..

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Jon Hazilla
 I I
11

mastering the art of

Jon Hazilla

Ber~lee Press
Di rector: Dave Kusek
Managing Editor: Debbie Cavalier
Marketing Manager: Ola Frank
Sr. Writer/Editor: Jonathan Feist

ISBN 0-634-00962-1

berklee
press HAL-LEONARDO
11 40 Boylston Stree t
CO R P O R A T I O N
Boston, MA 022 15-3693 USA 7 777 W . D Lu '' '. <>UND AO . " .0. D Ox . 38 , ,,
(6 17) 747-2146
Visit Berklee Press Online al Visit Hal Leonard Online al
www.berkleepress.com www.halleonard.com

Copyright C 2000 Berkfee Press

All Rights Reserved

No part o f this publication m ay be reproduced in any form or by any means without the prior written permission of the Publisher.
2
 his book is divided into three sections: Concepts, Patterns, and Technique.

T Concepts provides the theory behind the practice of playing with brushes. Refer
to the Concepts section when practicing the Patterns and Technique sections.
Understanding the concepts can help you develop greater skill in improvisation,
balance out one-hand dominance, and allow you to explore and create patterns that are
new and personal.

Patterns contains patterns for brush movement and technique. Approach and study the
patterns as you would a classic rock beat or a traditional samba. The strokes are part and
rhythm specific. If your left hand is supposed to play circles emphasizing beats two and
four, then think of that as your backbeat. Don't change the shape or the rhythm.

Technique is a series of technical exercises modeled after the genuis of Alan Dawson and
Joe Morello. The exercises are designed to help you develop the strokes and the overall
flow. When practicing them, I recommend that you combine the suggested patterns with
your own patterns. Even though you may think you have mastered a certain stroke, explor-
ing and working through the various exercises will help you expand the improvisational
nature of your filling and comping.

At all times be mindful of the sound you are achieving. Saxophonists and violinists are al-
ways concerned with their tone. Percussionists should be also.

This book is dedicated to all the great brushers out there: Denzil Best, PaPa Jo Jones,
Buddy Rich, Louie Bellson, Shadow Wilson, Specs Wright, Vernel Fournier, Kenny
Clarke, Philly Joe Jones, Art Taylor, Joe Hunt, Chico Hamilton, Larry Bunker, Ed
Thigpen, Shelly Manne, Elvin Jones, Marty MorreI, Mel Brown, Ron Savage, Jeff
Hamilton, Kenny Washington, Lewis Nash, Clayton Cameron and then some.

3
 he art of brushes is an under-discussed topic. Drummers often approach brushes as if they

T were sticks. Brushes are not sticks. They have their own intrinsic nature, waiting to be fully
explored by you.

There is no standard for brush notation. This makes it challenging to write about the nuances and sub-
tle possibilities of brush performance. Mastering the Art of Brushes indicates brush strokes using a
two-tone system (grey and black), which my students have found easy to follow.

Beyond providing simple patterns, this book will get you started using brushes and develop your
brush dexterity and technique. Fundamental patterns merge with exercises to inspire your own creativ-
ity and foster your own brush style.

I have taught brushes to many beginning drummers, even before they have mastered basic strokes and
fills. With no preconceived ideas about brushes, they find that the possibilities are endless.

So, approach brushes with an open mind. Have fun, and "brush on out of here."

4
Recorded Tracks .............................................................. 6
Acknowledgments .............................................................7

Section I Concepts . ........................................................ 9

10 Concepts ................................................. 10

Section II Patterns . ....................................................... 13

Brush Strokes Key ............................................ 14
Drum and Bass Play-Along Tracks ................................ 15
Ballads ..................................................... 15
Medium Tempos .............................................. 21
Up Tempo ................................................... 27
Special Strokes .............................................. .35
Bass Play-Along Tracks ....................................... .39

Section III Technique ...................................................... .41

Rhythm Table for Wrist Development ............................. .41
Coordination Exercises .........................................44
Nine Exercises ......................................... .44
Melody Heads for the Exercise: .............................46
"Flat Billie" ........................................46
"The Chase" ....................................... 46
"A.C." ............................................ 47
"Ring a Ding" ...................................... 47
"No Apology" ......................................48

Appendix Types of Brushes ..................................................49

Discography ..................................................... 50
Books and Videos ................................................. 52
About the Author ..................................................53

5
 CD CD
Track Description Track Description
1 "Half an Oreo"* 13 Haz's Triplet
Haz's Triplet with bass
Ballads Bass
2 Circles
14 South Philly Special
Circles with bass
South Philly Special with bass
Bass
Bass
3 Heart Shape
15 The Guiro Philly Special
Heart Shape with bass
The Guiro Philly Special with bass
Bass
Bass
4 Half Circles
Half Circles with bass Special Strokes
Bass 16 The Broken Wiper
5 Shoulder Stroke The Broken Wiper with bass
Shoulder Stroke with bass Bass
Bass 17 On the Edge
On the Edge with bass
Medium Tempos
Bass
6 The Standard
18 The Bagby
The Standard with bass in 2
The Bagby with bass
Bass
Bass
7 Windshield Wiper
Windshield Wiper with bass in 2 Bass Play-Along Tracks
Bass 19 Bass Ballad Tempo
8 Elvin's Left Hand Lead 20 Bass Medium Tempo
Elvin's Left Hand Lead with bass 21 Bass Up Tempo
Bass 22 Bass 3/4 Tempo
9 Philly Joe Special 23 Bass Samba
Philly Joe Special with bass in 2
24 Rhythm Table: Unison Circles
Bass
25 Rhythm Table: Alternating Circles
Up Tempo 26 Coordination Exercise 1: Playing "Flat Billie"
10 The Cheat
27 Coordination Exercise 2: Playing "Flat Billie"
The Cheat with bass 28 Coordination Exercise 3: Playing "Flat Billie"
Bass Coordination Exercise 4: Playing ''The Chase"
29
11 The Wiper Stop
30 Coordination Exercise 5: Playing ''The Chase"
The Wiper Stop with bass 31 Coordination Exercise 6: Playing ''The Chase"
Bass 32 Coordination Exercise 7: Playing "A.C."
12 The Twister 33 Coordination Exercise 8: Playing "A.C."
The Twister with bass 34 Coordination Exercise 9: Playing "A.C."
Bass
Jon Hazilla - Drums
John Lockwood - Bass
Recorded at Sherwood Forrest, Sept. 22, 1999
Engineered by Cdt Harmon and Scott Eisenberg
Mastered by Rob Jaczko

* This track incorporates two patterns from the book: The Cheat and the Philly Joe Special. The tune is based on the chord progression of
"I've Got Rhythm" and is a 32-bar, AABA form. The Cheat pattern is played on the A sections and the Philly Joe Special pattern is played
on the B section. Please note the recording starts on the bridge of the tune.
6
 would like to thank Tony Monforte, my first drum teacher ("Remember Your

I ROOTS!"); Mel "Brushes" Brown, who taught me everything I know about

brushes; and Jeff Hamilton, who reminded me of everything I don't know about
brushes. Thanks also to Debbie Cavalier at Berklee Press; Andy Z. and Steve O. at
Sabian; Roy Burns at Aquarian; Carol and Yanik at Regal Tip; and Jerry Kalaf, John
Lockwood, David Franz, and Dave Johnstone. I want to also thank John Riley for his con-
stant inspiration and counsel; my colleagues John Ramsay, Joe Hunt, Skip Hadden, Ron
Savage, and Ed Uribe, for their valuable insights and suggestions; Rob Jaczko, (You're a
genius!); all of my students who inspire me to practice even more; my family; and finally
my wife Judy, who continues to be my harshest critic and biggest fan. Love to you all.

Do people understand your art work?

"In the beginning a few .. .in the end the same few"
-Pablo Picasso

7
 · ... , ....

.,.--

..
,'

" ,.!.'
II; !'

.' '

8
 requently students learn to play one pattern and then nothing more. The learned

F pattern may sound stiff and lack groove. The students do not know how to
make it sound better or fill within the pattern. The concepts in this section are
designed to help you improve your patterns and make them sound better. They
can also help strengthen your ability to embellish and fill within a pattern without disrupt-
ing the time flow or groove. Studying the concepts will also help you develop brush dex-
terity and coordination. The concepts in this section are an essential part of the book.
Experiment with them and use them when you practice the patterns and techniques in
later sections.

10 Concepts
1 Practice all strokes using only your hands and finger tips on the
drum (without brushes)

2 Traditional grip is recommended when you hold the brushes

3 Grip the brush 2 inches from the wires

4 Play the tips of the brushes

5 Use your feet to feather the bass and play the hi-hat for bottom
and support

6 Experiment with counterclockwise or less familiar motions

7 Each hand should playa discernible rhythm unless you want color
or texture

8 Use shape to define strokes and rhythm

9 Create variations of shape to imply the same rhythm

10 Use the shape to imply fills, accents, and metric modulation

9
 Concept 1
Practice all strokes using only your hands and finger tips on the drum (without brushes)
It is much easier to capture the shape and flow of a pattern with your hands. Once you
have perfected the stroke, it is easier to move to the brushes.

Concept 2
Traditional grip is recommended when you hold the brushes
When using brushes, the traditional grip is superior to the matched grip for strokes and
fills. Matched grip inhibits and limits maximum range and freedom for some patterns.
Traditional grip gives you a greater range of motion and the freedom to do patterns and
fills.

Concept 3
Grip the brush 2inches from the wires
Although this might be considered a choked grip, it gives you better control for shading
and accenting specific strokes, fills, and patterns. The farther your grip is from the wires,
the less control you will have; you will have more of the brush working for you, but less
control over it.

Concept 4
Play the tips of the brushes
When playing patterns or time, play on the tips of:your brushes, holding the brushes at a
45-degree angle to the snare. Otherwise, you will lose the contrast that is essential for
pulse, nuance, and soft shadings in accenting, embellishing, and filling. A lower angle
gives you a more legato sound. A higher angle gives you a more staccato sound.

Concept 5
Use your feet to feather the bass and play the hi-hat for bottom and suppon
Brushes can be less rhythmically defined and need greater support, definition, and
bottom than sticks. When using brushes, feather the bass drum and use the hi-hat to pro-
vide bottom and support. Feathering the bass lets you play very soft quarter notes or half
notes to provide bottom and support, with the bass player in a lower harmonic range.
However, the hi-hat can overpower the brushes, particularly on ballads where you need a
softer execution or 114 foot stroke (cymbals 112 inch apart).

10
Concept 6
Experiment with counterclockwise or less familiar motions
To develop fluidity and facility with brushes, practice less familiar motions. This will help
you strengthen the strokes that feel natural or comfortable. It is the best way to discover
new strokes and develop variations on established patterns.

Concept '1
Each hand should playa discernible rhythm unless you want color or texture
Brushes are so soft that the subtlety of what you are playing (the pattern) can be lost or
less precise unless each hand is playing a shape that relates to a rhythm. White noise, tex-
ture, and color may be desirable or appropriate within certain sections of tunes. The de-
fined musical outcome determines how strongly you want to imply time, or if one or both
hands are actively shading time, color, and textures.

Concept 8
Use shape to define strokes and rhythm
Use recognizable shapes to begin experimenting with strokes and patterns. Circles, heart
shapes, and XS are three shapes that you can use with almost all tempos and grooves (bal-
lads, medium, fast, Latin).

Concept 9
Create variations of shape to imply the same rhythm
To create greater fluidity between transitional strokes, and to discover your own personal
strokes, experiment creating variations of shapes to imply a rhythm. Transitional strokes
include circles, heart shapes, and Xs. They may be played as quarter notes, eighth notes,
triplets, sixteenth notes, and so forth. The rhythm table in the Techniques section develops
this concept more. Do not let shape guide your sound. Let sound guide your shape.
Experiment. Be creative.

ConceIPt10
Use the shape to imply fills, accents, and metric modulation
When creating and maintaining a time feel and flow, brushes are similar to sticks. For ex-
ample, when playing time with sticks, the right hand predominantly stays on the ride cym-
bal to create a cushion. The left hand and right foot are used in supportive, accent roles
underneath the ride cymbal. When playing time with brushes, both hands are, for the most
part, on the snare together. It may be disruptive to the overall time feel or cushion if either
hand leaves the snare often. It is easier to embellish, accent, and fill within the original
stroke or pattern by maintaining the original shape. The rhythm table and coordination ex-
ercises strengthen this concept further.
11
 ; "

' •• , I

':
"~ : '

=. . .;

....

12
 s you begin practicing and playing the patterns, you may notice a similarity in

A sound between them. That is great! Producing a similar-sounding pattern with

different shapes (Concept 9) helps you begin to develop your brush technique.
The more emphasis you put on motion and shape to produce the same sound,
the more easily you will develop fluidity with the brushes. When the sound remains con-
stant, you can begin to explore more shapes and develop a variety of motions. With prac-
tice, your control, flexibility, and sense of flow in all directions on the drum will be
greatly enhanced.

Included with each pattern is a rhythm. Following this rhythm will help you play the de-
sired sound and duration for each hand. Some patterns have more than one rhythm indi-
cated. If there is a rhythmic variation, such as for the Heart Shape, practice each pattern
separately. For clarity, the rhythms are numbered I and II.

I urge you to practice all of the patterns with the enclosed CD and any CD that has a sim-
ple, clearly defined time feel (for example, Miles Davis's Kind of Blue). It is not necessary
to practice the patterns with a CD that has brushes. The simpler the music, the easier it
will be for you to concentrate on your stroke and the sound you are getting.

If you do not have a snare drum to practice on, try using an old album cover. They are
lightweight, easy to play on, not too loud, and similar in size to a snare head.

13
 Brush Strokes Key
Left Hand
On drum

O rfd rum ----

Tap wi th brush on drum 41....- ·

Accent Tap R hythm with brush off drum I A. 1111 .... p ....

Right Hand
On drum

Off drum

Tap with brush on drum

Accent Tap Rhythm with bru sh off drum 1 1111 p

3

In 4/4 count: J JJJJ JJJ [=il )

a 2 a 3 a 4 a a T L

[n cut time coun t: ~ ~ ~ ~

+ 2 +

NO le: f= forte (loud); "'f= mezzo forte (med ium loud); p = pi ano (soft)

Accents are made by depressing or pu shing the brush fully into the snare head as a
shading/co lo r accent, or by keeping the tips of the brush on the snare head a nd giving
the bru sh a slight tap without lift ing the brush off the head. Taps are used mostly
within patterns to add a soft pul se at the beginning or e nd of a stroke.

A clean attack tap rhythm (not pan of the stroke itself) is made by lifting the e nt ire
brush off the d rumhead and articul ating the rhythm as indi cated. The size of the tria n-
g le corresponds to the dynami c that should be pl ayed for each note.

Pay spec ial atte nti on to the rh ythm for each pattern. Thi s w ill help clarify the diffe r-
e nce.

14
 Drum and Bass Play-Along Tracks
The play-along tracks with drum and bass let you hear the pattern first. This will help you
capture the phrase markings~ accents, and dynamics that appear in the grey box below each
pattern. It will also give you room to experiment with your own shapes to create the same
sound (Concept 9),

In each track, the drums play the brush pattern in a four-bar phrase(s). The bass and drums
play together for the next phrase(s), then the drums drop out, allowing you to practice
keeping the flow and groove in a musical context.

Ballads
:~ •.
.f
'-:
CircOes

J" Heart Shape

15
 Circles
~start start

1,2,3,4 1,2,3,4
(push) (push)

.. ..
"'-'--, -----~

Rhythm:
J=40-60

~ ~ ~:I
.R.H. ~
t·
L.H. rrrr I

.. -~---j
I

Instructions:
Starting at twelve o'clock, press both brushes fully into the drumhead for a quarter-note
rhythm.

16
 Heart Shape
1,3 (push) 1,3 (push)

start

••
••
••
••
••
•
2,4 2,4
(tap) (tap)

Rhythm I:
J=40-60 >

R.H. J--,j
a:1 L.H. r~r
:1
>

Rhythm II:
J =40-60 ::;-- ::;--

~j=j ~:I
j j
aL.H.j: :
p r u
. r u
>
. >

Instructions:
On the start, cut both hands in 45-degree angles on beats 1 and 3. On beats 2 and 4, give a
slight tap with both hands.

Note: the shaded rhythm is on the recording.

17
 Half ircles

t;j
$' ~
l>
~ t:=;

-" ~
......,

.
>
.
>

Instructions:
There are three hand variations to practice:
1. Right hand over left hand starting position =

2. Left hand over right hand starting position =

3. Alternating every two beats; right over left, left over right = ~ ~
Attacks in both hands on beats 1 and 3 should not be heard. Stroke should blend into the
drumhead at a 45-degree angle. Both hands lift off the drum after completing a half circle
and return to the starting position for beats 3 and 4.
18
 houlder troke

start
1,3

2,4 (tap)

Rhythm I:
~ = 40-60 >

J~J
4-
4-
I
R.H.

L.H. r~r~r~r
:I
> > > >

Rhythm II:

J =4:~60 ~-J ~-J

41:L.H. r-a~r-a~:1
> >

Instructions:
The right hand should come in from your left shoulder and blend in at a 45-degree angle.
The right hand lifts off the drum after (tap beat 2) and returns to the starting position for
beat 3.

As a variation (Rhythm II), the left hand can anticipate beats I and 3 by an eighth note.

19
 :1.· ~, i,

20
 Medium Tempos
-<,.
~

The Standard
.~

'-t{" WindshieOd Wiper

~.
i~ lEivmn's leftcoHand Lead

See also HJaz's TropOet

21
 The Standard

2 a 1
4 a 3

,---~~~~ ~--~.~-~-~~~~~- ~-----~.-~.~~-~.

~- ~ -~-~-~-~~-~l

>

n
:1
,---~-~~~ . -~ - -- ~.---- -
>
----~~---~
>
--~~~.---~-~---~----~ ~

Instructions:
The right hand can stay on one side without crossing over. Practice the left hand as a half-
note rhythm (one full circle for two beats) with a legato feel. Also practice the left hand in
a counterclockwise direction.

22
 indshield Wiper
\

"
e--------e
1,3 2,4
(tap) (tap)

Rhythm I:
J = 84-120

~ :
I R.H. ~
>

n~ n :I
>

L.H. r r r r
Rhythm II: (Shuffle)

~
4-
4-
I
R.H.

L.H. -t ~ -t
:~ I
Instructions:
The right hand can stay on one side or cross over. The left hand must stop at each side of
drum for a more staccato rhythm.

23
 Ivin's LefteHand lead

Rhythm:
J =84-110 > >

J~J~I~J~:I
I
R.H. -
4 ·
4 ·
L.H. r >
ur u >

Instructions:
This stroke has many possibilities. If you play the right hand side to side, rather than in a
long oval, you can cross the left hand over.

24
 PhilWy Joe Specmal
2,4
(tap) e-............-e 1, 3
(tap)

1,2,3,4
start (push)

Rhythm II: (Shuffle)

~ = 110-140
R.H. J
4.
4·
IL.H·1 r r r
Instructions:
The right hand has a very strong, smooth, legato feel. The left hand has a staccato, abrupt
feel.

25
26
 Up Tempo
~

Jt The Cheat

»'~

The Twister

Ja'
-~

Haz's Tripmet
~
., South Phffi06y SpecsaW
~

!S" The Guiro PhiOUy StpecrnaID

27
 The heat

In i time
\
In ¢ time
\

Rhythm I: Rhythm II:

J =300-400 J = 150-200
¢ I: R.H. j t t j ••

L
L.H. ,-------,-------

- --------------~-.---.---

Instructions:
Practice the left hand in both directions (clockwise and counterclockwise). It must lock in
with the left foot. Count in cut time ("1+2+") to hear and see how it relates to a fast 4/4
time (1, 2, 3, 4). In cut time, the left foot comes down on the "ands." The right hand can be
played either staccato or legato (being left on drum longer, slightly dragging on beat 1).

28
 he Wiper Stop
In ~ time In ¢ time

_________ >
(2) (start)
_________ >
(2)

>
(4) _________ 3 >
(2) _ _ _ _ _ _ _ __

Rhythm I: Rhythm II:

J =300-400 J = 150-200
. .
t 1:RoHo } "f "f } } "f "f } : 1 ¢ ..
R.H.
~ t t ~
:1
LoHo-r r~r r~ LoHo~f
f~
> > >

Instructions:
It is important to play the left hand as staccato as possible, stopping at each side of the
drum. The left hand traces over itself and returns to the starting position after two mea-
sures in cut time.

29
 12 The Twister
In 4time In ¢ time

., \
, \

-- - - - _1
> >
1 (art) (2) 1 (s tart) (2)

>
(4) ____ _ _ 3 >
(2) _ _ __
(off drum) (off dmm)

Rhythm I: l J-;hythm II:

J = 300-400 j = IS0-200

4
4
R.H.
» '1 '1 j>j> '1 '1 » ¢
R.H.
j t t j
t
r t
r L '"
L.H. ~

> >
f
>

Instructions:
This is a variation of the Wiper Stop stroke. The left hand is off the drum to start. Lift the
left hand and slightly twist the wrist for greater clarity. Thi s pattern is good for ultra fast
tempos. The left hand returns to the starting position after two measures in cut time.

30
 Haz's Triplet
In 4time In ¢ time
>
2

trip trip:

1,3

--- ,--~-- -----~-

r~ythm II: - --~----------I

Rhythm I:
J =300-400 I J = 150-200 * .
. >* 3 • > 3 I • rs;;- 3 --,

t 1:R.H(j)"f m j"f m:1 I II: ¢ I: R.H. (~ ) t ~ ~ ~ : 1

L.H. r~r~r~r~ ! L.H. i /" - . . i ----...
> >~ ___ I >

Instructions:
Start this stroke with the right hand on beat 2*. Rhythm I works great at medium tempos too.

31
 outh Philmy Special

In 4time In ¢ time

-----~- .----------------~~--- -- -- -----

Rhythm I: Rhythm II:

J =300-400 j = 150-200

- - - - - - - - . - ----_._---------'

Instructions:
This is a great visual stroke. It is easy to slip back and forth between this and the Cheat. It
takes two bars to complete the circle in cut time. The left hand works only in a counter-
clockwise motion.

32
 The Guiro peciam

\/
(l/ I / ~

~---.-- <;

~~ /

~,
,,
I

,••
1 (off)

,#
~

~ \' "

Rhythm I: Rhythm II:

J =300-400 J = 150-200

4 · J
41·
ROHO
¢ I: J
RoH.

tL.H. L.H. ___

>

Instructions:
At the broken line, keep the right hand in the same direction as the left hand. Practice the
right hand separately. It should sound like a guiro. The left hand part is identical to that of
the South Philly Special.

33
 -,I'

'-'
.':.,:'

.. .
~

.... :: '

", i

34
 Special Strokes
h
J6- The Broken Wiper
~
., On the Edge
;>-.
18 The Bagby

35
 o
The Broken mper
start 1

a (3)

- - - - - - - - - -.. a (3)

Instructions:
This is a two-bar pattern. Start this stroke with a very articulated staccato approach. Both
hands emphasize the dotted-quarter-note feel in 3/4. When you are comfortable with the
sound and feel of the stroke, you can cross the right hand over the left hand on the oppo-
site side of the drum from the left hand. The left hand never leaves the drum.

As a variation (Rhythm II), the left hand can add an extra sweep on beat 3a. You can use
this same two-bar rhythmic pattern by alternating the shapes to Circles or Xs, and playing
them as unison. (The left-hand motion is from side to side, tracing over itself.)
36
 11 On the Edge

"'-
drum rim

Rhythm:
j = 100-120

R.t·1.
¢
L.H.
rr
Instructions:
Placement of the left hand is critica l to get the correct sound . The palm of left hand must
rest on rim of the dru m and not move, to create a 25-degree angle of bru sh. The rh ythm i s
better articul ated w ith a slapping moti on of t-ingers. The sound comes from one inch of the
rubber and one inch of the wire. Do not take the brush or the hand off of the drum.

As a variati on, the ri ght hand can stay in one place, or you can play the ri ght-hand brush
directly on the left-hand brush for a funkier groove. Thi s pallern works well w ith any
samba pattern , especially very fast sambas.

37
 The Bagby

start----.
L.R.

L.R. Motion

start ----.
r r :I
Rhythm:
J=100-120
R.H. n 'f j I
~ ~ j ~ j 'f j j'f
¢ I\.H''f~'f~t r ~'f'f~t r: I
Instructions:
The left-hand motion is exactly the same as The Twister. Twist the left wrist and lift it off
the drum as you go back and forth. The rhythm is articulated by the fresh attack and sweep
of each note as you follow the direction of the arrows. The right hand stays in one place.

Any samba rhythm can work as long as you coordinate the left-hand motion with any
rhythm. This stroke works very well for medium sambas where a thicker sound is desired.

38
 Bass Play-Along Tracks
Tracks 19-23 on the enclosed CD contain solo bass grooves in a variety of tempos and
styles. Practice the brush patterns with the corresponding bass grooves; i.e., Ballad Strokes
with track 19, Ballad Tempo.

For an added challenge, try to play some of the brush patterns with the bass grooves at dif-
ferent tempos; e.g., Circles (which is a ballad pattern) with track 20, Medium Tempo.

It is not recommended to practice Section III, Coordination Exercises with the bass play-
along tracks.

J8 ~

SaUHad Tempo

lfJ'" Medium Tempo

,"> Up Tempo

J! 3/4Tempo

.za~ Samba
~

39
 :'"0·' .. i -'.
., '.

.~ '" .

.'::

40
Rhythm Table for Wrist Development
After working through all of the patterns, you can begin to work on increasing your dex-
terity with brushes. The rhythm table and motion exercises in this section are designed to
help you strengthen your skill with the patterns, and blend fills and accents that compli-
ment the patterns.

With brushes, it is important to use the wrist, rather than the elbow for lateral motion.
Using the wrist shortens the motion, giving you better control to articulate the rhythms of
the stroke or fill more clearly.

Practice the rhythm table with one hand at a time SEPARATELY, then with both hands to-
gether UNISON, and finally ALTERNATING hands. There are two basic shapes to prac-
tice: circles and straight lines. Practice circles in both clockwise and counterclockwise
motion. Practice the rhythmic groupings first in order, then shift to different groupings in
any order.

J=40
~
1 3-----1 r-I- - - - - 3 ---------.1

~ ~ ~ ~ J J
~ J
3 3 3 3

~ J
j J J J J J J J J J J J J
5 5 5 5
-------
~ :J J J J j :J :J :J :J j :J :J :J J j :J J :J J
6 6 6 6

j JJJJJ ~ :J :J :J :J :J ~ :J :J :J :J :J j :J JJJJ
7 7 7 7

j JJJ JJ J ~ :J :J8
:J :J :J :J
8
j :J :J :J :J :J :J j
8
JJ J J J J 8

JJ J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J
*Play straight eighth notes.

41
 Separately

1 +
Circles:
or 1+ = n
1 +
o
Smde Motion:
1 +
•
+ =
n

Unison

ITL
1+<1 one trip-let
Circles: 3

=m
one trip-let
Side Motion: 1 - - - -........ trip
3
let
I . Irip
=.J JJ
let

1TL =one trip-let

42
 Alternating

; +

Citrcles~ e + a
= j ~ ~ ~

e + a
Side Mo'ltoon:
j ~ ~ ~
(can become X shape)
" =
1 "(; Ii:
'estart
The right hand pushes underneath the left hand never leaving the drum. Additional hand
rhythms and combinations to augment your brush dexterity with this exercise may be
found by using the first section of Stick Control by George Stone or Odd Meter
Calisthenics by Mitchell Peters.

43
 Coordination Exercises
There are nine coordination exercises to practice after you have mastered the patterns. Use
the nine exercises in this section to embellish the patterns with comping figures. The exer-
cises will help you develop a greater range of independence in each pattern. Practice the
left hand as a quarter-note rhythm and a half-note rhythm (for example, 2, 3, 4).

There are five melody heads to use for each of these exercises starting on page 40. Each
exercise indicates a hand or foot to play the melody. Some exercises include feathering
bass drum and hi-hat on beats 2 and 4.

Nine Exercises
Exercise 1

mmmm
~

.,26
-.;::.
Hand-to-hand triplets as circles. Each hand plays a quarter-note
triplet. When combined, the rhythm is:

Now read the melodic exercises accenting the melody. Make sure you
start the exercise with the left hand as well as the right.

Exercise 2
'it~. L.H. = Circles clockwise; circles counterclockwise
'x:~
R.H. =Play melody; stay on right side of drum

Exercise 3
L.H. =Circles clockwise; circles counterclockwise
R.H. = J n J n = Standard stroke
R.F. = Play melody

Exercmse 4
L.H. = Circles clockwise; circles counterclockwise
R.H. =Play all short notes in melody; stay on one side of drum = j)
R.F. = Play all long notes in melody = ,t, JJ~ J. J

44
(ExerCQse 5
3f
','
R.H. = ~ ~ ~ ~ = Elvin's Left-Hand Lead stroke
L.H. = Play melody

Exercise 6
J--'" R.H. = J J J J =Elvin's Left-Hand Lead stroke
L.H. = ~ n n
~ = Elvin's Left-Hand Lead stroke
R.F. = Play melody

IExercmse 7
,3r' R.H. = ~ ~ ~ ~ = Elvin's Left-Hand Lead stroke
~ L.H. = Play all short notes in melody = »
R.F. = Play all long notes in melody = ~ ~ ~ __ ~.

Exercise 8
,p" R.H. = J J J J =Elvin's Left-Hand Lead stroke
R.F. = Play melody
L.H. = Fill in missing triplet notes from melody

Exercise 9
¥ R.H. = J J J J =Elvin's Left-Hand lead
R.F. = Play all short notes in melody
L.F. = Play all long notes in melody
L.H. = Fill in missing triplet notes from melody

45
 MELODY HEADS FOR THE EXERCISES
Flat Billie
::IEtlld j j j J JQ 4@B$t 'I J> ;(3:4 #)'I 'I EgM M

The Chase

1 f J :11

46
 A.C.
II til: )l 'f J Jr 1-) J )l J n 1 'f J ,p J 'f,p ,p 'f n ~
1 'f ~I

Ring a Ding

1 1
- :11

II J 1 - 1 J J J. 'f 1 J n* J I) J J J

II J f3 ~ 'f J~ I kJ J) J J 1* 'f))1 J J~ IJ J II
47
 No Apology

IItll:JJJJJJJJII ,.D,.DJ I,J>BJJJJI

To Coda-$-

31 JJJJI , -b J B B , -b J JoJ J<=J J J J I

II JJ J J ~ "I J¥tJ B J J J J I n I

31 JJ JJ JJJJ It "I J>-J2 J J>lJ J J J=J. .D I

D.C. alCoda

I JJ JJ l , -b J n J J J J IJ nt, ~ II
-$-Coda

II J 'I
j 'I J » I
J J J J
>

- II

48
 Appendix
Types of. Brushes
ll brushes are not created equal. Before you buy brushes, take them out of the

A container to inspect them. Make sure that they retract easily and that the shank
of the brush is made of a material that feels good in your hands. Plastic corru-
gated shanks, metal, and rubber are materials that, with repeated use, may feel
uncomfortable. Check the balance and weight to see if they are light enough to play very
fast tempos.

"Multi rods," "Rakes," and "Blas-Stixs" are not brushes. They offer an infinite variety for
experimentation of new sound sources and color, but you should never use them as a
replacement for brushes.

I recommend the Regal Tip retractable brushes. They come closest to the older Premier
555 that Phi11y Joe used. They are simple in construction and durable.

49
 he following list is a discography of drummers known for their outstanding brush

T playing. The list, which is alphabetical by drummer, is not intended to be all inclu-
sive. It offers some examples for you to listen to and study.

CD Ariist Drummer
Light As a Feather Chick Corea Airto (Moreira)

Fingers Airto (Moreira) Airto (Moreira)

All Stars Louie Bellson Louie Bellson

Subconscious Lee Konitz Denzil Best

Encounters I Jessica Williams Mel Brown

Encounters II Jessica Williams Mel Brown

Trio 65 Bill Evans Larry Bunker

The Trio of Hank Jones Hank Jones Kenny Clarke

Live at the Pershing Vols. I, II Ahmad Jamal Vernel Fournier

Gerry Mulligan Quartet Gerry Mulligan Chico Hamilton

Live Jeff Hamilton Jeff Hamilton

Bass Face Ray Brown Jeff Hamilton

Reaching Fourth McCoy Tyner Roy Haynes

Focus Stan Getz Roy Haynes

The Bitten Moon Jon Hazilla Jon Hazilla

Form and Function Jon Hazilla Jon Hazilla

Nobody Else But Me Stan Getz Joe Hunt

Bass Oscar Pettiford Ron Jefferson

Overseas Tommy Flannagan Elvin Jones

Upon Reflection Hank Jones Elvin Jones

Ballads John Coltrane Elvin Jones

Fresh Jo Jones Jo Jones

New York Jazz Sonny Stitt Jo Jones

Green Dolphin Street Bill Evans Philly Joe Jones

50
CD Arttost Drummer
Time Waits Bud Powell Philly Joe Jones

Empathy Bill Evans Shelly Manne

Since We Met Bill Evans Marty Morell

The Tokyo Concert Bill Evans Marty Morell

Sea Changes Tommy Flannagan Lewis Nash

Lester Young Trio Lester Young Buddy Rich

My Shining Hour Patrice Williamson Ron Savage

Garland Of Red Red Garland Art Taylor

Amazing Bud Powell Vol. 2 Bud Powell Art Taylor

We Take Requests Oscar Peterson Ed Thigpen

Jazz Poet Tommy Flannagan Kenny Washington

John Hicks Plays Gershwin John Hicks Kenny Washington

Sonny Stitt Plays Sonny Stitt Shadow Wilson

Red Garland at the Prelude Red Garland Specs Wright

51
 Drum Wisdom Bob Moses Modern Drummer (Dis!. by
Hal Leonard Corporation, 1984)

52nd Street Beat Joe Hunt J amey Aebersold

Master Siudies Joe Morello Modern Drummer (Dis!. by

Hal Leonard Corporation, 1983)

Odd Meier Calisthenic Exercises Mitchell Peters Mitchell Peters, 1973

Reading in 414 Loui e Bellson Warner Bros. Publications, 1993

Stick Control George Stone George Stone, 1935

Syncopation Ted Reed Ted Reed, 195 3

Th e Art of BeBop Drumming John Riley Manhattan Mu sic, 1994

Th e Drummer's Complete Vocabulary John Ramsay Manhattan Music, 1997

As Taught by Alan Dawson

The Art of Brushes Clayton Cameron Warner Bros. Pub lications

The Essence of Brushes Ed Thigpen Warner Bros. Publications

52
 Jon Hazilla
on Hazilla has performed and/or recorded with Jo

J Anne Brackeen, James Williams, Jo hn Hi cks,

Bill y Taylor, Ray Drummond, Ron Carter, George
Garzone, Billy Pierce, Larry Coryell, and Max
Roach. He continues to perform in countless global jazz
festivals fro m the A90res to Warsaw, Ro me, Nice, and
Kyoto, to name a few. Jo n has produced four CDs as a
leader and recorded many more as a sideman.

Jon graduated from New England Conservatory of Mus ic

with a Bachelor of Music, and was a recipi ent of a Natio nal
Endowment Award in 1987. He has been an Assoc iate Professor at Berklee Co ll ege of
Music and New England Conservato ry of Mu sic for 13 years, and recentl y j oined the
faculty at Boston Conservatory. Jon's natural gift for teaching keeps him in hi g h demand
in the Bosto n area and worldwide.

53
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