and )azzwere mixed together and the Bossa Nova style was born.Melody and
harmony

were influenced by the American Jazz idiom to create a beautiful mood of music.

&
s
 S@N@ (Bosga NowD
{ouu, rsll
, IJ l\

=r
ryffi i{l{/ Qtu Punv 9tu lqe¿u'l

Hi{/ fltu

r- Fill-in ---¡

.-- [-i
Fill-in
-
LU=U=
ffi 0
E

:
rQtcoaa r- Fi tl-i
r-Fill-in---
h t I

r+-
O.$. sin rep I

QC / QIU
 Samba
Basic Pattern FI
-
Fü
J=90 100

@ ü=a
A,
}{

@ tra
t§t
B. H I

rd
Other Variations H
wt
A.
1.
tftl
fEt{
H :

ffi
2. r# I

+i4
l

B.
H I

l
L

1.
atrs'
I

fE+4
ctá
I
I

Lf
Cá :

C=I
C4
*á
One of the mostfamous rhythms of Brazil which is used a lot on present popular music.
As a.marching music at carnival time, it has strong beat and excitment with many different kinds of percussion instruments.
CE={
a')
G#
}Eá
 @ S@N@ (SambaD
¡Fill-in¡
IoüNf
(
J n )) ) Ft-t
lt

(iNreo)
)=9b ¡- Fill-in -¡
> >>? >
I ..' i
;,;.1, i
j:. i::i i
it i:ll

¡-Set up--1 a. ¡- Fill-in --1

tore

¡-Set up-¡ -l- -l-- ¡-Fill-in¡ lle. ¡-Set up-¡ ¡- Fill-in -1

, rQ{ coda O.$. sin rey

(

@
 Latin Rock
Basic Pattern
¿=!10 - LL}
o Qttt
@
A.

Cup oc. Coul

@

Other Variations
Qu.r
A

1.

Cup
flc
B. T
1.

Cup oe Cou¡

Mambo, Rumba and other Latin music influenced many rock artists.
For example, Santana, Malo, and Azteca were some of these Latin Rock bands that gained popularity.

B4
.TU'\
S@N@ (EaGflm Roe@
l^a

Up¡
-Pick
Couxr ) , l) J fi

)=Ll,§ ¡- Fill-in --¡ :tl

lNfc,0. ] '. ;

.
:':;-fll
-.:

I .r:.i,1

r-Fill-in-----r

t@ Cup / É0

¡-Set uP1 ¡- Fill-in ---,

Fill-in

. Fill-i n1
{7[6INA

.;:
t- ;:.1,'
!:,rtu

I :,::.a!"':
' . i!:t.:il;l
.t:::;'

95,,
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: . r.''.rrL,:.itl:l]i'i,":-,¡
:., : .:1.:.1 rr,:it-:11\a¡:
 Salsa
Basic Pattern

QC oe Cup

Other Variations

t0 oc Cup

r{ r{
?rx

,;4
Percussion lnstruments Used in Satsa
Bongos

f--\r--=.,
MV
K# N4
Guiro

/-, ,\
/ r r'=l
á
&W

=
fÍH-r't\

ffi cowbe,, \l
=
E
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W S@N@ (SaUEaD
couxrJ ? ) t IJ il

J,100
Cug ,, r- Fill-in ------¡

Cup

rFill-in-----r

CuP.
 618 time
(Rhythm Patterns)

Basic Pattern
)=j.00 - LL}

@¡=,e

Other Variations

t-) ) Ir )=-*
)=-Fr )-)l)

i.
:.:.l.
88
:
*=,:i
 S@N@ «6#s GEm@D
ño Couxt
-1- Fill-in =_-]
¡=LLo fr = ñ l J1

(@o,nno

,L, o
OA

o
r{ri Qru

,-- Fill-in
|,^ -r

ra. Fill-in
T?l
Hr{
 r
f
Rumba Clave 3:2 TJ
E
G
f,
FI I

ü=
üE=
F
üE
üE
f=
lE=
Coordination G
Basic
c4
S= :

d)';:';
F, I

F I

H :

c)- CC
C=

F¡¡l-in Exercise
rli i

C=
'1

€E=

q
a--i
i

\,r-¡
i

G+
E¡
É_¡ a

G+
This concept will help develop your ideas for Latin Music. (by Mr. Alex from ltaly)
3=
'I
112 l

c+
 ...;a-:::-a;

S@N@ KgfrECEm@»
:]
f ) ) 1i il

j=m r-
- 100 Fill-in ---r

(T'{rTo) f-1

----- Fill-in

Cup

, ¡-Fill-in--¡

60rN,i]
Fill-in--.r >qc

=t W.
=' Fill-in i
á
á
 F
J
Jazz Swing ft
G
{E
Let's try with ride cymbal. f
-1- F
@ a a a at

r
1.
G
This is how to feel it and how to play it. This is how it is usually written.
G
G
A L n
#
@ G
2.
3
The swing gets a sense of forward motion by
strong quater note pulse.
a Accenting beats 2 and 4 adds the welght to the
swing.
3
ry
@ G
By adding the hi-hat on 2 and 4 we get a atr
3.
strong, swinging groove.
G
,G
G
@ The bass drum on all 4 quater is to be played
very softly,the so called "feathering'l while the
G
A hi-hat on 2 and 4 has to give a strong impulse G
to the time and to the beat.
G
G
Let's try with Hi-Hat cymbal.
G
qO
@@
O
-r-
0
C
f¡É
G
*

92
c
t
 ComPing Exercise

@@
1.

ñ
I

-b- rl-
í

I
3.
(

.A
a
f'¿- |-t- '
-\-. -$-
I

6.
I 5.
(

\,,
7.

t
Hi-Hat on beats 2 and 4'
(
cymbal pattern, with a strong impulse on the
play these exercises with the Ride
-

t
PlaytheBDverysoftly.PlaytheSDsoftlyandwithaSwingfeel.Countoutloudwhileplaying.

{{
\ 93

(
 Exercise
J=100
.l-
-

w Fiil-in

r- Fill-in , Fill-in.,
-

.- Fill-in
--1 r..- Fill-ín ---¡
I

,-\-
I
---{
(

"

7
f

l . Fill-in ¡
b
I

J.
I

D
(
1..

(a
Drums Solo

95
 ;l',i..tr,: ::, ,., ..,i ,:,;i

ñlr
@/ S@N@ KüawSwflmgD
0ouxrJ ? ) ¡ lJ ) ) ) il

)=140 ll=) ) 'l-

(i-r*) ? ¡- Fill-in --¡

{
fÉ (!x fteue / Lxlouts / bx f ueue)

0c t
ii. ' @
!.J

rFill-in-----r
tt0
Lb
a

a
I

tuql
r- Fill-in ----¡

,; .96
:.
l
 lr l:; rr::;:

r--Fill_in-,--¡

0.É.

rQtcoaa r:\
 Special Chapter 1
(Advaneed Rhythmicai Concepts)

Artificial Group¡ngs
(Odd Groupings)

Q.

G¡oup¡.of,3

Grou,Fs,of 5

Groups of 3, Resolving l bar of 3/4 time

Groups of 5, Resolving l bar of 5/4 time

Groups of 7, Resolving l bar of T l4time

 of 4/4 time
roups of 3, llesolving in 3bars

4/4 time
roups of 5, Resolving in 5bars of

=#

Groups of 7, Resolving in Tbars of 4/4

time

99
 C
C
Artificial Groupings C
C
estrated Ap p I i chti o nI,
O rch
Examples for Groups of Threes C
C
C
F¡ll Applications G
3
tr
C-
(F
C
Groove Applications G
*
BD plays artificial grouping over hand rhythm
C
*
C
C
RH plays artificial grouping as ostinato
C
G
C
C
I C
Artificial Groupings, Summary (by Mr. Harry from Germany)
Same orchestration and,application concepts are to be used with groups of 5 and groups of 7. Students need to first
t
understand and learn the melodies of the artificial groupings. Students then learn to apply the orchestrations. #
AfterworkingtheartificialgroupingsseperatIy,mixthemupsuchas3,/5l5l3/7/5/3l+1
Finally students should:become creative and start developing own combinations,applications and orchestrations with
s
§
*
*
t
{
__
ffir
1

w
ernary
-\-
?? 7

-\-? 7
-\-

atL
a r- J-
f- L,-
r rN-
,
?-b-
r7--
,

tt.- -b- -\-

l-J
?
I
7

101

, . ,.:-r,l"]!i
 Special Chapter 2
(Adva nced Rhythmica I Concepts)

Polyrhythms

When two or more different rhythms are played within a space of time.
i.e. one measure of time.
one of the rhythms is considere d the dominant pulse,and the other, the poty pulse.

polyrhythms are expressed in ratios, such as 2:3 or 5:4.

Since polyrhythms are of a strictly mathematical in one can use to

calculate any polyrhythm.

laydownapulseofY(dominantpulse), subdividethispulseintogroupsof XandplayeveryY'snoteof that

:

3:4 :
, ,

pulse of 4 (dominant pulse),4/4 measure ,

subdivision of 3 eighth note triplets played to every quarrer note (poly putse). :

102
 n
a
I

Y
v
v
L-
L- L-
L-
i4 ?

5:4 ,

0,_ L-
,-\- ,-\---- ,

v
 C
C
Special Chapter 3 C
(Advanced Rhythrnical Concepts) C
G
C
Parad¡ddle Application Concept C
G
Step 2:
As a Groove Application for Funky and Drum'n bass styles etc.
}
tr
You see: C
C
G
*
You play:
3
t--I G
e L
G
G
...and now we will transform this into
Hi-Hat / Snare drum / Bass drum groove:
a
C
All notes,that fall in rhe area of the first and third quarter,are to be additionaly played with the bass drum, {t
All notes,that fall in the area of the second and the fourth quarter,are to be additionaly played with the snare drum.
C
Example taken from p.67 ,bar 5 of the Drum Fundamentals'Book. G
You see:
}
C
C
€&
You play:
> *
fl&

L L L L *
&
.#
104
#
 Note Sources
Quarter and Eights qL
eL9.q
tq
w
ffi i
Lq LL

Paradicldle
JSnr'u
q,tqLqq,
ry
!

-i
tQIqLL
M :

ffiorule paradiddle
w
@
a,LcLetqq
LQ,LE.tqLL

HT
- i -riple Paradiddle

taken from p'67'

bar 1 of the Drum Fundamentals'Book'
Example for application'

You see:

You plaY:

LE LAL e,L
?.Lq,L LA Single Paradiddle
Two 16th
Two 16th Two 16th
Double Paradiddle

105
 C
3
Special Chapter 4 C
(Adva nced Rhythmica I Concepts) C
C
C
Three-Note Groupings C
Binary
G
}

Q,LLgLLQLL?LL,qLQL
s
C
G
33334 C
gLLfl. LFQLLTLF QLqL *
ü
G
33334
qLT?.tLqL TQLLqLQL
t
C
ü
33334 ü
t
C
e
t
?LqLtfl,LLgLLE,LLQL *
*
tltttttlll {§
233332
ELEL tgLF?.LLE,LÉqL §
s
{t
r rr, r l__l --Jr I

233332 *
ü
 Q,LLE.LÉ E.LQ Q,LLELt
)D? ?z

q,
,
tte,tL0Lete,Lte,tL
??
a?

qLtELELL ELqtLE.LL

@ 3 2 3
sT 3

qLTA.LELLA E.LLE.LL
?___? ?

3232
-lúL-L----Jr

Thisconceptwillhelpdevelopfill-inandsoloideas.(byMr.KenfromU.K.)

107
 ,^,Special Chapter s
(Advanced Rhythmicál Concepts)

Liner Grooves

a)
: ':''l ' : ':

f Q [-:',(',''

c)

Exercise

(>) >

LEL?LFQLIA LQLI

LLRq LF

108
 Fill-in
ELÉA L.gLÉ ?,.LCLT E,LTELQ,LT ÉALgLALÉ
, ? >,r, 7J--
b) ->>

109
 ,a.Spee ial Chapter 6
(Advanced
Rhyth micál Concepts)

Son Clave 322

'l

l:
i!2i l
lr
1.,
f-'l
l

Lii, -
á:lri
gir : 110
I::I:,
rw
 (F
C
C
Special Chapter 3 C
(Advanced Rhythrnical Concepts)
C
r
Parad¡ddle Application Concept C
G
Step 2: }
As a Groove Application for Funky and Drum'n bass styles etc.
§
You see: G
G
G
*
You play:
ü
-- G
I

= q,L?, t
L L L L
3
G
...and now we will transform this into a
C
Hi-Hat / Snare drum / Bass drum groove:
All notes, that fall in the area of the first and third quarter, are to be add¡tionaly played with the bass drum, *
All notes, that fall in the area of the second and the fourth quarter, are to be additionaly played with the snare drurn'
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Example taken from p.ó7, bar 5 of the Drum Fundamentals'Book, C
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You see:
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You play:
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