(Cliqueapostilas - Com.br) Apostila de Bateria 57

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8 ï8ACH YOUtt§Etf ïO PLAY DRUUS www.cliqueapostilas.com.br
WHAT TO PLAY (continued)

EIECÏROI\IIC DRI.J}TS
You will need the equivalent of
the basic acoustic drum sounds
(see two previous pages), so a
set of three or four pads will be
necessary in place of the corre-
sponding acoustic drums. Cords
are plugged into output iacks on
the pads which connect to a
"brain." The brain is the synthe-
sizer that creates the various
sounds triggered by playing on
the pads. The brain coÍrnects to
an amplifier, which in tum is
connected to headphones or
speakers in order to hear the
sounds. Cymbals will be the
same as an acoustic setup
(though if you're really into an
electronic sound, the cymbals
may be pads too). Harrdware L 5-Pb El*tni. t fl; Sct (:i:at ài-br).
will differ only where the pads
are concemed, but will fun«ion
similarly. A rug or mar is srill
recomm'ended, and choice of
sticks is the same for boó elec- BI.IYING EOI.NPMENT quesliorui you may later have,
tronic and acoustic drums, (Xcn'VersÈ Used) such as setting up equipment,
although plastic+ipped sticks will and can Íeplace faulty merchan-
have no effect if pads are use for
There are two rather obvious dise since a warÍanty is usually
ways to acquire the instruments: provided. Ifyou purchase from
cymbal sounds.
purchasing new equipment from a private paÍty, it may be advis-
a dealer or buying ir used from a able to have setting up and
dealer or private individual. tearing down the set demonstrat-
ed, as well as checking the
In either case, it is always wise equipment thoroughly. (Imagine
to shop around and to avoid "off the disappointment after handing
brands." Buying name brands over the money and driving
will help greatly should any home to try out your set only to
hardware need maintenance or discover you can't put it togeth-
replacing. er!) Vhen shopping used, check
to see that all hardware opeÍates
The advantage in working with a and is in good condition (no
reputable dealer is the service. bent screws, rust, stripped
Such a dealer can assist you with tlueads, etc.).
PART I. GEÏTING STARTBD
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HOW-TO.PLAY
BASICS
SETrINGI.'P
On pages 6 and7, you saw how ments you have, but also on ing, stretching and twisting.
drumset components are posi- ptsoral prelermce and comfot't. Hardware enables you to tilt or
tioned relative to one another. This is the key. Vhat may be angle the instruments lo ?our
Some drum and cymbal manufac- good for a dnrmrner you idolize liking. Take advantage of this!
rurers have literature available may not be right for you. As you begin to play and gradu'
which shows various artists' ally improve, chances are that
setups. It is your decision as to All ttre instnrments should be you will find better ways to
how you place the instrumenB, easily reachable. Your kit should position the instruments.
depending not only on the instru- be centralized to minimize reach-
GETAGruH
There are two grips commonly (no pun intended!), the matched experiment, but understand ther(
used: traditional and matched. grip evolved from rock players in are drumrners who use both
One is not "better" than the the'60s, grips, depending on their need§
other. The traditional grip is at the moment. Some switch
more common amoagiazz It has been argued that the tÍadi- grips while playing! The choice
drummers and those players who gonal grip allows more finesse is yours . . . theÍe is no right or
come from a more "tradirional' while the matched grip offers wrong decision.
background,' On the other hand moÍe power. You may wish to
L Tídirioul grip, L liLrckdyiP,
.
Ihis oftcn implies a study of rudrmerrrs. (Rudiments arc speciÍlc, standardized exercises which bulld technique, end^lt-.ly :19-. t<ot
sirengrh, while'giving the órummer "licks" which can be ap-plied to playinS.) Fo-ÍJuíheÍ §tudy, lntematlonal Dn m Rudlmiltsby ^^,
Carsdn and Jay Vanimaker contains all drum rudimenr. (See listing on PaBe 92.)
l0 TEACH YOURSDLT TO PtAÏ DRUM§
HOW.TO.PLAY BASICS
(continued)
Li
rr
THE RIGIITIIAI\ID
Traditional & Matched Grtp
rVhether you choose traditional or matched grip, the
right hand is the same.
Hold the stick between your thumb and index Íinger

about 5 inches from the back end of the stick. The
stick shoulcl be parrllel to your palm. The index
finger should naturally curve around the stick.
Allow the remaining fingers to curye in a relaxed

manner around the stick (as with the index finger).
They should not complerely close around the stick,
but should gently rest against it. Nothing should feel
forced, but should seem relaxed and fairly natural.
§íith your palm facing parallel to the

floor, the right hand should look like this.
tVith your palm facing up,

the grip should look like this.
PART I. GDTTING STARTED iT==..-
THE ITFT HAI§D-

Tradttionat Grfp
§íith the hand perpendicular to
the floor, hold the stick with the
thumb in the "pockeÍ (between
your thumb and first finger)
altout two inches from the butt
end of the stick.
Close your ring Íinger and little

Íinger, then tum the palm up,
allowing the stick to lie on the
ring finger.. The thumb should
curve a bit.
Allow the middle finger and

index finger to curve oveÍ the
stick naturally. Keep the hand
relaxed!
THE LEfíf IIAIID!

Matched Grip
The left hand will "match" (as
the name of the grip implies) the
right.
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USING YOUR GRIP-THE WRIST

tVhen playing, the acrion is ming-heavy metal, for Ío be very conscious ofwhen
made primarily with the wrist. instance-promote movement your arms, wrists and fingers
(The fingers play a signiÍicanr for visual effect. IÍ that's what becometense. . . then, back
role, but that comes a bit later.) you're into, great!-buÍ realize it off! It is possible to damage
Ycrytttk aÍm motlon is isn't required. tendons if you do not leaÍn to
nceded. Even when playing stay relaxed while playing.
loud, little aÍrn motion is neces- The most impoÍtant concept
sary. Cenain styles of drum- heÍ€ is to STAY REIÀXEDI Try
I
THE RIGIIT.TIAND VAIST
MOTION
lltatched & Tradltional
1) Vithout tapping on any surface, bend
at the wrist so the stick moves upward.
2) Relax rh€ wÍisr, allowing the stick to

drop parallel to rhe flooÍ.
Now repeat *l and *2 a few

times. The stick should move
straight up and down. It
shouldn't "slice" at an angle.
L Tbc tigàt uay*Srr1igb, 4p and qow I Tbe wtoogway-tlieint dt aa oiglc.

ilw$eat,
PART I. GETTING STARTEI)
TIIE LEFT.HAIID VRI§T MOTION
Matched
Identical to the moion used in the right hand (see previous page).
Trzditional
l) Vithout upping on any surface, rotate the wrist tess than a quaíeÍ tum bringing the stick tiP up a
few inches.
2) Rorate the wrist back to its oÍiginal position bringing the stick downward.
Now Íepeat *l and *2 a few

times. As with the right hand,
the stick should move straiSht uP
and down and should not be
moving at an angle (see bottom
of previous page). Because the
grip with this hand is less natural
ihan with the right, it may take
some practice achieving a
straight up and down stick
motion with comfort, while
keeping the wrist, hand and
fingers relaxed.
Now, let's try it on a drum!

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USING YOUR GRIP-

THE FINGERS
Seated at your drumseÍ, repeat however, hit your snare rather
the exercises on the pÍevious than iust nrove the sticks in
two pages for your panicular the air.
grip as tbllows. This time,
B = right hand
.-
llltlttttt
L = riglrt harrtl
L .b.
L.
lllllttttttt
( ultcrrrating ltencls)
hr
-r.
llltlLttlttt
You will notice that there is a along with gravity) to get the
natural tendency Íor the stick to stick moving down-almost
bounce back when you hit the none when playing soft!-{hen
drurn. It is no different frorn the simply "catch. it" on the rebound.
way a ball hounces. If you drop This is where the fingers come
a baskethall, gravity pulls it into play- They act to carch the
down, then ir rebountls back up. stick on the rebound about 2
You don't have ro pull the ball inches above the drumhead.
upi it naturally G'curs. let's look at each hand . . .
This is how drums arc playecl.
You need force (a bit of muscle
PÀRT I. GDÏTING STAIITED
TIIE RIGIIT.IIAI\D
HNGENS
§íith the upstroke, the Íingers
should release the stick.
They remain this way until the
moment after the stick hits the
surface. ïhen, the fingersquickly
close to catch the srick as it
completes the rebound.
E i-i -.
TIIE LEFI-IIAI\TD
FINGERS
Matchcd
Identical to the motion used in
the right hand.
Tradltlonal
In similar fashion to the concept
with the right hand, the index
and middle Íingers release the
stick with the upstroke. The
stick no longer rests on the ring its original position (about 2 ThIs actlon must become
Íinger. It is "aiÍbome," held only inches above the drumhead) naturalwlth each hand so it
by the thumb. and the ring finger resumes occrrrs wlthout havlng to
contact while the index and thlnt about lL The only way
Just after the stick hits the middle fingers curl back to ,
to achieve this is through prac-
surface, the wrist tums back to catch the stick. Íice (s€e pagelT).
gffil rNTRoDUcroN To rHE stNGLE-srRoKE RoLL
A! íNt 0
cÉdu.tly cr.du.[y
lllln*wrtrruro"-"llll fstar §lowq
lens oÍ
pÍtíElng
RLBL RLRL
unqcn
strck6
Wn;rc it may seem elementary this is a very importaór exercise because you are laying the founda-
-J tion for your trchnique. Kecp the strokes even. Rcmembe4 aluayt stay rulaxcd!
^& Bad habits are hard to break, so be patient when you practice. Doing so will mean you won't have
$f
to corÍ€ct bad habits and relearn the right way later.
t6 Ttôu Yoults[tF To PLAY DLt,M§
PLAY NOW! ztl lnstru(ti,on
-DO
adiust the position of your
T) Bas drum added drums and stands when you
If you have pur-
chased the record-
30 ln$ruction have to stretch unnaturally.
ing, you will be 31 Plal*AlongTrub
keep your drumset in a
able to quickly 32 Ins{rucÍion -DON'T
ceÍtaio positioniust because it
leam a few basic "looks neat" oÍ because some
beats, including rock, Should you have any diÍIiculty,
other drummer uses a ceÍtain
country and iazz. Simply listen to rewind the tap€ oÍ replay rhe CD
s€tuP.
the recording, following'rhe xep and try it again. You'll be sur-
by-step instructions. pris€d at how quickly you'll b€
playing along wirh rhe audio REMOVING BOÏTOM
CD C*iac tracks aód having fun making HEADS
Ttrt counr.r, Ttb
( wnlc io.) music- You've probably seen drummers
As you continue going through who play sets with the bottom
I _ lntft)dudion heads removed on toms as well
this book, you may wanr to
come back to this poÍtion of rhe as the front of bass drums. This
B.sk nclBcar cÍeates a sound which is less
recording when the lessons get a
2 Ride c'yrnlxl instruction
little rough. It will provide resonant (generally speaking). It
3 Ridc cymbal pauem also makes tuning the drums
encouragement when you
4 ln§tructi(m
become discouraged. simpler because there is one less
5 Bas drum added head todeal with. If you want
less "ringing" to your kit, experi-
6 ln$ruction YOUR FIRST ment by Íemoving the bonom
7 Hi-hat added
I lnstruC1ion
EXPERIMENTS head to one of your toms. Once
I you Íiddle with the tuning of one
Snarc drum added DOS AND DONïS
t0 Instru«ion
tom with the bottom head
feel free
to experiment! removed and decide you like
l1 Pla)-Along Tracb -DO
be afraid to play that sound, you may want to
-DON"[
around wirh youÍ set, trying to take rhe rime to try it with the
t2 Geneml Play-Along
imitate whar you may have heard remaining toms and bass drum.
Instrudions
on the Íadio aod recordings,
BaslcCo[nfÍy Bcat what you've seen on music MI.]FFLING
r3
videos, in conceÍÍs or elsewhere. Many drums include some
IntÍ(xlucti()n
l{ Hi-hat prtlcm device to deaden the ring of a
try and figuÍe out kats
l5 lnsrudion -DO
and pallcrns you may have in
drum. Use of these devices are
solely up to you based on the
l6 Snare drurn added your head, if possible.
type ofsound you prefer. TheÍe
t'7 lnstructi()n
ger frustrated when are a few drummers who also
Irl llass drunr addcd -DON'T
you can't figure something out. will use tape as a method to
t) Inslru(tion
As you go through this book, dampen sound further. The net
2{) Pla'l'A1uuf many things will gradually effect is an extremely dry sound
2t lns(ruction ''*'U become apparent. with almost no ring. One big
drawback to rhis is rhe sticky
B.skJazz practice slowly and gradu- residue left on the head should
Bcaa -DO
ally buildup speed and DO be
22 _ lnt«xlu(.ti()n the player change his or her
23 _ patient. mind.
Ridc clmhal parrem
24 _ lnsrudi(m try to stay relaxed!
-DO Almost all drummers will apply
25. tli-har added
overdo it and strain some dampening to the bass
26 _ lnsrudi()n -DON"T drum. This may involve pillows
27 Snaredrumadded
youÍ muscles.
inside the drum, removing the
-
'Às lhcrc is oo slandaíd li,. llr cunlcÍ on cawrtc playcrs, wc have alkttdl spe(c Í{r ya t(, wÍitc io I front head, using factory-made
nurnlrr wlrih § ill uÍÍcsÍr)nd k, rhe cr\wtrc c()unl(Í on y(r,
[Hnr(ular playcr, cuhliíg you k, crsily
dampening rings, cltxh strips
Íind r <lcrrctl vrng
- fixed «r one or brrth heads with
y.lll]1y,lr.!h.**:I(k,thclf,.grnnrnSr{sktcl,thron-ryour(.)unrcÍro-({r(r.. pushrh(ptay tape, front drumheads with a
llrtrh'n rnd, txl)rc (a(h y,ng tx gtns, tr ritr rh( corcqxrocling rtfcn,m.-,c
numtx.r for tharvmg in rhc
spacc providcrl. Rcpcrt rhis pr(f,.{uft ti}r Sidc 2 hole "built-in," as well as tape.
PÀRT I. GETTING STARTED l7
Àgain, you should experiment LEARNING FROM material if you wish, but do not
to see what fits your sound. go on until you feel You can do
THE BOOK the workout with confidence. At
One funher note, should you THE'P'WORD- times, you may need moÍe than
eveÍ want to record in a studio, PRACNCINGT a week to accomplish this, but
dampening will be a prime don't be discouraged. The extra
consideration. Every kit The downfall of any musician is time you invest will pay off later!
requires careful microphone often the lack of discipline
placement, combined with close necessary to maintain a regular
attention to muffling techniques. schedule of practicing. Anyone
HOIYTODEAL
\TfiII NOISE
The biggest curse ofyour new-
starting out is highly motivated,
but this can wear off. The
simple and often painful truth is
that you must pÉctice to become
good. If you are playing purely
ffi*ïïir;"
the one you saw on page 15).
Following these tips will make
found love is that everyone else an enoÍÍnous difference in Your
for pleasure, you will still oeed
seems to hate the noise! You progression as a drummer.
to keep a regular schedule to get
will probably want to maintain a
anywhere.
praciice schedule during time!
when it is least offensive to
otheÍs--or you'll be follto do so
by newfound enemies!
The trick is to find a dme every
day for at least 20 minut€§to
work on your drumset. (Less
ffi-lHi;n:§i,ï'
help develop muscles, coordina-
dedicated players can get by
Here are a few suggestions that tion and a tension-free style of
pÍacticing only four or five daYs
may help you from becoming the playing (as the one on page 15).
a week.) Short of illness or an
least popular person in your
emergency, don't accept any
living space, if not the neighbor-
excuses for not practicing. Make
USING TIIE
hood: CASSETTE/CX)
a schedule and stick to it! once
your drums with cloth you get in the habit, it becomes
-Muffle
and tape or iust tape applied to easier to stay with the commit- /r\Ï:3,11ffi'ïlfrn.,o
l vou understand
the heads; cymbals can be ment.
deadened with duct or masking ll mn l[J Í,"o, to,.ra
You should read page 90 now if l';:#V music, keepgood
tape. (Realize, however, that the
you've never taken music time (see page 33),
glue on the tape may be a bit
lessons. This will help you and it will demonstrate beats and
difficult to clean off later.)
understand how to teach your- fills while making practice fun.
is 666gp611 to remove the self. Be sure to read the information
-11
front bass drum head and place on page I if you havent done
a pillow inside, either leaving the FEATUNES IN THIS so.
head off or replacing it. BOOK
It is divided into the following
commercial rubber prac- .r. "Mini Music Lessons" are
sectioÍIs:
-Use
tice pads to muflle the sound
(instead of cloth or tape). These
pads can be placed on top of the
W i#ï,ï11::+*iïtr'
cisely explain key musical
-"Play
page).
Now!" (see Previous
concepts and ideas. of exercises

drums, and are very easy to -Demonstration
and beats.
thrcrw on or offthe drums.
In" (play-along tracks).
your practice -"Sitting
-"Soundproof" The "Daily §íork-
area by hanging old carpets, outs" are exercises Important Before each line of
blankets or other acousuc materi- and drill assign- music you will hear one or two
al on the walls. ments to be done "count-ofP bars. This will set the
for at least one tempo(see page24) before You
a commercial practice pad
-Use week. rVhen you begin playing. You will hear
set. The added c'ost for this set
reach one, you should stoP at clicks equal in number to one
will be offset by less wear on
that place in the book and measure of quarter notes in that
your'real" drumset.
follow the routine daily for a full panicular line. Begin PlaYing
week or more. Review past immediately after the clicks.
20 l[lc[ YouRstirf To PtÀY Dluils
READING YOUR FIRST LINES OF MUSIC

In Ex. I, there aÍe 4 beats in each bar. The third example (Ex. 3) is drum when there is a note below
measure. There can be 4 quaner made up of 2 quaÍteÍ notes oÍ the number; do nothing (ercept
rests, 4 quaner notes or combina- rests per bar. continue counting) when there is
tions of quarter ndes and rests- a rest. Try it several times until
but therc can only be 4 types of Count evenly aloud ("one... two... you feel rcmewhat comfortable.
quaner configurations total. The three... four... one... rwo... three...
next line of music (Ex. 2) includes four...') as indicated above Ex. l.
3 quarler notes or rests in each As you count, tap on your snaÍe
Counl: I
ttlt tttrÍtcrncst§
QuaÍrcr Nores Qlt
( sorrntl ) (silcncc )
Try the next line (Ex. 2). This time you'll be counting in pattems of three, tapping on your snare each
tirne a quaíeÍ nore appears below. Again, do this several times until you get the hang of it.
Counl:l 2 3 7 2 3 t Z 3 f
The third line (Ex. 3) is a bir different because you Íest on the first counr. Also, notice that this line has
six measures, ratheÍ than fouÍ.
count:l 2 1 2 1 2 1 2 1 2 1 2
I
The last line (Ex. 4) is also a bit tricky, but should be fun. Like the firsr line, you'll be counting in
lbur again.
Counl:l 2 3 4 Í 2 S 4 .t Z ? 4 I Z 3 1
4.
Carefully review the instructions back For A, you should strive for
on pages l2-l 5 for developing your relaxation.It may take several
wriscs and fiogers. Work on days until you start feeling
Technique Builder fl on pagr 15. comfortable. rVhen working on 8,
§íork on the counting exercirs above r remember to count sreadily and
(Ex. 1-4). Try to look only at the evenly. If ir is difficult, try counting more
muic, rathcr rhan at rhe counting slowly. Patience will always be a virtue as you
numbem above the notes. practice . . . and the rewards will be great!
PÀRT I. GETTINC STARÏEI)
THE LINES & SPACES-

WHERE INSTRUMENTS ARE INDICATED
The purpose in having lines and spaces on the staff .in drum music is to indicate which instruments to
play. (Pirched instruments, such as a guitaÍ or piano, use the lines and spaces to determine what pitches
io play.) The following shows where each instrument on your drumset is placed on the staff:
CÍa.h Cfmbal
I
FlrbCambal+ *
llountod Tom-+
Snare Drum--->
Floorïom+
Sals DÍum--->
Hi-Hat--->
Note, J is commonly used for cyrnbals rather than J

to further distinguish them írom drums.
BEADINGTHE IINES & SPACES

In the following exercises you will be playing all the instruments on youÍ set. It will take some time to
get used to which instrument to play. At Íirst, the instruments are marked in parenthesis. Use whichever
hand seems most natural. (All the hi-hat and bass drum notes should be played with the foot unless
otherwise indicated.)
Counl:1
22 TEACH YOURSETF TO PLAY DRUMS
USING YOUR FEET TOE ITCHMQUE HEEL & TOE

Surprisingly, thcre aÍe diÍferent In a resting position, pressure is ("ROCKING")
ways to approach playing with applied to the pcdal with the toe ïICHI\IIQT.JE
your feet. The technique you use end of the foot-the hi-hat This is usually associated with the
may influence how you adiust remains closed; the bass drum hi-hat. As the name implies, the
your throne. beater rests against the head. foot rocks back and fonh. First,
The heel doc'sn't touch the pedal. the toe end of the foot presses
FI TIIGII\TIQUE To play, the entire leg lifts slight- into the pedal and the heel comes
The Í'<rct lies flat on the pedal at ly, bouncing on rhe ball of the off the pedal. Then, the heel
all times. In a resting position, foot. Many drummers who use comes down as the toe end of
the hi-hat is open or the bass this have their throne adiusted a the foot rises, so the foot actually
drunr lxater "crxked" away from little higher. This technique is moves like the base of a ÍockinS
the head. To pl:ry, prerisure is especially useful when playing chair. This technique, while not
applied to the cntire foot. In the faster rhythms. Also, this can useful for fast music, is very
case of the bass drum, it is prefeÍ- pÍoduce moÍe power and, there- coÍnfoÍtable for keeping an even
able to allow thc beateÍ to rctum fore, is the common choice of pace for oiher, not-so-fast tuÍres,
to the c(rked position immediate- rock drummers. especially moderaÍe iazz (swing).
ly aÍier striking the head.
CHOOSINGAÏECHNIQI.JE
As with ch<xrsing grips,,there is no right oÍ wÍong pedal technique. The flat technique utilizes economy
of tnotion in the case of the bass drum because the beater doesn't have to he brought back in a position
ready to strike-it is already there. But there are players-many of whom are "roc[ers"-who swear by
the roe technique. You may- want to try each for a while, then go with what you prefer. or you may
wish to usc both or a son of hybrid.
Try the followin8 exercises using the three techniques menrioned above. Play them several times until
you feel somewhaÍ comÍbrtable with each.
Count:l 2 3 1 2 3 I Z 3 1 2 3
1.
PÀRT I. GIiTTING STARTEI)
WHERE TO PLAY
WTIII THE §TICK
Ttp or bead
There are a few areas of the stick (wood or plasttc)
that are commonly referred to in
other books, magazines and
elsewhere. rVhile the vast maior-
ity of playing is done with the
tip, the shoulder and the bun of
the stiek are sometimes used.
ONTHE DRI,JMHEAI) play slightly off centeq about an

inch or two. But dont forget Gcneral playlng am ls shadql
Depending upon where you that differenr sounds are valuable
strike the drumhead, you can assets that will enable you to
produce different sounds. Play- create the unique "feel'and
ing near the rim produces a thin, sound characteÍ you're looking
high-pitched sound; playing at for by mixing various tone colors
the center produces a full-bodied in your playing.
sound. Ordinarily, drummers
ONTTIE CYMBAL Never be afraid to experiment

and try unusual ideas.
The pans of the cymbal are few,
but the areas upon which to play Playing on the bell of a cymbal
are many. Some progressive creates a "ping" sound somewhat
drummers even utilize the edge like a high-pitched cowbell. As
in a special manner-by striking a result, it is used in Latin and
it with the stick perpendiculaÍ (at African rhythms, but also as a
a 90-degree angle). «Iriving pulse in rock when
played with the shoulder or butt
Generally, the ride cymbal is end ofthe stick. (\tríhcn practic-
played with the tip of the stick ing exercises you can try playing
about 2 inches from the edge. on the bell of the cymbal to
The shoulder of the drum stick achieve a <Jifferent effèct.)
may be usecl f<rr accents or
conrast, playing on the shouldeÍ, Try to identify the bell sound in
edge or bell. recordings, making note of how
it is used within the music and
The crash cymbal is most often the effect it creates.
played with a glancing blow
across the edge of the cy[nbal For a thorough understanding of
with the sh«rulder of the stick. cymbals you may wish to pur-
Ilowcver, y()u may find other ch:.tse Cymbals: A Crasb Coune
techniques rnd playing areas, as by Mitchell Peters and Dave
with the ricle cyrnbal, that pro- Black (see listing on ptge 92).
vide sounds you'll want to use.
28 TIÀCH YOURSDtf TO PTAY DNUMS www.cliqueapostilas.com.br
CD Tr.da al-al
order to build to tlut stage, let's counting without marking it, then
try playing rwo notes at the same only mark it wheÍ€ it's needed.)
time. Often, the measuÍes in each In place of the counting is
line are the same with an edctlng. This indicates which
occasional change. Take it stick to use. An "R" above a note
slowly at first and always means to play with the right
IT TAKES TWO remember to count as you play. hand; an'L" signifies the left.
Vhoever said you c?nl do two This time the counting is not Try to follow the sticking as you
things at once? Drummers often marked on the page. (If you feel read the music. The srickings
pl:ay lour things at one time! In you need it, you can pencil it in marked are only suggestions and
above the music. First try aÍe not set in stone.
Prime Time J =rz-u 1at unes)
n RR
RL L
Cool Waltz
RR R RRR BER BNB RRB NRF
LLL ILL
Hail to the ChieÍ (March)

RLFL
3.
Practice this page with a mtrcnomc. Thc gol is to If you havc difficulty
be able to play atl four lims et J = a4 white with this page oímusic,
rcmaining relaxed and keeping an aren tempo at all rry only the fcet, then the
tim. hands. Then try various
Usten to sorne ofyour hvoritc recordings. Cao you combinations ofone hand and
play any of the lines above along with themT Arc one foot. Finally, play it ell together as
my of the recordin gs in )l4 time? §íheirver you written. This is a practice tip that you
listen to music, see ifyou can tell what rhc nreter should use often in this book.
(amther mme for timc signature) is for tlut music.
P^RT II. LEARNING THE BÀSICS
STICK TO IT!
These easy pattems should be fun. As always, counting helps you coÍÍectly place the notes and keep a
steady tempo.
Swing lt!
B R dnb
)=u+z
1.
Double Dip
This next example may require extra effort. After completing the first line, continue without pause to the
next line, then ihe same at the end of the second line (as if the three lines weÍe one long line of music).
In music, the single bar at the end of a line indicates to go on to the next line.
Rock Solid
To practice facility in moving about your set, as well as in developing coordination' playthe
following exercis€. Start slowly and very gradually pick up speed. Às soon as you feel the
least bir of tension in any muscles, begin to gradually slow down. Repeat this four times. The lrick is to §tay
relaxed while keeping the notes evenly spaced!
t
upon feltng
LR LFarc. LR LRalc. 'eo§l'on,
30 IDACH YOUIISEI,f ÏO PIAY DRUTIS www.cliqueapostilas.com.br
CRAZY EIGHTHS
l-lpuntil now, you'vcbeencountingonthebeat("one... two... three... "andsofonh). Here,
you'll learn to counl between the quaÍteÍ-note hats.
Eighth notes can have a 'flag" or can be beamed

together in a series. It is the use of flags or haming
that distinguish the eighth note fÍom a quarteÍ note.
rlags Beaors
.b .h N JJ- TTÏ-]
A measure of eighth notes in 4/4 time apPeaÍs like this:
J =eo
Counl:Í + 2 + 3 + 4 +
Count them as indicated above ("+" is

spoken as'and"). Now set youÍ
J metÍonome to the tempo indicated. Count
again aloud as youÍ metÍonome clicks. You must fit the "ands" evenly between the beats,
nraking it sound smooth.
Try the following line on youÍ set. Count aloud as you play, alternating hands (right, left, right, etc).
The bass drum keeps the beat, like a metronome would.
Count:l + 2 + 3 + { + 1 + 2 + 3 + 4 + I + 2 + 3 + 4 + 1 + 2 +
Notice that in the last bar, there is no need to count "and" after beats three and four. (But you should
still leave the correct spacing between those last two beats as if you were counting "and.")
An eighth rcst looks like this: J

Try counting, then plrying, the following lines which combines eighth notes and rests. The rhythms can
be tricky, so count carefully.
J = so-to
Counl:f + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
J = so-oo
Count:1 +
PARÏ II. TBANNING TIIB BA§ICS lr
MORE EIGHTHS
This page will give you moÍe experience playing eighth notes whi.le
becoming accustomed to "moving around the set." This will assist
you in learning to play fills a bit later. the feet play the same pat-
tern in each ÍneasuÍe, so you can concentÍate on the eighth notes in
the hands. Use your metÍonome. Since stickings are not marked,
find stickings that seem naturally comfonable. If you wish, you can
iot in the stickings you like for reference when you pÍactice.
J = 60-72 (all lincs)
Counl:l + 2 3+ tl 1+2+3+l 1+2 3+l 1+2+3+
Count: t 2+3 Í2+3 12+3 t2+3+ 12+3 12+3 l2+3 12+3

I
Countl+2+3+l 1+2+3+tl 1+2+3+tl 2+3+4
3.
Count:1 + 2 + 1 + 2 + l+2+ 1+2+ 1+2+ 1+2+ 7+2+ 1+2
This last line uses only hands. The right hand stays with the ride cymbal, while the left plays the drums.
Counl:l 2 + 3 + a 1 2 + 3 + a 1 2 + t tl + 1 2 + 3 + 4
5.
Did you rem€mber to rePeat as maÍked?
Count aloud, then counr and play ell lines It is sometimes said that if
on the previous page. Try it with and you can't count it, you can't
without a metronome ( J = 60). play it. This is true! As with
Practice this page with a metronome. the previous workout, if you have
Gradually work up to J = 72. difficulty with any ofthe above, try
only the feet, then only hands, finally
putting it all together.
32 TEACH YOURSETI TO PIAY DRUIIS www.cliqueapostilas.com.br
LOOK MA, NO HANDS!

page 22,
Here are some exercises to help develop technique for your feet. You may wish to revie§r'
which <Jiscusses the various tec:hniques tbr the bass drum and hi-hat'
J = eo-uo tatt tincs)

Count:t 2 + 3 4 r +2t 3 a 1 2+3 I +2+3 4
'
Count:1 123
Use only the toe technique on hi-hat for this line.

Gount:l + 2 + 1 + 2 + I + 2 + I + 2 + 1+ 2 + I +2 +
Count: I {+ l+2 1+2 4+ I +2
Count:1 2+3+ I 2+9+ 1 2 3+ t 2+3+ I 2 3+
Counl:1 2+3 4+ 2+3
A Pracrice this page with a Try the assoned techniques

metmnom€. Gradully work up described on page 22 for the
to.J = 80. excrcises. Determioe which
technique feels most comfortable
rVork on Technique Builder t{J. for each line, then pmctice using
that particular technique
ti:::t .t'j]]:T: tÏ:.'j::'.'. . . ..::
KEEP!NG TIME
Many of the exercises from here on will consist of the repetition of a measure. The repetition of a
stylistic pattern (while not necessarily an exact repetition) is known as playing tlme. Some drummers,
such as the late big-band drummer Mel Lewis and rocker Charlie t§íans (The Rolling Stones), have treen
known for their ability to "keep great time," Íather than using flashy technique. Vhat this really means
is that they keep a steady beat and everything they play fits together and sounds appropriate within the
context of the music. Keeping great time ts sometbing euery drummer sbould striwfor!
In the exercises below, concentrate by lktening to your playing. These exercises are kept somewhat
simple to enable you to do this.
J = EG96 (all lines)
1.
The next exercise is 16 measures. Music often

consists of 4-, 8-, 12- ancl 16-bar phrases
(small sections of music). This piece actually
COïckll
consists of four groups of four-bar phrases. Line
3 on page 29 is constructed the same way.
Play the ride cymbal pattern on closed hi-hat throughout.

) =e6-tzo
TEACH YOURSIIf IO PLAY DRUMS
EASY DOES IT this

basic styles of music' As you go through
Y<luwill now le:rrn to play time (patterns) ft1 a fel . they will become more inteÍest-
iivr,jr . . and
lxnk. vou will encounrer moÍc pauerns for the various
ing rni exciting as your skills develop'
Thecountingisnotmarke«l,but-youshouldstillcourtlwheneveryouhavetroublewithameasune.
," p.niirin'stlckings. (The right hand always
Thc srickings ,r. nor -"rk.àï,í.r, * you may *rn,
plays the ride cYmbal.)
vhena measuÍe is to be PlaYed

exxctly as thc one bcfore it, a
sign is used indicating this
calletl a one-bar rePcat slSn:
Play rhe first measure, then play it again as

indicated by the repeat sign'
gffi5l TNTRODUCTTON TO THE DOUBLE-STROKE ROLL

The first stroke is executed wirh the wrist and the
The following exercise is like the previous Technique Builcler'
second is a k>unce controlle«l by rhe fingers. The goar i, tom"k. krth strokes equal in volume' Start slowly'
(always keeping the notes even), *rÀ iiart stowing «lowà when you'vc reached ttlp
then gra4ually get faster
speed wirhout your muscles tensing up.
R R L LEIG. R R L LEIC. TJÍDN

I I I I crrduallv fGter l-l l-l hsrcr srlll fcellng
--
- 'Ïi'iïïi'
tltt'"*
sPced
PART II. TEARNINC THE BÀSICS
THREE'S COMPANY
You should be rea{Y to Progress_ to playing three notes at one time. This really opens up the possibilities.
Again, it is wise to first practice the feet separately, rhen the hands, combiningïhà afteiwarai. These
exercises are similar to the previous page to help make it easy for you.
Easy Rock
Two-Step
Ft Like the repeat sign, there is

§.ïi a sign to indicate a twGbar relreat.
Play the Íirst two bars, then at the two-baÍ repeat, play the two bars again without pause
lazz Waltz
t_
5.
Practice this page along wirh the Ifyou ever wish to practice, but do not
previous one. Try not using a have access to your set, (perhap,s because
metronome, except if you wish to find others are sfeeping) try playing m imagi-
the tempo. nary set. In a similar fashion to thm who
Instead of rhe ride cymbal, experiment iokingly play "air guitu," drummers often
by playing the ride-cymbal patreÍn on can practice coordination offeet and hands in my space.
closed hi-hat. (Doni play the written It doesn't fel emctly rhe me, but it cornes close
hi-har part in this siruation.) enough ro help with coordination. Ifpractical, a set of
§íork on Tkhnique Builder #3. pillows will work just ro well, ifnot better.
TIÀCH YOURSELI TO PL^Y DRUM§
FILL IN THE BLANKS
You may recall from page 34 that music is often composed of phruses (small 4-, 8- or l6bar rcctions).
Acl<titionally, you mi[hr have ndiced that many of the lines you've pmctic.cd on the last few pages consist of
a palcrn and, at the ènd of rhe line, there is a distinct change from that panem. This change of pattern is a
fil. It is a drummer Jilling in a sort of "hole" in the music. Ordinarily this hole occuÍs at the end of a
musicat phrase (and other instrunrents rnay be filling it up in addilion to or instead of the drummer).
The following lines have fills written at the end of the four-bar phrases. Feel free to create your own fills
and write them in the blank measuÍe. Your fill may replace the one that is written.
J = g0-1041"tt tl*s) Fr [-----" vdte Ílll.

vour own ÍIlL
wdre your
This last exercise utilizes a spe- i This technique is sometimes

cial technique with the snare : known as a cross-stlck rlm
drum. The stick is flipped over : shot. This technique is often
with the tip oÍ bead keeping : used in country, lÀtin and iazz
contact with the drumhead. The i music.
hutt end of the stick is raised and !
brought down to strike the rim. :
Basic Bossa
I
I -cross stick rim shot. B
LLRF
rAf,l Iil. MuKt, öÀJlu)
More Basics
This section continues with the Study each page, avoiding the pages which gave you a bit of
fundamentals of music, temptation to rush through them. trouble and review them for a
drtrrnming technique and various These concepts will require extra while. Believe me, it will pay off
exercises. However, this section effort, so be patient. Above all, in the long-run.
moves quickly, so it may take do not move ahead to this
more time to pÍogress through section unless you feel you've
the pages. The key ista practice mastered previous pages. Now
carefully is a good time to pick out those
NOTE & REST

REVIEW Notes
To better understand music
notation and the length or
duration of notes and rests, One whole note or rest equals o= ) )
the relationship between two halves:
them should be clear. (You
may first wish to review page One half note or rest equals )=) ) -= | |
1ti and the names of the rests two quarters:
and notes.) Remember that
for every type of note, there
exists a rest ofequal length.
One quaner note or rest equals
two eighths:
)=J1 l-t 1
One eighth note or rest equals

two sixteenths (discussed on
)=, 1=11
the following page):
Here's another way to look at

the relationship of notes: -.-o---'-
))
,/\ ,/\
))))
nnnn
/\ /\ /\
/\ /\ /\ /\ /\ /\ /\ /\
/\
frfrfrffi
,t7 TEÀCH TOURSEtf TO PtÀY DRUMS www.cliqueapostilas.com.br
DIGGING IN!
i olavs on a ctov.l hi-bat, re*l front Iake extra effort until You feel
Here are some basic rock-oriented
r*le-cymfuil lire. (llccause of comfonable with them. Also,
pxncms using sixteenths and i'ttx
i this, the hi-hat has becn omitted watch for dynamic markings (see
àotted rhwhms. Fills are PlaYed
i here.) These are trickY, so it maY the previous Page).
in the fourth b,ar. Tbe rigbt batd
,J = 8zr-l 12 (all lincs)
(3 e+ ah 4 er ah)
Ítr
A Practice page 40 and this Page. Befue playing each line, look over the
Crmte and write in your own final measure carefullY. This should
dynamics for page 40. help you play ach line smothly withour
stumbling over the change in pattern at the
B Try leaving the hi-hat a little end of «h lim. Glancing over music'
open in lines 1 & 4. searching for truble sgrts and counting them out
before rrading them, is a good habit to make.
PART III. MORE BASIC§ ,t3
H|-HAT TECHNIQUE
Up to this point, all playing on i Try playing these lines. (The hi_ iThe degree to which you op€n
the hihat has been wirh it closed ! trai is íriÈn where rhe ride
: the hi-hat depends on the sound
oÍ partially open. It is common ! cymbal.is usually indicated.)
to. p_lay rhythms on .he hi-har
i you're looking for. Like other
while intermitrenrly opening and _ ! Ttr. hlhar need not be opened ; aspeos of drumming, don't resist
; fully. In fact, this is rarely done. i experimentation!
closing it. The standard symbol i The cymbals only need tó be :
forindicaring open hi-hat is o ! sfightÍy separareó in order to
and closed is +. i càte-the desired "sizzle" sound. :
J = E+l0B (rtl lines)

++oo++oo o
+o+++o++ +++ o
A After practicing the page as A common problem with hi-hat

written, create fills in the fourth technique is cmrdinaring both feet. As
bars of ach lioe. a rcsult, it may be very helpful to practice
B Experiment opening and closing only bass drum and hi-hat withmt using
the hi-hat with lines 1,2 and 5 on hands, then adding yur hands afterwards.
the previous pa.ge.
C Clntinue work on Technique
Builder f I.
ROLLS www.cliqueapostilas.com.br
a sound on a drum? The answer
À cuiuÍ, uumPet oÍ other instru'
is by plaYing a noll There are
rnènt c"n sustain or hold a note'
rveral tYPes of rolls:
But how does a drummeÍ su$ain
ELRLRLBL
SlnBlG Stlolc
This roll sounds less like a con-
cvmbals to suilain sound' Tech-
n'ioue Builder rlon Page 15
rftà*.a how rhis is executed'
_TT'IT
)))))..r
stant. su$ained sound and more
like fasr intlividual notes' lt is ihe rolt maY be imPlemented in
I Íills and solos.
often used on low toms and
ERTLAALLRR
Double §trolrc
ihis roll crn Produce a good
iustained rcund when PlaYed
also. to a lesser extent' on the
toms, closed hi-hat and cYmbals'
iechnioue Builder *3 on page 35
ffi
)a)444....
i*-auè.a this roll. The abilitY
"closed" (fast), but also can
resemble rhe single stroke when
to olav this roll is esPeciallY
olaved "open" (slow)' It is urËfuÍ in lazz drumming, but is
lnoíty on th€ snaÍe and applicable in all stYles'
"éa
Multtolc Bouocc (sometimes

referrËd to as'buzz," crushed,
unmeasured or orchestral roll)
The concePt behind this roll is

iïifiiÏ[iqi:nh'ffi
i Builder 14 on ihe next
! page will instruct You in how
to
gei many bounces stick ! play this roll.
to P€Í
stroke. The bounces are not !
c'ontrolled the way theY are with !
NOTAUON
ways:
A roll is designated in music by one of two
slashes. above the note or a combination

co of slashes and flags
I ) Three diagonal slashes
stem when there is one)'
;:i;il;ïË in *.Èt «t'ttins acÍoss the
across
Mukiple bounce only-a '2" above lhe note' cutting
the stem. This notation is ÍaÍe'
to
As vou can see, theroll is often tied to à note (with a curved line)
i;díÀ. on which beat the roll should end'
PART III. MORE BA§IC§
ROLLIN'OVER
Here are some exercises for the snare drum. Try either the double-
stÍoke oÍ multiple-bounce roll after you've become familiar with
Technique Builder *4 at lhe bottom of this page.
J = 6ÈS0 (all lincs)
1.
PÍ
? .f
md rNTRoDUcroN To rHE MULTTpLE-BouNcE RoLL

-PP
n-l--Ij
I- = rz Rj--L! To learn this roll, Íirst press the stick into the head loosely
z lsi I :1 I I I + | enoughsotherearemanyrapidbopnces.Thereshouldbe
almosr no space bctween eaCir bounce, and it shoulci
resemble a "buzz" sound. Do this with each hand.
Afier Pmcticing this fundamenul technique for a few minutes, try the exercise. You should play the "buzz"
stroke, alternating hands, attempting Io make smooth connections berween each stroke.
This is how the roll is played. Continue practicing this, striving to achieve a constant, "seamless" sound.
TIACH YOURSELT ÍO PLAY DRU}I§ www.cliqueapostilas.com.br
TRIPLETS
(eighths)' and
In the context of one beat, you've played two notes
four notes (sixteenths), evenly.
ErShth§ Slrtecntls
Two notes per beat (eighth nores): Four notes per beat (sixteenth notes):
Count:l + 2 + Count:l a + ah 2 o + ah
Now, we will leam three notes cise, using the bass drum rc keeP
per beat--trlPlets. A triPlet is a the beat. KeeP the sPace
group of three notes PlaYed in beween the notes even as with
plece of two notes of the same eighths and sixteenths.
value. Play the following exer-
Etghth-notc Trlplcts
Three notes per beat
ta2tata
Triplets are indicated bY a'3' To play quarter-noie triplets, first

above or below the note think of eighth-note triPlets, but
grouping. The above examPle play every other one. The
utilized eighth-note triplets, but following exercise, in which
they may exist as quarteÍ-note every other note is accented in
and sixteenrh-notes and other the firs bar, will helP You get
groupings. the feel for the quarteÍ-note
triplets in the second bar:
Flqr-
PÀRT III, MORE BASIC§
MORE TRIPLETS
These exercises should helP You drum pan on the hi-hat tor vari-
become more familiar with ety. Don't oveÍlook dYnamics!
triplets. You maY PlaY the bass-
,J =sG-rrz - L
1.
.----".-,ílP
,tf
NP<Í
a
-3-
qf< Í tr
all roll exercises on page 45' Try Ytich A,h Patimt! Even those who've
lóÀr-LYl A Review
playing each line on various drums, been playing for Years continue to
lwglroyrl using a single-stroke roll when
work on perfecring rolls. Spend extra
l*rzl
I_l B
playing on the floor tom.
Pràctice the three lines on page 46'
practice tiÍne with rolls and they
gradually imProve.
will
lrrrrrrr I along with those on this page. §trive

to make all triPlets even.
{8 TEACII YOURSIiLf TO PtÀY DTUilS www.cliqueapostilas.com.br
PICK.UPS
'
ln all the music you've played in this book, you've
begun on beat I (or "on the downbeat," as the-y say).
But music doesn'l always start on the downbeal. vhen this
occurs, the music is described as having "pick-ups."
Vhen repeatinB these lines, include the pick-up.

J = zctz {att tincs) l'i« h-ups rrr lx'rt -1.
Counl:
(r 2) 3-+
rvhatever is missing from the pick-up measuÍe is sometimes found in the last measure. tn other words,
the firsr an4 last "iícomplete"h."tur.s in a piece together make a complete one. -This way of writing
music is an old practicelhat is sometimes stiil obseÍved. (Don't let it confuse you!)
In the next line, there is a double bar. Do not play the pick-up when you Íepeat the line. Go to the
double bar, which has a repeat sign to indicate where the ÍePeat hgins.
Counl:
o2)
mil RL BL
cÉlually Gr.du.llY
öístu §ktwcÍlo
posslblc +
=____-___= sÍanl[g
-_ =
wltlrrul sPctd.
koslnS up.
hrnr MoÉrf,ttÍ§ ' {9'
FIRST AND SECOND ENDINGS

are referred to as Brst
Look at line 1. Notice the inclications at the end of the line. These
(at the first ending),
,nà-*óoa àarr,g.. play the line all the $/ay ro rhe repear sign
,.p."i ,i you normally iould, but when you reach ' ' '
The flrsr Ending
. . . the second time, do notplay the music under it' Skip it and play
the music under:
TheSecondEndlng tr------1
To helo focus on understanding first and second endings, the follow-

ing linès are similar to the beats played on the previous page'
tE------- --_-l
J = 88-l 12 (atl lines)
1.
Ír,','=ttz.
fr
Vhen reading music, the
Play the exerrises on pages 48 and 49 as
lDArLYl written, then play the ride cymbal pan on hi-
trick is to look ahead while
llyo![ouf I
hat employing open and clced rechniques
playing. This becomes esPeciallY
I *rr
t_l I
B
discussed on page 43.
Pmctice Technique Builder il1.
nà.*ory when rePeating Phrases'
Before finishing the measue indi-
cating to rePeat, your eyes should already have
lrrr.rrt I C C.ontigue developing rolls (pages 44 and 41)'
lmatid the measure where rhe repeat begins'
and review triplet exercises on pge 47 .
50 TEACH YOURSETF TO PTAY DRUMS www.cliqueapostilas.com.br
CD ldb ,!-r,
NEW METERS
Some time signatuÍes are based on groupings of
three eighth notes. Since we have learned triplets
(which is a grouping of three), these meters should
be relatively easy io understand.
.»=E4-l320incsl&2)
Counl:l 2 ? 4 56 r (2) 3 4 (5 6) rrmrre
1.
counr:r (2) 3 4 5 67I 9 1 2(3) 4(5) 6 709 stmtrc
) = r rz-tsz
Counl:1 (2 3) (Í0) l12l dmlle
3.
(4+5+6+7)
These three examples may be counted in another manneÍ, particularly when played ar quicker tempos.
Ratherthan counting in 6, the first 6,/8 example may be thought of "in 2." The bass drum plays on'bears
I and 4, lut may feel more like '1" and "2" as in 2/4 time. The 9/B example may be felt Àoré "in 3" G/4
time) and l2/8 "in 4" U/4 time)-
Here is one other meter you haven't seen. If you recall the discussion on page 18, in line 4 there are
two.beats PeÍ_measure and the half note gets one count for this particular iime signature. Line 5 has the
symbol o (referred ro as'cur time"), which is exactly rhe same time signature as i/2.
J=óO-7ó(linesa&5)
Count: t ? 1 rah2 (+) I e + ah 2 + ah 1 (e r)5h 2 l+l
4.
Count:1 +ah2 e + + ..t 2 {+) 1o+ah2e+ah(í)

PANT IIt. MORS BÀSICS 5l
CD Írr.f. ra{2
BASIC BEATS USING NEW METERS
Here are basic patterns for the meters learned on the pÍevious Page
These are four-bar phrases with fills in bar four.
FíI
Í 23456 2 3 4 5 + 6.f
Counl: >->>>>
) = eo-ro
1.
-
Fu-l
Counl:l 2 + 3
:>
) = loa-r2o
2.
Fi[
(10+ Í1 +12)
Counl:1 2+3 4 5 6 7 8+0101112 >-à >
->>>>
J. =lrsz
3.
-l
Vhen two dynamics are listed (as in lines 4 and 5 below), it indicates to play the first
dynamic the first time, then the second dynamic indication when repeating.
FiI
Counl:1 rah2 + ah2e +ah

J=rrul
4.
4P-ntf
Count:1 + 2 + t-r
J = ao-sz
J
,.
,4f-,
Practice page 1O and this page until
gd:$*:tr',Írï,#
you feel comfortable with thesc new
meters.
B Continue work on Technique Builder
#5.
C Continue work on rolls and triplets as
necessaÍy.
52 TIÀCH YOURSITI TO PI.AY DRUIS
SPECtAL TECHNTQUES
The following techniques are RIM SHOTS you'll hear it when you achieve
. pan of a large body of -effe,cts"
the right sound. In music, a rim
and patterns known as This is tàe loudest effect on
shot is often notated with an "x"
Íudlments. These include drums-(with the possible excep (like cymbal nores) and "R.S."
assorted rolls and cenain sticking tion of a double rim shot, whièh
pattern§. It is Íecommended you is explained below). Simolv
A double rim shot is achieved by
purchase lnternational Dntm strike the drum head as you
simulnneous Íim shots with both
Rudiments(lis.ed on page 92) normally would, but angle the
hands and is notated with two
Íor funher srudy. stick loweÍ so ir strikes the rim
"x" noteheads.
simutaneously. Believe me,
R.S. flm !ho0
FI.A"[í
This is a rather subrle effeo. A It thickens the texture and serves
"principal" nore is played wirh as emphasis to notes-like an
one hand, but a softer, "grace" accenr, but without the added
note is played a fraction of a volume.
second trefore with the other
hand.
rLBL
DRAG
The drag is similar to the flam except theÍe aÍe two
softeÍ grace
notes played before the principal nöte:
rr L rr R er L R
All of the above effects are more likely to be heard

in fills and
solo w.ork, though rhey can be use«I ií
iÀrirr..r.'crr.
"tn.,
employing rhesc rechniques-if
:::ï:..T_,rÍ:r"in
can Dccome incllective and bog down the
overused, they
music.
PANT IIt. EÀ§ICS ITIORE
d€stgned to bc played onc i the basic beat, then the fill
FILLS USING SPECIAL I
i ëil;;;;;Ë*.à,.,npo
! efter another as in reading a ",
TECHNIQUES j line of music. Play three mea- i first-one that feels comfonable.
These fills will help you get the i sures of a basic beat you've i The stickings are only sugges-
feel of how the rim shot, flam j learned in the corresponding i tions, and You should try Your
and drag may be used. It maY i time signature, then play the i own variations. (Where sticking
take extra effort to master these i written fill in bar four. For the i is not marked, try alternating
fills. Thesc metsures arerct ! two-bar fills, play two bars of i hands first.)
One-Bar Fills
o , (l';') ! L! n (DÍa0)
@ L @ lrn L
(Fim
(8.S.) (R.S.)
rrB rF rR@ L RI L LRLR
@L @
rB LrF t RRLLRN (D rrR

!s €) L
@
J Fh J
Two-Bar Fills
RR @.R > BL R
@
r"j '4 1n.s.l ï
Practice this page as described at the top. Rudiments, as in the sPecial

rVork on one fill at a time until you have techniques you've iust learned'
it memorized and can play it effortlessly. are regularly part ofevery drum-
Then, go on to the next fill. mer's practice sessions. Try to set
aside a few minutes each time You
pmctice to work on a few of them.
TEltCH YOUR§EtT TO PTÀY DRUMS
..HELP!
...
lm Not Coordinoted" I Hove No Rhythm" I Hove No Potience"
There are three tricks used lo In spite of what you may rhink, It may be that you do have
combat the problenr of playing no one is born with rhythm. quite a bit of coordination and
different rhythms with hands Though some may excel and rhythm-but you wanl to be
and feet. The first you already show talent in this area, rbybm able to play right away! This is
know about: playing one is learned. natural. Everyone would love
rhyhm, then adding anorheÍ to pick up an instrument and
until it becomes effonless, then Listening analytically will help make music effortlessly. Of
adding a third and so.[onh. you learn more quickly. tvhen course, this isn't realistic. rVhat
you listen lo music, try to focus § realistic is that with time and
A second method is to be able on lhe dÍums. Vhat sounds do some effort you'll be able to
to hear the parts in your head. you hear? How do these play drums. Patience is a viíue!
(lr has been said earlier that if sounds Íit togerheÍ? Try to
you can'l count it, you can't determine precisely what the
play it-similarly, if you can't drummer is playing on rhe
bearit,you can't play ir.) This drumset. By becoming accus-
can be related ro the first trick. tomed to hearing and under-
For instance, after having tack- standing drum playing, your
led only thc hands, try hearing rhythm will naturally improve.
the rhythms the feet play as you
play the hands. The previous exercises you've
done in listening to dnrmming
The third trick is simple. Have should not stopl A gÍeat &trm-
a posirive atritude as you prac- mer always llstens to others
tice. Regardless of how frustrat- and learns frrom theirpla5ring.
ing it may be to nor be able to
play something, iust remind
yourself that, wirh a bit more
eflbn, there uillbe a rime when
the current problem-whatever
it may be-will no longer exist.
"----'
! www.cliqueapostilas.com.br
PÀRT tV. PIÀYING BEATS & FItts 55
I
Playing Beats & Fills

This section of the book is devot- ; relaxed. Ifyou take a little extra of practice sessions. Practicing
ed to playing assoned beats and ! time to follow these suggestioÍrs, essentially coÍrsists. of working
fills, divided into five sections: i it will pay off. on what gives you the most
problems, attemPting to imProve
Rock, Country, Jazz, latin an<l
"special Requests" (beats that I For each style, there are a few your playing. The best aPProach
may be useful on gigs). §íhile ! familiar songs listed to helP You is to work on one Page at a time
there are some simPlistic Pa[erns ! undersund how that srYle until you feel You have it down.
and fills on these pages, manY i sounds rhythmically. You maY This may take a week or two of
will be rz,ry challenging. ! even want to try playing along to practicing. (The iazz and Latin
i the original recordings of those secdons may take more time
i sonSs---the performer is listed, because of the level of difficultY
PRACTICING ! ragher than songwriter-which involved.) Then, go on to the
THIS SECTION ! are readily available. (The next page.
i album is not listed because the
SITTING IN aod VAruAJIION
Tlre mcasurcs ln cach llne on ! songs often exist on more than
these pages ale not Dca[t tÍ) ! one album.) Scctlons
be Í€ad ln succ€§slon (§/ith the Àt the end of each section there
exception oíthe SITTING IN i whil. you nvry s,ant to go arg play-along Pages which
pages). They are to be Practiced i directly to the type of music You coordinate with rhe recordings,
repeating any'pattern" measuÍe i prefer, considergoing back to called "SITTING IN.' These
thiee times, followed bY a "fill" ! óther styles later. You're more pages put some of the assoned
bar. You can mix the Pattern ! than likely to find that certain beàts and fills into Practice. You
bars with any of the 'fil1" bars' i beats and fills may be adaPted to mav listen to the full recording
Vhere there are Íwo-bar fills, the i your playing, regardless ofYour witÍr the drums, then tum off the
pattern bar should be PlaYed ! music style preferences' right channel and "sit in" as the
ónly twice before playing the fill. drummer.
The idea is to always create four- For klts l,ar[er than four
bar phrases. You can often plecea: feel free to exPeriment
The "YARIAIION'section at the
combine two one-bar fills to using different toms when PlaY-
bottom of some Pages will give
cÍeate a two-bar fill. ing fills. The rhythms can be you more sugSestions and ideas
plàyed on assoned drums and
io further enhance YouÍ PlaYing.
Again, use the methods of Prac- ihe written Íïlls are onlY a samPle
tièe that have helped you in the of the syle.
past: l) count rhYthms carefullY;
2) try combining two or three From the "DailY rvorkouts"
parts before playing an entire you've seen throughout this
pattern; J) "hear" the Pattern in book, you should now have a
your head; 4) always staY basic understanding of the nature
5ó TEÀCII YOURSEI.Í TO PtÀY DRTIII§ www.cliqueapostilas.com.br
ROCK
(Cree<Ience Clearwater Revival)
Eafly as in Jobnnie B. 6oozJe (Chuck Berry) ancl Proud Mary
J= rm-ro
Patterns (One-bar)
(Two-bar)
Fills (One-bar)
@ O6.-roenwinnmsmrs.
(two-bar)
VARIAIIONS
A Try rim shots on the snaÍe for an extra "kick."
B Play the hi-har on all four beats or play the ride cymbal pan on closed hi-hat.
c Instead of constant eighth nores on the ride cymbal, ocasionally mix in quarter notes.
PÀXI lV. flÎlilb óf^l) c ÍILLJ
ROCK
Hard/Metal
as in Putple HazeQimi Hendrix) and welcome to tbeJungb(Guns N' Roses)
J =surz
Patterns (Opl.dy cytnbal d Panlal! oP.n iÍ-h.t.)
Oz @-)-
(OÉ.---.ít, cflód d paÍlh{y ogon li+81.)
@- ï >i ï
Fills (One-bar)
RLR L RTL L
>.à> >
@
>> *nlb
n2 qffi
(Two-bar)
'@1".
VARIATION
Experiment playing with the hi-hat on beats 2 and 4, then on all 4 beats'
58 TI'^CH YOUR§[tf TO PtÀY DRUIIS www.cliqueapostilas.com.br
ROCK
Disco/Dance
as in Tbnller (Michael Jackson) and lzogne (Madonna)
The pattern for disco or dance music primarily revolves around the following hihat rhyhm, which
emphasizes the "and" of each beat:
Patterns
* ï . o+o o+o+o+o
'='*.t*ï
rxiu,rl I I I I I I I rbasicbeatis
createri by
oaata aaÀ
ÂÀiâ
bass as follows:
o+ o ilt{b
These next patteÍns incoÍporate sixteenths on the hi-hat. First practice snare and hi-hat before adding
bass drum. RLRL
@* o + o + o + *rr//, (0.__:_.tW
Pattcrns &-10 have the right hand playing only on the "and" of each beat.
@ . z . .@ . a .
VARIAIIONS
A Play patterns 1-4 without hitting the hi-hat on the beat (only on the off beat.)
B Practice pattems 8-11 with the hi-hat opening on the offbeat and closing on the beat as in
patterns l-4.
C Patterns &-11 may be played with the ride-cymbal pan on the bell of the cymbal or closed hi-hat
(for hi-hat, open and closed as in B.)
PART IV. PTAYING BEÀTS & fII.tS 59
ROCK
Reggae (Ska)
as in Red, Red \Vine (tJB40) and recordings of Third Vorld, Peter Tosh, and Bob Marley and the rVailers
There is always an accent on beats two and four with the bass drum and snare, though it is not
marked. As with disco/dance music, the ride cymbal paÍt is played on the hi-hat, which is opened
only when indicated.
) = szrto
Patterns
o
B rrR
VARIAIIONS
A Use cross-stick rim shot on the snare drum for the patterns, which is very characteristic of this
musical style. r
B Try using some ofthe disco/dance beats, placing the bass drum on beam 2 and 4 rather than
what's written.
-
c As in jazz beats, swing the rhythms a uit t Í'] J ) l-r.. page 70.
t
13. .. lï!Ï.'.',]I::i',.:9 l:i.?l:T: www.cliqueapostilas.com.brI 1
ROCK
FUnk as in play Thar Funhy Musrc (Average rVhite Band) and Brich Houv (The Commodores)
Of all rock styles, this is the most complex, so you'll need to take extra time with this page. The hi-hat
should be used inslead of the ride cymbal on Pattems l-3.
Panerns ,J = u-r tz
o
(Hi-hat)
Fills
o /e\ (Hi-Ha0 à RRLRD.B.s. @
LRL>.
VARIATIONS
A Patterns 4-9 may have the ride cymbal pan played on hi-hat.
B Try playing steady eighths, rather than quaners, on hihat (with fcnt).
PART IV, PTAYING BEAT§ & fI[tS
www.cliqueapostilas.com.br ó I
ROCK
Shuffle
as iA Doctor My E1,es (ackson Browne) and Bad, Bad Lerol Broum (fim Croce)
The shuffle may be written in eitherf, or § time.
J r* J. ro'
§ t=l.z-ttz
Patterns
r3r
.r.-: -J )
o
Fills
RLB L trnire
Also seeJAziz.-Shutrle (page 7r) Íor pattern and ffll tdeas applicable to nock-style playinS.
67 TEACH YOUNSELT TO PIÀY DRUIIS www.cliqueapostilas.com.br
EARLY (' @s\ nn o"y ptterrc and fttlsfun pge 56

You'll note on the recording rtrat the drummer plays quaner notes on panially open hi-hat until measuÍ€ 25,
then the ride cymbal is played near the bell wirh a mixure of quaner and eigtrth notes. There is no count
off for "Jess's Night Out; since rhe guiur sets the tempo, and notice there are pick-ups at the beginning .
sËffi: there is a type of

shonhand to indicate this
measures of whole ress). For
example, eight bars of rests are
indicated as:
The number above this
extended rest indication tells
you how many measures to
resr. You'll see this at the
beginning of Jess's Night Out."
(rather than having several
(r0) Ft
tr
FiI
oo) |
- lrolcl lirr
krrrgrr llutr
nrtrt valut'
À e, the end of Jcss's Night out," is aJentnta; anolher music
Wi:1ï,';:ï;Í"'l:iJi:#,:,ï:.r.ii:f ;,1ïilll:lïïffJ,1"
value. An accepted rule of thumb is to hold the note at least 1-
l/2 times its value. The fermata is encountered most oftcn at rhe end
of music, but also may occur at the end of a music secti<.»n.
PART IV. PTAYING BEATS & FIttS 63
M ETAL use patterns 1, 2 ë 6-9 and filts 3 & 5 lrom page 57

On the recording, the drummer uses a very active sixteenth-note patteÍn on the bass drum, which fol-
lows the bass guitar line. lt is very effective, but any of the more basic patterns mentioned above wíll
work. As "Shattered lron" is driven by a sixteenth-note feel, sixteenth-note fills are desirable. Notice the
frequent downbeat cymbal crashes on the recording, typical of this drumming style.
The term ad Hb, (from the Latin ad libitum) simply means in modern usage to be
creative. When written in music, it often indicates to elaborate on a given patteÍn, playing
what seems to fit within the context of the music. You'll see this at the end of "Shattered
. Iron," letting the drummer know to create a solo.
Shattered lron
P. Wilson
orum Sob
db. Fi[
GuitaÍ
rtA
^
Sor,
^, I
-
N<xe thc slashes at the end of measures 3O and 32. These are curiously referred to as "railroad tracks."
They indicat-e to halt the tempo, making a break or cut off before going ahead.
TEACH YOURSDLf TO PIAY DRUMS www.cliqueapostilas.com.br
REGGAE use any lntterns andfrilsÍrom Nge 59; be sure to "suing" tbe rbytbms 6ee page 70'
On the recording, the drummer adds cowbell (mounted on the bass drum) on the Íepeat as interplay
the
wittr the hi-har Àythm, then uses the bell of the cymbal and, finally, reuÍns to hi.hat' Throughou-t
off on
tune, rhere are livlly punctuat;ns within the pattérn ro a<td rhythóic- interest. Note: the count
thi recordingequati àrgarÉ§, notquaíer notes('l -2-3- 4 - "1 + 2 +")'
Better Way, Brighter DaY

P. Wilson
(6)
FUNK ute any panerrrs andfilbJrom page 6o

Basically, "Reflex' is a groove tune without a melodic line' The
drumméi uses a mixtuÉ of syncopated rhythms on the recoÍding
revolving around a sixteenth-note pattern'
Reflex
PART IV. PTAYING BTATS & IIII,S
COUNTRY
BlUegfaSS as in Foglt Mountain Brealdown (Flattancl Scruggs) ancl various Bill Monroe recordings
"Pure" bluegrass does not utilize drums, but nowadays drums have become somewhat accepted by the
open-minded.
Patterns )=l.32-ts2 Wilh bísh€s
(oír dGodtÍ-hal)
(D WithbnstEs
@ @
(Opt. cÍo§-sli* Íim 6hot on snaÍs.)
-3-
Fills
o
tfi'J )r
COUNTRY
Eafly ,s in Your Cbeatin' Hearr (Hank§tilliams) and I m lValkin' tbe Flwr Ouer I/oz (Ernest Tub)
Patterns J =so-rzorJ.-:'i'l ,
O CG€lid íÍn shol on Enm (at pattrlË)
Fills
VARIATION
For the patterns, the cross-stick rim shot may be played on snare in the usual fashion.
66 Ï8ACtr YOURSILT TO PL^Y DRUMS www.cliqueapostilas.com.br
COUNTRY
WaltZ as in Tmnesw lValtz(vanousvocal artists) and Momma, Don't lzt Your Babies Grou up to k
Coraàop (VaylonJennings and lVillie Nelson)
Patterns J =m-rzo, rJ i') ,

(OÉ b(§h6qrc-8lirr
rimshorglllm)
O @
COUNTRY
Shuffle (Rock-a-billy)
as in Clazy Arrns(Jerry Lee Lewis) and Don't Be Cruel (Elvis Presley)
Patterns )=rn-tu,J-l'i'1,
Fills
Also see ROCK-§huffle (page 6r) andJAZL§huffle (page 75) for pattern and Íill tdea§
appllcable to country-style playln&
PÀRT IV. PIÀYING BEÀTS & IILIS
COUNTRY-Up Tempo (Fiddle Tunes) ^s

in OldJ@ Clarh and Boilin' tbe Cabfuge
Doumby various fiddle aÍiscs
Patterns tf.-l'i'l r
J«*Jro'f,1=rrz-tu (S. sml)
o @
tI-hat
oÍo68-slid( Íim on
COUNTRY-ROCk as in Lyin'Eyes(The Eagles) and Ramblin'Man (The Allman Brothers)

Patterns J = lr2-los
o @>l @;------:
COUNTRY-"Train" Rhythm as in Orange Blossom Spial(various fiddle anists) and

Patterns Fokom Prison Blues (fohnny Cash)
) = tC4-tzO (gírdosodhi-rE$ (Wih bíustEs)
^
o @ (wit,l bíushes tr sticr§) Q)
VARIATION For COUNTRY-Rtrck: the ride cymbal part may be played on closed hi-hat.
TEÀCH YOURSIiLT TO PIAY DRUMS
WALTZ u* any pttt ts adfills fun tbe top batÍ oÍ Pge 6

Notice how the drummer on th€ recoÍding reinforces the bass SuiraÍ with the bass drum in the second
bar of each phrase and somerimes at the ànd of phrases. To kéep a simple quality to the music, the fills
are light in character.
In the waltz betow, you'll s€e "Il§ el U4'

(D..§. is an abbreviation Íot the ltalian dal
@
Cdato
sssno). Read the music as you normally would until you see the "D.S.' Then go back to
rhà sign $ until you reach the second sign O. At this sign, you immediately lump to the
end the rune.
Buckaroo Holiday Waltz
"TRAI N" RHYTH M use aq) patterns and filk lrom tbe bottom of pge 67
Here, you'll encounter a D,C al Ma very similar to the.D.S. al Cda you've iust leamed. The same
instructions apply, except Íather than repeat lo a sign upon reaching "D.C. al Cda," you return to the
I
beginning. (Vhen you reach the you go to the Cda,like you did with the D.§. al Cula.)
On the recording, the drummer occasionally chooses to change accents on the l6th-note snare
rhythm. Be sure not to let the odd phrase between @ and the r) throw you off---count carefullyl
PÀRT IV. PTAYING BEATS & fItts
CO Trrd.lt
L§IÏ]NgJ GxÉCouÈrl _
Billy's Burlington Express
P. Wilson
(.) (8) {'r0} (r4) Fiil----------------
ROCK ue any ptteí?ts andfillsfrom tbe middle of pge 67

Hffi
D'9:9! cao
Cda "Y
i ó {}ï
Occasionally, a cymbal crash is thrown in on the recording to

emphasize the end of the phrase (measures 9 and 22) or the
beginning of a new one (measures 11, and 32).
Chicken Wired
E.
(Hl-h8t) *,ff P. Wilson
D.s.atcdoc*a
\7
TIiACII YOUR§IitT TO PIÀY DRTIMS
triplct rhythnts. However, tlte rhythms (or dotted eighths fol-
lAzz music is generally not written lowed by a sixteenth) arc to be
with triplcts. As a result, the played as tÍiplets:
Jazz music, paniculaÍly of an
earlier era, alnrost alwaYs has a
"swing" feel that often emPloYs
written Ínusic will often include
an indication that eighth-note n'))'fi'J)
r3r r8r
As a result, this wÍitten rhYthm:

J J.-].r J:l
orthis written rhythm:

J r]J J'],
r-3-- r3-r
is played like:
a-
J J-hJ J"h
--
Look for the indication to "swing" the rhythms in exercises.
it.lynrc'swING' -
-
RI{YTHMS ON =nl =trt
CYMBAIS le J
The "swing" rhythm,
(Arrows indicate stick
which is often
played on the - movement; dots
indicate where
ricle cymbal or stick strikes
hi-hat, may be 7t ,t cymbal)
executed as \- \ \-,
shown in the
diagram.
'? '? '? :::
:l i
Counl: "2 .h 3"
nI
'./l ah
Because of the strong accent on 2 and 4. This movemcnt is

i beats
beats 2 and 4 ïniazz, it may feel ! very slight, but helps crcatc a
natural to let the stick bounce !o i relaxed feel.
the left or right after playing on :
liil l':.1'il'L'.::T.'.-. :'lï....1 I
tMz
Up Tempo
as in Setten Stqs b Heauen (Miles Davis) and Giafi Stqs (ohn Coltrane)
rVhen playing faster tempos, there is a gÍeat temptation to become tense. Don'tl Try to stay relaxed at
all times. If you're tense, youÍ playing will sound "tense." The doned-eighth sixteenth rhythm f.l. JJ I
sounds more like eighths ( n )) rhe fasrer the tempo though, retaining a lively swing feel.
)=sz-.o <fi'J ) I
Patterns (One-bar)
o
The next three patterns utilize a cross-stick rim shot. (See explanation on page 36.)
Mixing placement of the doned-eighth, sixteenth rhythm on the cymbal is an earmark of up-tempo iazz
time, But the faster the tempo, the more playing straight guarters (as in pattem l) makes musical sense
because it sounds less cluttered.
r3r
@
(r'l J), (3)
-rrR
J
@..R
--t t
ÏEÀClI YOURSIiLT TO PI.AI' DRUM§ www.cliqueapostilas.com.br :

I
)
l
tMz
Blues as in stormy Monda,(BillieHoliclay) and l,m a Man(Mud4y Vaters)
Even though the accents aÍe not nrarked, there should be an emphasis
on all 4 beats,
Pafierns
panicularly on 2 and 4.
)=a-to <fi'J )l (Q. cÍ6-stir( rim shoa d boat 2)

@ @
LLB
Fills
@=. @=-9. iï"1b"oï 3>
Í tr
lAzz
DiXieland as in W'ben tbe Saints Go Marcbing Inand Basin Street Blues(^s recorded by various
Dixieland anists).
J=88-ro8 «J.-J i'll

o @
Fills
a
^
(0)
(cdBeÍ)
>-- t- t
R
-L B .3j
VARIATION A llhres: Plev the ride B Dixieland: Ritle cyrnbal may lt played on hi-hat,
73
PART IV. PTAYINC BDÀT§ & TITIS
lMz
Ballads
as in Wben Sonny Gels Blue and My Funny Valentine (various vocal and instrumental artists)
In order to cÍeate a soft, subtle rhythmic efÍect Íor iazz ballads,

brushes are often used. Playing with brushes is an art because the
technique is quite differenl from using sticks.
one of the most widely used techniques is having the left hand on
the snaÍe make a circular motion to create a continuous'swish"
sound. (Note: You must have a coated snare head-not smooth
plastic--+o get the proper sound.) The right hand plays rhythms
on the cymbals or drums. Colrtemporary Brusb Techniques is a
great book if you wish to further explore this subiect (see listing
on last page).
In the brush beats below, the left-hand swish sound is notated as a

roll. The ride cymbal part may be played on the snare or hihat.
-3-
J =os-{, t JIJ'J .h I
Patterns
VARIATION
To keep a light sound, omit the bass drum in patterns 1-ó.
TE.{CII ÏOURSTLT TP PLÀY DRTIMS
www.cliqueapostilas.com.brrI
i
,
l
lAzz '
Straight Time/Swing
asin&/,i,lDoII(DukeEllington)ln<]Tbemelothe,PinhPantber,,(HenryMancini)
serve as "light" fills' as well as
Pamerns Parterns I-4 are typical of basic time. Pattcrns 5-12 may also
<xcasional i*"'- iiii tio"ta atuavs b a'sligbt accmt on beats 2 and 4'
iiiíret "rti",iiíïït
otuïi'Àà*a. (Marked accenrs on-bears 2 and 4 are heavier.)
""t
,J=m-r:z rJ-l'i'lr
o
Fills RL L
RLR
oï RL
>3
B1 ! L
?n R@
>3 >J> LL3 R LR
RS3
L
VARTAIION -a
Conrinue Ínixing pauerns l-4 playing the ricle cymbal rlrythm « J J.J I on different beats
to create
A
new patterns.
B Although it creates a "heavier" soun(I, try playing patterns 1-4 with the bass drum playing on
beats I and 3.
PÀRT IV. PI,ÀYING BEAT§ & fItLS
lMz
Shuffle
as in Nigbt Train(Duke Ellington) oÍ lust a Gigolo(cabcalloway or David ke Roth).
In playing these beats be sure to accent 2 and 4 (sometimes referred to as the "back beat"). If you have
difficulty, first try playing with,l ,s on the ride cymbal, rather rhan th. fi rhythm.
Patterns .l=8Èr:z <f.-l -j'l I
The shuffle may be inS as well asl.
^
76 TIi^CII YOURSILT TO PLAY DRUMS
lAZz
Waltz
'as and Kittd ol Blue (Miles Davis)
in waltz for Debbie(Bill Evans)
quick and should not feel heavy'
For this style, rhe tempo should be felt "in one" since it is fairly
-l-
J = ttz-reot JII'J .h I
Patterns
Patterns 7-9 are a<Jvanced as the hi-hat does not play on the beat
VARIATIONS
A Play all patterns with brushes.
B Play hi-hat on 3 instead of 2 on patterns l-6.
PANT IV. PTAYING EEATS & FIttS
SITTING "1N.,.*._
D lxl ELAN D us. any pttems and fiils lrom tbe bttom balf of page 72
11
.p",: other than.indicated here, the drummer includes a few light fills and accenrs on the recording.
Also, when the melody rerums after solos (at the D.S.), the backbeat is emphasized and there *oi.
Íills at the end of phrases. "r.
D.S.alCdo
Fi[
------------t
BALIAD use anypauetns andfitklrompge 73

cot*rn
You'll notice on the Íecording, there is almost no bass drum, yet
f1
there is a fair amount of rhythmic activity. The key is keeping a
smooth flow. This son of playing would be totally ineffeciivà
with sticks. Cmcmt ',
,;. \ll mll
\=.t|II-l.\-J
Left
Brushos (ad rö.) tr - P. Wilson
(4)
TEÀCH YOURSDTT TO PtÀY DRUM§ www.cliqueapostilas.com.br
swlNc & SHUFFLE ue any pïeftts and fitb from pases 74 and 75.
to big-band drumming-a subiect in
As much as rhis is a study in two iazzstyles, this is an introduction
you'll f*; above the staff which servàas cues' These indicate when
irselÍ! occasionally, ";;[.;;"ies needs to fill before the§e spots
the ensemble is playing; tnir ir .-.irl i.iormation because the drummer
sometimes the kicks are
ro "ser up, the ensemble "*[r.;-iirÀ to how this is done on the recording.
otheÍ times ,t.t ,Ël àni 3- or 4-beat Iong fills before a powerful
nor ser up with fills-iust
ri,t.n"...n,.a;
t pà",iÀtió-*à"utt don't foiger ro switch to a shuffle beat'
.Ài.rulË entrance. Sl
r3r
Count"Knuckles" In J-:* n' J ) P. Wilson
Lhhr Fill
l3A (sax., Íó.)

,tr,- | n,
(BsB)
PANT IV. PI,AYING BEAT§
www.cliqueapostilas.com.br & IIILS
WALTZ use any pattelw and

lïlhfrom pge 76
iili?ïT;ilr;,ï'f#1ï5,m:ï'.ï,",lii:;
w.ale pattern heard on the recording
ot.particular interest ro lisren to
rr. r"nr. f, i,
@ ,ff'*iïrnï{d;l;Ífm
*fí,f,.
Vhile.this is advanced playing, y"Jri;Ëàï"íirïi] -
Ar measure 23 below, "Trpt Solo,
Play 32 bars" is the equivalent oi
to pick up a few techniqués ro b.;bË writins
Jz measures of repeat sign for each bai
pmctice. It
arso saves space and is easier to
read!
Life in the Sahara

(Bass soto)
tr P. Wilson
n,ff (4)
(4) Fíl
' í6| lO
la
.- (Típt
Ë Play rZ nars
Codo
s
80 IÈÀCH ÏOURSIiIÍ TO PtÀY DNUMS
LATIN
anists)
Samba Às in Otte-Note§amhr (Stan Getz) or Erazil(various
Patterns (two'bar) J =oo-rol *,'G*Yiroy)
@ F""rl*Óri @
Fills (Two-bar)
LATIN
BoSSa NOva as in Girlfrom lrynemo(loaoGilberto)
Patterns (Iwo-bar) ) =ez-rtz
Fills (t'wo-bar)
LATIN
CalypSO as in music of various Trinidad steel drum bands
à*à.h.
Fills
o Z @nL RBL F
R.S
VARIAilONS Try using closecl hlhat f<rr the ride cymbal pan on Bossa Nova patterns'
PÀRT IV. PIAYING BEATS & fltts 8I
LATIN
Cha Cha as often used as the style for Teafor Tunand Neuer on Sunfuy(various artists)
Patterns (Two-bar) .l = rouzo
LATIN
TangO as in Hernando's Hideaway or Jalonsiefuartous aÍists)
Patterns J =90-r12
O@
LATIN
Mambo
Patterns (Two-bar) slow J =e2-132, Fasr J = t44-r?6
^ Sbu
(U,
82 TEACH YOUR§EIf TO Pt^Y DRUMS
LATIN
Rumba (4/4 Bolero)
x in Tbe LadY in Redand TemP'ation
Cí6s-sdd( Íim slEt
Pamerns
@a nln I a LRL
OnFtF!8t.6@= =..j.@=,
LATIN
Beguine
as iÍr Bqin the Beguine(various artists)
Cffi-slict ÍÍn 6hot
Patterns L RLBL
@RR >@a-l
@
R L L BO
VARIAIIONS
A Play the hlhat on all four quaner notes
strokes
B Experiment using cÍoss-stick rim shots, in place of snare
C Throw snares off.

PÀRT IV. PIAYING BIAT§ & fIILS
BOSSA NOVA use an! NïeÍns andlitbÍrom tbe middb of pge 8o

on.the recordinS, there is little variation from the basic two-bar pattem. (you saw the basic pattern
earlier on page 36.) Note the rGbars are repeated twice (playeà a total oi three times).
El Ultimo Baile gm" last Dance')
r-3-_-_
CDTnd.ta
CALYPSO use any patterns andfilblrom tbe bonom o/page gO
Seed Man
+o+o+
*trj
+ o + o+
TEACH YOURSETT TO Pt^Y DRUMS www.cliqueapostilas.com.br
Cha Cha, Tango & Rumba Le appropdate pttuts andfilbfrom pges 81 and 82
long' Notice how the bass guitar lines

This is a medley of three lJtin dance beats. Each style is 16 bars
help disdnguish the three dance rhyhms'
A'mour S'more
P. Wilson
(Cha Cha)
IV. PI,AYING BEATS & TILIS
SPECIAL REQUESTS
Polka
Pattern J = x-lzo
WaltZ Abo seeJazz-rValtz (page 55) and Country-rValtz (page 70).
pattern)=w-ns J=*_so tl§
ï*ï*'J 'J^
Mexican Hat Dance

Pattern verse (four-bar) J. = rur rz
is"ff i1-----------
F.S. is;;Ëd
Pattern chorus (nro-bar)

(Opl. b3{ ot cym.}
Charlgston Fills from polka, above, may be used here.

Pattern (two-, four-bar) J = en-r rz
't.- www.cliqueapostilas.com.br
86 Tli^CU YOURSlitf ro PtÀÏ DRUMS
SPECIAL REQUESTS
Cancan
Pattern (l'wo'bar) ) = n2-tu
o
Hora page
ifi"* " a secon4 secri'n for which you may usc the polka beat fr.m the previous
Patterns (First-section) ) = 'r2-t32 Fill
lrish Jig
Pattern (Two'bar) J. = ro+-rzo
Two-Steo
l'olku helts'may bc used as well
PaEerns )=nz-ru
@tY 6.y J=oo-,rz
Bunny Hop/" Hokie-Pokie" Fill

Pattern (Four-bar) J =eo-ttz (Fd lasl baÍ oí Paliem)
P^RT V. ODDS & ENDS
§i1' Odds & Ends
KEEPING YOUR
EQUIPMENT
IN SHAPE
Drum upkeep doesn't Íequire much
effort provided youÍ set is in good
slrapelo begin with. Firsr, you
should become familiar witÍr rhe
-rl
#
pans of a drum.
rla
Probably the most regular effort will
consist ofchanging the heads when
they are worn oÍ broken (see the
I
I
next page for a guide on changing t
them). Ar rhis lime, ir is good to -
check for bent screws, broken
:t
i
snares, warpcd rims, faulty strainers J tr "
and cracked shells. The screws , 'l 'lt'

should bc clean and have a light ' ,:, §d
j
j1
coat of lubricant (such as a lighr
grade. ofoil oÍ grease, silicone spray I
or a dab of Vaseline).
The pedals for the bass drum and

hi-hat require occasional lubrication.
Once oÍ twice a year for sets played
regulady is often sufficient.
It is a good habit to cover your set

when it's not in use. (This is assum-
ing you will keep it ser up in an
area for daily practice anà not tear iÍ
down,_ placing it in cases every day!)
An old, but clean, sheet wlll pr<xó
it from dust and din.
The cymbals need little atrention

outside of an oc.casional polish.
H«.rwever, NEVER use an abrasive
cleaner. There is cymbal cleaner
made.for 6rlishing, but it is surpris-
ing what a little non-abr:rsive rcap
and elbow grease will do. It is
imponanl to regularly check the
felts and plasríc sleeves on the
stands to see rhat they protefl the
cynrbal fronr contact with the stand.
Not buuirtg tbe slceue; und felts can
lead to a crack h yctur cjtàfut!
ITAL}I ïUUK)TL} IU TLÀI UTt UJ
REPLACING A i 6) Pl:rce the new head on the fhe tunlng can be done bY
! rim, nreking strre it fits firnrly tapping at the edge of the drum
DRUMHEAD ! against tltc rim. near each individual ltrg. Lightly
: place your finger to eliminrte
The Íirst time you break a drum- i 7) Place the hoop over the unwlnted overtones. Listen to
head it may seem cetastroPhic. the pitch. If it is higher than the
i head, again rnaking sure it fits
You can't do much of anything i snugly oveÍ the head. others, l()osen the lug slightlY,
on your scr until thc hetd is apply pressure to the head
repleced. If you are rcally fear- i al vith your fingers, screw the niornentarily with your palm and
ful of doing fix-it type work, one i x'rews into place. (lf needed, tap again. If it is lower in Pitch,
option is taking it to a music i clean and lubricate the screws tighten the lug slightly. Continue
repair dealer for replacement. i u'ith grease or a dab of Vaseline tapping :rnd adiusting until the
i before replacing). The scrcws pitch is the same at each lug.
If you are serious about being a i should be tightened only with rVhen this process is completed,
drummer, however, it will be : slight finger pressure. you're ready to get back to
nccessary-and really not so :
playing! (Note: It is normal for
hard!--+o learn how to replace a i 9) selecting any lug, start tight- the drumhead to stretch a bit
drurnhead. You will necd to i ening the screws making two full over time, so you may want to
,ncasirrc the lreacl size and i turns with the drum key or check your drum and fine tune
specify wlrether it's a brtter head ! wrench, working in a pattern once a day until the stretching
(thc side you play upon) or i across the drum as shown: callecl stabilizes over a few days.)
snare hced (the undercide of a
! cross-tension tuning.
snare drum). Hcads are avail- one final note: There is often
able in different weights and the fl'ar that when you tighten a
thicknesses. You may went to head, it's going rc poP like a
consult your nrusic dealer for ball<xrn because of crackle
suggested replacement, depend- sounds. This almost never
ing on the type «rf drum and the happens. Heads are tested to
son of sound you want. Follow- withsÍand an enormous amount
ing these steps will make chang- of pull. In the rare occurrence
ing a head relatively painless: that you tighten a head and it
breaks, the head may have been
I ) §íith your drum key (or a defective to begin with. Consid-
drunr wrench), looscn all the er taking it back to the dealer
screws, but do not pull the i and asking for a replacement.
screws out of the hoop.
i t0) nepear this pattern. If it
2) Lift the hoop away frorn the
; seems two full turns may be t<.ro
shell leaving the scrcws hanging :
i -..^L reduce :rit i^to one
much, -.,.1.,^- ^^- or
^? one-
^^-
loose in the hoop holes. i and-a-half turns.
J) Remove the bad head from
1tt I R"p"rr lhis partcm as much
the shell. i as is nccessary to achievc the
correct tension, reducing the
1
4) Check wood-shell rims for ; anrount of the turn at each lug
any imperfections. Take it to a i with each Íepetition of thc pat-
service pmfessional f<rr correc- i tcrn. Bctween each pattern,
tion rather than atteÍnpting to ; apply pres.surc with your palm in
sand it (which will ruin the rim). : the ccnter of the head in order to
! let rhe head "seat" with the cdge
5) Wipe the shell clean with an ! of the drum. Check the tcnsion
only sligbtly damp, clean cbth. i by tapping the drumhead.
Vipe it again with a dry cloth.
(It may be a good idea to turn i
the drum upside down and
!
shake it a bit to get rid of any
:
foreign obiects or dust inside.)
P^RT V. ODDS & ENDS
89
TUNING snare, but this would be a rather thicker head will endure heavier
There are almost as many exceptional situation.) The playing more than rhin heads.
approacltes to tuning drums as toms are tuned highest to lowest As you would expect, medium
thcre are players. It is a very with respect to rheir size. heads characteristically fall in
impoÍrant consideration since it the middle.
has much to do with creating You may not want to tune both
"your sound." IJecause it is a heads on a dÍum to the same Over the years, special heads,
personal prefercnce, no onc can pitch. On the snare drum, it is s_uch as "hydraulic" (containing
tell y<,lu how your drums shoul<l usually preferable to tune the fluid to dampen sound), sound
hc tuned. The typc of heacls top banerhead lower rhan the dots (a round dampcning patch
you use (discussed below). snarehead. rVith toms, tuning rn tne center) and pin stripes
m;rffling (see page 16), rhe type the top head highgr than the (which is a sort of two-olv
oÍ muslc you play and your bottom will make the oirch head) have been manufaótured.
own taste will be factors. How_ bend upward. Tuning the top Generally, transparent and
eveÍ, thcre are somc tips that head lower than rhe Éttom smooth-coated white heads are
may hclp you achieveihe sound creates moÍe proiection of the favored by many because of
you are looking for. As with drum sound. The common their superior lone. Jazz drum-
othcr aspecÍs appÍoach with the bass drum mers often use a rough-coatecl
<tf drummins. heads is to tune the head that is
much will be accomolishà batterhead on the snare for
played upon higher in pirch effective use of brushes.
through experimentition.
than the front head. Again,
Firsr, it is desirable to have even there aÍe no hard-and-fast rules,
tension at each lug. Any turn_ so experiment.
rng ot a screw should be dupli_
cated. with all screws (assuming At.the end of the recording, you
that there is even tension across will hear the individual sounds
the lreacl to begin with). To ofêach drum. This is only for
c'heck this, slighrly muffle the reterence purposes, giving you
drumhead with your finger at an idea ofhow one profqssional
the ccnter and tap close to the chooses to tune. Ifyou feel
rim at each p«rint where there is your set is poorly tuned, this
a screw. (The opposite head reference can serve as a starting
should bc complerely mufflecl poinr for tuning your kit. The -
and if y<-ru're checking the sounds you will hear are unmuf_
snare, the snares should be off.) Íled. So^me degree of muffling,
If the pitch is rhc sanre, thcrc is at leasr for rhe bass drum, will
even tension. At those points be clesirable.
where the pitch is lowcr or
higlrcr, tighten or kxrsen the
scrcw to match pitches. Do this
Drurnheads are available in
with lxrrh heads on each clrum.
diÍfLrenr weights ancl styles. As
with runing, rhe type oimusic
Y<>u will want to consider the played and sound desired, along
relationship of pitches hctween
with the volume ar which ihe
each drurn. Or«Jinarily, the
drummer rcnds t() play, will be
snare is thc highcst pirche<l
cleciding factors in rhe choice of
drunr and thc hass drunt is the
heads.
l<lwcst. Onc approaclr woulcl
l)e t() tïrst find thc sounds vou
Thin heads have more attack
likc with thcse tw() drunts, then
and tone, and project more,
tunc the «rrns bctrrvccn thc
than thick heads. Thick lreacls
snarc:rnd bass. 0l you havc a
have lcss proiccti()n, but a dull
lllrl.lc sct witll nl:ln) t(»tls, y()U
attack and litrle ring. (Of
r)liry want tlrc sntellcsr toni ('()ursc, thc:lnl()unl ol ring can
e'qtral «r ()r cvr.n lrigher than thc
l^* nxrditied with muÍfling.) A
IËACH TOUR§ELI TO PtAY DRUIIS www.cliqueapostilas.com.br
"fun." This doesn't necessarilY iTAIGTIME

BEING YOUR OWN have to be the case. You maY have a tendencY to
TEACHER rush through one Page atter
The drudgery of working on the anotheÍ in-a race to gct through
In order to teach Yourself to PlaY basics-and it is woÍk!--can be the book. This will get You
drums, you must PlaY the dual successfu llY intermingled with nowhere fast. You will be
role of student and teacher. more enioYable asPects of cheating Yourself out of the
Here are a few suggestions for playing. . . like PlaYing along oooonunirv to leam. If You aÍe
approaching this role. with recordings or iust banging serïous about PlaYing, You will
oui some beais You know and allow time to learn one Page
NEADTHEBOOK love to PlaY. ManY students Íïnd
Yes, if you wantd to read, You successby dividing theiÍ practice
wouldhave gone to the library' time between work and reward'
Because you want lo PlaYtÉ You should begin Practicing bY
drums, you maY be temPted to warming uP with one or two information and exercises in
,rs. onlv the caisette or CD and Technique-Builders' Then, the these pages to Provide even the
most talented beginner with
;ust play along with rhe SITTING focus of your Practice session
IN sections. There is nothing should be whalever has given ,,r4zl months of study'
tcrribly wrong with that' You vou the most difficulty in Prior
u,illlezim much bY PlaYing along iractice scssions. Then, after THINK NEAT§TICÀI.fY
and. . . il'slurd Qbat maYbe iraving spent the maiority of YouÍ Everyone hoPes to be a success
your sole puÍPos€ for learning to oradÈe iime working through ,t wÉatever endeavor theY
play.) However, You will get Lroblem areas, reward Yourself undenake. Yourdream maY be
ànly so far using iu$ one Ponion to buv a drumset, sit down and,
of this method. Llli,'::,o"fi r,ï,ï,Ïl ;-ilt. in a week or two, be PlaYing in
word, disciPline, but it PaYs ofÍ! front of thousands of screaming
The more You want to imProve fans. MaYbe You will eventuallY
your playing, the greater the PÀY ATTENTTON TOVH/\'T become a fine drummer. But
iinoonance of takinS advantaSe Y(XJ'RE DOING don't exPect this to haPPen
of what the text has to offer. Stop and think for a moment overnigËt. Not one drummer has
Don't hesiEte to reread those about what a teacher does' achieved any success without
scctions You find valuable. But Essentially, a teacher observes, oavinc his or her dues. IfYou
be sure to read everYthing at analyzes and Passes constructive i*t i'" make this a fun hobbY,
least once. cÍiticism on to the student' Dut in whateveÍ time Pleases
Vhile you will not have the you. tf your goal is to make this
USE YOIJN PNACTTCE TIME knowlédge and exPerience of a acaÍeeÍ-<ven as an amateuÍ-
SENSIBLY competent drum teacher, you you'll need to get serious about
Most of life's learning activities can observe, analYze and corÍect maintaining YouÍ PÍactlce
stress fundamentals. The ceíain problems if You keeP schedule.
problem is theY are not much your eyes and ears oPen.
PART V. ODD§ & END§ 9t
WHERE TO GO ATTEND CI.IMCS mÀg zine, admitmnce to the
In larger cities at music stoÍes P.A.S.l.C. (the annual
FROM HERE and at universities, workshops international convention that is
and clinics may occasionally be held in a differenr maioÍ ciry
FINDING ATEACHER held. Big-narne anists each year) and more. tf you
If y<.ru are hooked on learning sometimes appear at these ever have the opponunity to
to_ play and are considering
seminars, sharing their valuable attend the P.A.S.LC., rhe
taking lessons, here are some knowledge. Check with the exposure to several days of
things to ask yourself and others music stores and the music clinics wirh the world's top
when selecting a teacher: depanment at universities in drummers and percussionists,
your area to see if they have unusual concerts and the latest
1) Does the teacher have plans to hold a drumset clinic. equipment is simply
experience in teaching and
overwhelming. For more
playing? RF./U) DRTNil AND MUsIc information, write to p.A.S., 701
2) How many students study MAGAZIÀ'ES N\V Ferris, Lawron. OK73507.
wirh the reacher? Can you There are several magazines
speak wirh any of the available, eirher through
students currently studying subscription or purchase from CIIECKOUTOTHEN
wirh rhe teacher? How do your-local music dealer, to help INSÏRUCTION BOOKS
they feel about the instruction you funher you skills. There are many instruction
they've received? Magazines (such as Mrilern books available to help you
Dru mmer) include interviews continue your studies. Your
3) Are there professional with anists, playing rips, new l'ocal music dealer can assist you
musicians or teachers equipment info, question and
who recommend the teacher? in finding a book that is right
answer columns, etc. But don't loÍ you. On the next page is a
4) §íhat are the fees for the overlook orher music listing of some of the books yt-ru
instructicln? Are there any magazines, which often include may want to review.
discotrnr "packages" that ihe valuable information for
teacher offers? drummers as well.
Living in a large ciry will give JOTNPi-s.

The Percussiye Ans Society is an
you more options in your
intcrnational organization
search. Take yourrinre. If you
committed to the education of
dont feel comfortable with ihe percussionists and drummers,
teacirer afier a few lessons, for
from beginner to professional.
whatevcr reason, you may want
Membership includes a
to try another instructor.
subscription to Percussiue Notes
92 ÏDACH YOURSDtf TO PI,ÀY DI'UMS www.cliqueapostilas.com.br
OTHER USEFUL drurn chaís. Great Per§P§live fÍom a conrplete indepcntlence at the druulwt
i
lcxding studio drummer' Vrirten by one of ahe nxrst successtul
ALFRED DRUMSET Druroset Readlng
aulhors on the sublcct of drulnsct
phying.
& PERCUSSION (r24)
Ron Fhl& Internatlonal Drun
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studio musicias, while learning play 50 populdr Frilnk SinalÍl tuncs ()n lhc
llislory. lncludcs complctc rpPlicàlio$
popular grovcs including g>p-r«'k, i'as*ne. ,rlfrctl has rcprintctl thc chuns
lbr the drum*t and two arrangemcnt§
funk, R & B, fusion, Latin and iazz. as a txxrk ancl added Srrflrrtrlance hints
for ten or nrore Percussionisis.
Thcre are pcíormance/listcning and in-studio photos. An idcll lxxlk fi)r
crntemporaÍY Bru§h sugSc$ions for both drummers and rhc dÍummer io follow actual drunr
Technigues bassists. (The rccoÍdin8s have bccn paÍts.
Bmk & casste (2{51) mixed with the drums on the lcÍt
Louie 8(9lhort, Hanb Bellson è Daue channel and the bass on the right xr Rocktn'Bass Drum
Blach thar eirher inslrument can b!'dialed out Book I (134); Book2Q22O)
A complete intr«ludion lo all §iylcs of in ordcÍ to substitute Your own Johil Lomburdo O Churles PerrY
brush playing. lncludes convemional playing, ) fs?xri4, S{Yrs cnlPha§izes A repeiloirc of cxciting Íhyt hmic
bruslr strokcs, Latin brushes, special patterns, includinl| Íw<>und f<>ur-bar
the most imF)íant asPccts oÍ
el'fecls, rclo exercises, rock lrats and a ensmblc-plàyin8:'l<x'king in" lrtween r<x'k and iazz-nrek lxals, dcsigncd t<t
stcrco recording of Louic Bellmn the drummer and bassisa, PÍovidinS a
develop ctxrrdinalkrn tor ttxlay's rtrk
dcmonstnling each example. The talx srong rhythmic íoundation 3nd crealing styles. A very ;xrpular publication.
concludcs with a len-minute drumsi an authentic fccl for each stYle. salsa Rock
vllo. (150)
Fuslon Drunmer kx
Cymbals: A C,rash Crurrc (r49) Jobilrr.y Sci^ntn<) O Waffretlo de
«3[Í)) trqlas
Munal Houilif
DuLe Blach & Milcbell Pelers A complete guide for blcndilrg the
Contains hip beats io the style of sleve
Cynilnb: A Cr..r.sb Corl/§e' is lhe mosl drumset with a Latin Íhylhln scclion.
Gadd, Billy Cobham, HaoeY Marcn,
authoÍitalivc text ever published on the Lenny Vhite and nrany morc. Vorld of Percusslon
subiect of *lcding and plaYing Book (.1336); Casxrtes A & lJ (JJ52)
cymbals, includinS drulnsct Future Sounds: A Book of Emil Richards
applicaaions. Alrc includcs orchestral Crntemporatï Drusr§ct A pcrcussion cncyclopcdia oÍ ovcr 300
§xecrpts. plus inlbrmation on thc Crncepts eihnic drums, k»gs, cynrbals, gt>ngs' tlnr
history of cymhals, special cffects, t|<xrk & Caswtte Tape (273) rams, shakes, wind instrunrcnts, lxlls
Dauid Gariktldi
propcr stick/mallel sele«ion and a and quancr-t()ne vihes. . cvcrytlring
multilangaugc glossary o[ cyrnbal tems. Ar long last, the secrcrs o[ David
fÍ()m the rn()rc c(»ttmon drunts t«r thc
Garibaldi's ground-breaking funk/iazz
Drumsct Club Date Dlctlonary íusion drumming techniques are
nrost bizarrrrunusual inslrumcntr
(Handy Guide) known to man! lncludcs hundreds of
presented in his innouative brxrk lnd
(282) photos.
cassettc taprÍ'í, u re Sou nels.
Sandy Felílstein
FunVjazz techniques are highlighted,
A hip-p«'ket reference for the working
as well as íour-trar pattcrns, gÍ(rcvc
drumnrer, which includes iazz, Latin, FoÍ a pcrcussion catxloS, write to AlfÍed
playing and a sries of challenging (address on back ofthc kxrk)
Íock, ethnic bcats/danccs and more.
cxcÍcises.
Drunrset Hnclples Ihe Independent Drummer
B(Dk & Cassnc (2J95) (142t
Paul HumPbrey
Gary Cbalfi*
A combination bmk and cassettc tape
Dcsigned to develop mental awareness
which contains contcm[rcrury dÍumset
and impÍ()visation taciliry throug.h
parterns alonS with examples of studio

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8 ï8ACH YOUtt§Etf ïO PLAY DRUUS www.cliqueapostilas.com.br

WHAT TO PLAY (continued)

L Tídirioul grip, L liLrckdyiP,

Hold the stick between your thumb and index Íinger

Allow the remaining fingers to curye in a relaxed

§íith your palm facing parallel to the

tVith your palm facing up,

THE ITFT HAI§D-

Close your ring Íinger and little

Allow the middle finger and

THE LEfíf IIAIID!

USING YOUR GRIP-THE WRIST

2) Relax rh€ wÍisr, allowing the stick to

Now repeat *l and *2 a few

L Tbc tigàt uay*Srr1igb, 4p and qow I Tbe wtoogway-tlieint dt aa oiglc.

TIIE LEFT.HAIID VRI§T MOTION

Now Íepeat *l and *2 a few

Now, let's try it on a drum!

USING YOUR GRIP-

gffil rNTRoDUcroN To rHE stNGLE-srRoKE RoLL

concepts and ideas. of exercises

READING YOUR FIRST LINES OF MUSIC

THE LINES & SPACES-

Note, J is commonly used for cyrnbals rather than J

BEADINGTHE IINES & SPACES

USING YOUR FEET TOE ITCHMQUE HEEL & TOE

ONTHE DRI,JMHEAI) play slightly off centeq about an

ONTTIE CYMBAL Never be afraid to experiment

Hail to the ChieÍ (March)

Eighth notes can have a 'flag" or can be beamed

Count them as indicated above ("+" is

An eighth rcst looks like this: J

Count: t 2+3 Í2+3 12+3 t2+3+ 12+3 12+3 l2+3 12+3

Countl+2+3+l 1+2+3+tl 1+2+3+tl 2+3+4

Count:1 + 2 + 1 + 2 + l+2+ 1+2+ 1+2+ 1+2+ 7+2+ 1+2

Did you rem€mber to rePeat as maÍked?

LOOK MA, NO HANDS!

J = eo-uo tatt tincs)

Use only the toe technique on hi-hat for this line.

Count: I {+ l+2 1+2 4+ I +2

Count:1 2+3+ I 2+9+ 1 2 3+ t 2+3+ I 2 3+

Counl:1 2+3 4+ 2+3

A Pracrice this page with a Try the assoned techniques

J = EG96 (all lines)

The next exercise is 16 measures. Music often

Play the ride cymbal pattern on closed hi-hat throughout.

EASY DOES IT this

vhena measuÍe is to be PlaYed

Play rhe first measure, then play it again as

gffi5l TNTRODUCTTON TO THE DOUBLE-STROKE ROLL

R R L LEIG. R R L LEIC. TJÍDN

Ft Like the repeat sign, there is

J = g0-1041"tt tl*s) Fr [-----" vdte Ílll.

This last exercise utilizes a spe- i This technique is sometimes

NOTE & REST

One eighth note or rest equals

Here's another way to look at

,J = 8zr-l 12 (all lincs)

J = E+l0B (rtl lines)

A After practicing the page as A common problem with hi-hat

Multtolc Bouocc (sometimes

Now repeat l and 2 a few

Now Íepeat l and 2 a few