Fresh Approach to Drumset Sampler

A FRESH APPROACH TO THE DRUMSET

SAMPLER

  Thanks for taking a few minutes to check out my book, “A Fresh Approach to the Drumset.” Included in this PDF are sample pages from several lessons in the book, plus excerpts from the Appendix: Music Reading, Sticking Combinations, Accent Patterns and Musical Glossary. The sample mp3 files give you a taste of the playalong tracks that are included as well. In writing this book, I’ve strived to provide a well-rounded approach for the beginning through intermediate player – incorporating not only the basics needed to play grooves & fills, but also exercises for hand & foot technique, coordination and reading. Rather than just focusing on basic rock beats as many other books tend to do, here you’ll find a comprehensive guide to rock, pop, country, r&b, funk, hip-hop, jazz and latin styles. As each style is presented, there is a playalong tune that immediately applies the grooves learned to a real-life musical example. Speaking of the playalong tracks, I’ve taken great pains to make sure they are really representative of the musical style AND follow common song forms. There’s no cheesy midi sounding tracks here – each of the 43 tunes features some of LA’s finest musicians! And, unlike other playalong CDs, each of these tunes follow common song forms so that the drummer learns about how tunes are constructed. Learning how to lead a fill from a verse to the chorus, and how to vary a groove within the form of the tune is necessary in order to become a musical drummer. There’s really too many features in this book for me to list them all, so I won’t even try. All in all, I spent over five years talking with teachers and experimenting with the content and pacing of the book. I hope you’ll enjoy scrolling through this sampler and will consider purchasing a copy for yourself. If you have any questions, don’t hesitate to contact me at [email protected]! All the Best, Mark Wessels

A FRESH APPROACH TO THEDRUMSET

BY

MARK WESSELS

WITH PLAY-ALONG TRACKS BY DONNY GRUENDLER AND CHRISTIAN LUNDBERG

Preface

I’m a believer that there are no shortcuts in life. While you can find hundreds of books that offer “the easiest, fastest way to learn to play the drums,” this method isn’t one of them. That isn’t to say that you won’t get off to a fast start using this book. In fact, you’ll be drummin’ to your first rock tune in the matter of a few lessons! But what this book DOESN’T do is cut a LOT of corners in order to dumb down the approach to make it look easy on paper. If you want to REALLY learn to play the drums – not just get a better score on some video game – you’re going to need to develop proper hand and foot technique. You’ll need to gain independence between your limbs. And you’ll need to learn to read music. While working on these fundamentals might not be exciting at first, the skills you’ll gain will serve as a foundation to the ultimate goal of playing with a great sound and feel. Of course, most people play the drums because they love to jam with some great tunes! That’s why I constructed this book to give you some great tracks to play along with on every lesson – so that you can immediately apply the technical concepts you learn to playing cool drum beats in a wide variety of styles. So whether your goal is to become a professional drummer or you just want a book that’ll keep you busy with new and interesting concepts for a long time, I think you’ll find that working through this book will be fun, motivating and rewarding. I wish you the best on your musical journey!

Acknowledgements I couldn’t have written this book without the love and support of my family, so a big thanks to my wife Lynn and children, Kaitlyn and Drew. And to Mike Hoff being a sounding board for my sometimes wacky ideas – thanks for providing the constructive feedback, even when the “rough” drafts were REALLY rough! Thanks, Donny and Christian for being patient with the hundreds and hundreds of “little changes” to the play-along tracks. Finally, I want to thank everyone who shared insights and suggestions during the long road of getting my ideas on paper!

Mark Wessels Publications • 1271 Crooked Stick Drive, Prosper TX 75078 972.335.1537 • http://www.mwpublications.com

Copyright © 2009 by Mark Wessels Publications. All Rights Reserved. No part of this book or the music on the accompanying CD may be reproduced in whole or in part by any electronic or mechanical means, including informational storage and retrieval systems, without the express written permission of the publisher.

Table of Contents PREFACE....................................................... 4–7 How to Use the Book/CD, Note Values Chart, Drumset Notation Key, Notation Elements

LEARN ABOUT THE INSTRUMENT...................8-9 SETTING UP THE DRUMS.................................11 LESSON ONE:.............................................12-13 Gripping the Sticks, The Rebound Stroke, Rudiments: Singles, Doubles, Paradiddle

LESSON TWO:............................................14-15 Sticking Patterns, Bass Drum Technique, Hi-Hat Pedal Technique

LESSON THREE...........................................16-17 Right Hand Hi-Hat Technique, First Rock Beat, Music Notation Basics

LESSON FOUR............................................18-19 Music Reading: Quarter/Half/Whole, The Ride Cymbal, Play-along Track: “Rock Steady”

LESSON FIVE..............................................20-21 8th Notes, 8th Note Rock Beats, Music Reading: Quarters and 8ths, Play-along Track: “Solid as a Rock”

LESSON SIX................................................22-23 New 8th Note Rock Beats, Technique: Independence, The Crash Cymbal, Play-along Track: “8 Ball in the Corner”

LESSON SEVEN...........................................24-25 The Toms, New Beats Using the Toms, Rudiment: Multiple Bounce Roll, Play-along Track: “Jungle Drums”

LESSON EIGHT...........................................26-27 Drum Fills, Concepts: Sustaining Momentum, Play-along Track: “Solid Time”

LESSON NINE.............................................28-29 Open Hi-Hat Sounds, Rudiment: 5 Stroke Roll, 8th Note Combos, Cross Stick, Play-along Track: “Spy Games”

LESSON TEN...............................................30-31 Quarter Note Ride Pattern, Technique: Independence, Style: Two Beat, Play-along Track: “Two Bits”, Technique: Tap, Down and Up Strokes, Time Check

LESSON ELEVEN.........................................32-33 Music Reading: 8th Rests, Upbeat Ride Pattern, Style: Disco, Fills Using the 8th Rest, Play-along Track: “Build it Up”

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A FRESH APPROACH TO THE DRUMSET

LESSON TWELVE........................................34-35 3/4 Time Signatures, Grooves in 3/4 Time, Rudiment: Flam, Fills in 3/4 Time, Music Reading: 1st & 2nd Endings, Play-along Track: “Horseback Waltz”

LESSON THIRTEEN......................................36-37 Music Reading: Dotted Notes, Style: Halftime Feel, Halftime Grooves, Play-along Track: “Halftime Show”, Technique: Accented Paradiddles, Paradiddle Grooves

LESSON FOURTEEN....................................38-39 Syncopated 8th Note Beats, Syncopated Combos, Technique: Single Hand Accent, Play-along Track: “Synco de Mayo”

LESSON FIFTEEN.........................................40-41 Music Reading: Sixteenth Notes, 16th Note Grooves, 16th Note Fills, Technique: Grid Diddles, Style: Rock Ballad

LESSON SIXTEEN........................................42-43 Music Reading: 8th/16th Rhythmic Combinations, Syncopated LH 16th Grooves, Technique: Accent Grid, Syncopated BD 16ths, Style: Syncopated Rock

LESSON SEVENTEEN...................................44-45 Music Reading: 16th Rests, Dotted 8ths, 16th Based Rhythmic Permutations, 16th Beat Combos, Rudiment: The Ruff, Style: 8th Note Funk

LESSON EIGHTEEN.....................................46-47 Syncopated 16th Note Grooves, 16th Open Hi-Hat Combos, Syncopated Fills, Style: 16th Note Funk

LESSON NINETEEN.....................................48-49 Technique: Controlled Rebound, Play-along Track: “Slow Motion”, Rudiment: Flam Tap, Style: Train Beat, Rudiment: Lesson 25, 6 & 7 Stroke Rolls

LESSON TWENTY.......................................50-51 Music Reading: 12/8 Time Signature, 12/8 Grooves, Technique: Accented 3’s, 12/8 Fills, Style: 12/8 Blues

LESSON TWENTY ONE...............................52-53 Triple Sticking Patterns, 12/8 Reading, Triple Combos, Triple Hi-Hat Combos, Play-along Track: “Crooked Stick Blues”

LESSON TWENTY TWO..............................54-55 Music Reading: 16th Notes in Triple Time, 12/8 Grooves Incorporating 16th Notes, Technique: 12/8 Accent Patterns, 12/8 Fills with 16ths, Style: 12/8 Rock

LESSON TWENTY THREE............................56-57 Music Reading: 8th Note Triplets, Style: Blues Shuffle, Technique: Swing Sticking, Style: Texas Shuffle, Style: Rock Shuffle

LESSON TWENTY FOUR..............................58-59 Technique: Controlled Rebound, Part 2, Style: Halftime Shuffle, Play-along Track: “Backstreet Shuffle”, Rudiment: Swiss Army Triplet, Music Reading: 16th Note Triplets, Style: Hip Hop, Play-along Track: “Go Dog”

LESSON TWENTY FIVE................................60-61 Style: Jazz Swing, Technique: Triplet Accents, Jazz Fills, Technique: Swing Accent Patterns, Play-along Track: “Swingin‘ Easy’

LESSON TWENTY SIX.................................62-63 Jazz Comping, Technique: Independence

LESSON TWENTY SEVEN............................64-65 Setting Up Ensemble Entrances, Incorporating Fills, Technique: Paradiddle-diddle/6 Stroke Rolls Play-along Track: “Kick it Old School”

LESSON TWENTY EIGHT.............................66-67 Catching Ensemble Figures, Music Reading: Ensemble Articulations, Technique: Independence, Jazz Chart Reading: Small Group

LESSON TWENTY NINE...............................68-69 Style: Jazz Waltz, Brush Technique, Jazz Ballad

LESSON THIRTY.........................................70-71 Afro Cuban Style: Cha-Cha, Son Clavé, Bass Tumbao, Guiro, Cha-Cha Bell Pattern, Conga Tumbao

LESSON THIRTY ONE..................................72-73 Timbale Abaniquo, Play-along Track: “Time to Cha-Cha,” Music Reading: Cut Time, Style: Mambo, Cascara, Conga Tumbao, Mambo Bell Pattern

LESSON THIRTY TWO.................................74-75 Rhumba Clavé, Play-along Track: “Mambo Caliente,” Style: Songo, Play-along Track: “Chango’s Songo”

LESSON THIRTY THREE...............................76-77 Brazilian Style: Bossa Nova, Play-along Track: “Bossa Breeze,” Style: Samba, Play-along Track: “Escola de Samba”

LESSON THIRTY FOUR................................78-79 Caribbean Style: Calypso, Play-along Track, “Caribbean Nights,” Style: Soca, Play-along Track, “Soca Dance Party,” Style: Reggae, Play-along Track, “One Drop Reggae”

READING APPENDIX...................................80-93 DUPLE/TRIPLE STICKING COMBINATIONS...94-95 ACCENT PATTERNS....................................96-97 RUDIMENT CHART.....................................98-99 MUSICAL GLOSSARY.............................100-101

Play-Along Tracks: Index by Styles ROCK / POP / COUNTRY STYLES Basic Rock.......16, 19, 21, 23, 25, 27, 29, 33 Disco.........................................................24 Two Beat...................................................32 Country Waltz...........................................35 Halftime Feels............................................38 Syncopated Rock.................................41, 45 16th Note Rock.........................................42 Train Beat..................................................51 12/8 Rock..................................................57 Rock Shuffle..............................................59 R&B / FUNK / HIP-HOP Funk..............................................47, 49, 51 12/8 Blues...........................................53, 55 Blues Shuffle.............................................58 Texas Shuffle.............................................59 Halftime Shuffle........................................60 Hip Hop (Go-Go).......................................61 JAZZ Swing............................................63, 67, 69 Jazz Waltz.................................................71 Jazz Ballad.................................................71 LATIN STYLES Cha-Cha....................................................74 Mambo.....................................................76 Songo.......................................................77 Bossa Nova................................................78 Samba.......................................................79 Calypso.....................................................80 Soca..........................................................81 Reggae......................................................81 A FRESH APPROACH TO THE DRUMSET

3

How to Use the Book Fundamentally, there is no “right” or “wrong” way to approach any book, but here are a few suggestions that might help you get the most out of this book.

And of course, players at every level will benefit from the fantastic play-along tracks – whether you play the grooves as written or make up your own.

I recommend that beginners progress through the book, each lesson in succession (I designed the book so each lesson serves as a building block for the next). Drummers who have been playing for a while will probably want to skip around and use the book to fill some gap in their training – whether technical, rudimental or musical.

I encourage you to really make the most of all the grooves throughout the book, even if they look simple. Even professional drummers know that just because a groove is easy to play doesn’t mean that it’s easy to play with perfect time and a great feel. Record yourself often and analyze your own playing to see if you’re really mastering the groove, time and feel.

More advanced players can apply a “conceptual approach” to certain aspects of the book. For instance, you can apply an almost infinite number of practice variations to the “Sticking Patterns” or “Reading Studies” in the Appendix. I’ve included a few ideas to serve as a springboard for conceptual applications to get you started.

Expect that there will be times that you’ll get frustrated or discouraged. Not everything you learn is going to be easy! But when you become frustrated, don’t let discouragement keep you from having fun. Sometimes the best practice strategy is to just put the book away and just have a blast playing the drums!

Book Icons

Throughout the book, you’ll see some common “sidebar” design elements that will help you easily recognize what type of information is being presented. Here are the types of icons and boxes scattered through the book:

2

A-D

The headphone icon lets you know that there are play-along tracks located on the CD. The number corresponds to the Lesson and the letter(s) to the specific play-along track(s).

The boxes with an exclamation point contain tips and advice related to the topic or grooves directly above it.

These boxes give you ideas on how to expand upon the material presented. Helpful if you want to challenge yourself.

&

Technique/Independence

Style Essential

Extra PRACTICE

Topics covered in this gray box contain valuable exercises designed to promote hand and feet technical abilities and to develop independence between your limbs.

“SONG TITLE”

4

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A FRESH APPROACH TO THE DRUMSET

Boxes with the “Treble Clef” icon contain music theory information that’s necessary to learn to be able to read music.

The topic under this header will help you learn an essential musical style necessary to become a well rounded, versatile drummer.

Play-along tracks that are named in quotes and have a gray background bar are songs which include a other instrumentalists. This makes it easy to tell the difference between tracks that are just drums from the ones that include a full band. Each play-along song has two versions: one with drums and one minus drums.

How to Use the CD The disc included with this book is NOT an audio CD. This CD is a data formatted disc which includes playalong tracks in MP3 format. All the tracks and other resources can be accessed on a personal computer or with an MP3 capable CD or DVD player.

Why not have audio CD’s instead? Because there are a HUGE number of play-along tracks included in this book – and it would take over 8 discs to fit them on audio CDs. With a computer and MP3 player, you’ll be able to access each of the tracks quickly, making your practice time much more enjoyable.

ACCESSING THE FILES ON THE CD:

For convenience, I recommend that you transfer the MP3 audio tracks to your computer (and from there load onto your iPod or other MP3 music player). Here are the steps to get the tracks on your computer:

• Open a music library program such as iTunes or Winamp on your computer.



• Insert the data CD into the CD drive on your computer. A disc icon will appear on your desktop.



• Double click the disc to see its contents and drag the audio tracks to the main library screen of your music library program. The tracks should import automatically. Alternatively, you can select “import” from the File menu and import them using the program’s import dialog boxes.



• The tracks will be automatically labeled with the correct Title (Lesson # and Track Letter), Artist (Mark Wessels), and Album (A Fresh Approach to the Drumset).



• If you would like to have audio CD’s of any or all of the tracks on the disc, you can burn them yourself using the music library program on your computer. Consult your program’s instructional manual for details on how this works.

Credits Written by: Mark Wessels. Page Layout and Design: Mark Wessels. Cover Design: Mike Hoff. Photographs: Andrew Tamulynas. Latin tracks (except “One Drop Reggae” and “Chango’s Songo”) written by Marc Jacoby. “Chango’s Songo” written by Rubén Alvarez. All other tracks written Donny Gruendler and Christian Lundberg. All songs recorded by Christian Lundberg and Donny Gruendler. All songs mixed by Christian Lundberg. Jazz songs mixed by Donny Gruendler.

Musicians: Christian Lundberg – Guitars and basses Donny Gruendler – Drums & programming Chuck Silverman – Drums on Lessons 30-33 Dale Jennings – Upright bass on jazz tracks Tommy Reeves – Piano jazz tracks Ron Dziubla – Tenor and baritone saxophone - jazz tracks Assistant Engineer – Jace McDonald Rap on “Go Dog” – Interactive RJ A FRESH APPROACH TO THE DRUMSET

5

Reference Charts

Rhythmic Note Values

WHOLE NOTE

ã 44 ˙

1

HALF NOTE

4 ã4

QUARTER NOTE TRIPLET

ã 44

8th NOTE TRIPLET

16th NOTE

16th NOTE TRIPLET

32nd NOTE

ã 44 ã 44 ã 44 ã 44

ã 44

3

ã 42

44 ã 4 ã 44

Ó 2 ã 42 1 2 3 4 ã 4 ã 444 Œ ã 14 ã 41 ã 41 œ œ œ œ ã 42 4 1 2 3 4 ã 2 1 ‰ ã 144 ã8 ãã 4841 3 3 ã4 œ œ œ œ œ œ ãã 841 1 1 ã 4 ≈ 1 & a 3 ã 16& a ã 421 ã 161 ãã 42416 ãã4481 œ œ œ œ œ œ1 œ œã®ã481 11 ã 32 ã 4 1 & 2 & 3 & 4 & ã 132 1 ãã 4232 ãã24161 3 3 3 3 1 ã ã416 1 œ œ œ œ œ œ œ œ œ œ œ 㜠8 1 ã 8 1 & a 2 & a 3 & a 4 & a 1 ãã 14132 1 ã ã432 1 ã 16 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œã 16œ 1 ã 8 1 e & a 2 e & a 3 e & a 4 e & 1a ã 81 6 6 6 6 ã 132 1œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œãã œ32 16 1 ã 16 1 & 2 & 3 & 4 & ˙

1 ã 32 œ1 œ ã 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œãœ 32 1

6

2

ã 44 ˙

QUARTER NOTE

8th NOTE

CORRESPONDING REST VALUES

e

A FRESH APPROACH TO THE DRUMSET

&

a

2

e

&

a

3

e

&

a

4

e

&

a

∑ Ó Ó Œ Œ Ó Ó ‰ ‰ Œ Œ Ó≈ Ó≈ ‰ ‰ Œ® Œ® Ó≈ Ó≈ ‰ ‰ Œ® Œ ® ≈ ≈ ‰ ‰ ® ® ≈ ≈ ® ®

Drumset Notation Key DRUMS

ã

œ

f

(œ )

Snare Drum

Snare Cross Stick

Snare Ghost Note

œ

Bass Drum

o y

CYMBALS

y

ã

Hi-Hat

Hi-Hat Open

y

Hi-Hat w/ Foot

y

œ

œ

Snare Rimshot

Tom1

Tom2

œ Floor Tom

COWBELLS

y

1

y

3

3

Ride Cymbal

Ride Bell

Crash Cymbal

Mambo Cowbell

Cha-cha Cowbell

Basic Notation Elements 1

1

time signature

double bar

bar line

1

1

The staff has 5 lines and 4 spaces

1

ã 44

Music is written on a STAFF

percussion clef

measure

A PERCUSSION CLEF tells the player that the music written on the staff is for non-pitched instruments. A TIME SIGNATURE tells you how many beats belong in a measure and what kind of note receives one beat.

BAR LINES separate notes into equal numbers of beats.

A MEASURE is the space between bar lines.

The end of a piece of music is notated with a DOUBLE BAR LINE.

2 «

REPEAT SIGNS

..

2 2 2 4 4 ’’«« ã.. 4 ã 44 ã 4‘’ ‘’ ‘

Repeat to the beginning or the similar sign

2 «..

2 2 2 .. .. ’ ’’ ’’’’’

ONE MEASURE REPEAT

TWO MEASURE REPEAT

MULTI-MEASURE REST

Repeat the previous measure

Repeat the previous 2 measures

Rest for the number of measures indicated

.. .. ..

The volume of the music is indicated with DYNAMIC markings.

p P π

=

PIANO

= soft

= MEZZO-PIANO = moderately soft = PIANISSIMO = very soft

f F ƒ

=

FORTE

= loud

CRESCENDO = gradually get louder

= MEZZO-FORTE = moderately loud = FORTISSIMO = very loud

DIMINUENDO = gradually get softer

A FRESH APPROACH TO THE DRUMSET

7

Learn About Your Instrument 1

Crash Cymbal

1

1

Ride Cymbal

1

Mounted Toms

1 Hi-Hat Cymbals

Snare Drum

Floor Tom

1 Bass Drum

1

1 Pedals

The Anatomy of a Drum Most drums have many similarities in how they are constructed, even though the look of each component will vary from manufacturer to manufacturer. It’s important to know all the various parts of a drum.

1

Tension Rod

The snare drum has a few unique parts that makes it different from other drums:

1

Snare Tensioning Knob

1

1

Batter Head

Snare Strainer (Throwoff)

1

1

1

1

Rod Casing

Shell

Counter Hoop (Rim)

Snares

1

1

Resonant Head

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A FRESH APPROACH TO THE DRUMSET

Snare Gate

The top of the shell (pictured here with the head, rim and tension rods removed) is called the BEARING EDGE.

Cymbals

While the drums are the heart of the drumset, the cymbals provide the color. Every set should have at least three types of cymbals:

Bell

1

RIDE: Ride Area

CRASH: These are smaller, thinner cymbals that

1 1

The ride is the largest and heaviest of the three. Generally, you’ll play time-keeping patterns on the ride cymbal.

you’ll use to “punch” parts of the music.

Crash Area

HI-HAT: The hi-hat cymbals come in pairs and you’ll play them with either your foot (via the hi-hat pedal) or your hands.

There are many other types of cymbals available in addition to the three mentioned above – chinas, sizzles, splashes as well as a dizzying array of other metallic sounds.

Drumsticks

1

1

Shoulder

1

Tip

Neck (Taper)

1

Without a pair of great sticks, you’ll have a difficult time learning to play the drumset. When selecting your sticks, it’s important to have a pair that are designed for the drumset playing – not concert or marching band! Two of the most popular drumset models are the 5A (for rock, country, jazz or Latin) and the 5B (for heavier rock styles). It’s a good idea to

Butt Shaft

1

start with one of those two models, then experiment with others based on your desired musical style and feel. A perfectly matched pair of sticks will give you the best chance of success when learning to play the drums. Here are a few things to consider when purchasing drum sticks:

• Sticks should be perfectly straight. Check to see if they are warped by rolling them on a flat surface. • A pair of sticks should have the same weight. Hold the sticks in your hands and see if they feel the same. • The pair should be matched in “pitch.” Tap each stick close to your ear to select a matched pair.

Hearing Protection

It’s a fact of life that drums are loud, and if you play for any length of time you WILL damage your ears. For the health and safety of your hearing, it‘s highly recommended that you purchase some good isolation headphones or ear plugs to protect your hearing BEFORE you begin playing!

Metronome The most important role of the drummer is to provide a steady beat. A metronome is a device that gives us a steady pulse that we can use to develop better “time.” If you’re not playing along with a CD or play-along track, use a metronome whenever possible.

A FRESH APPROACH TO THE DRUMSET

9

Setting Up the Drums

How you set up your kit is a matter of personal preference, but here are some pointers to get a comfortable place to start.

The Throne

Often young drummers will use chairs or stools that do not adjust to the proper position for playing the drumset so having a good drum throne is important. Adjust your throne height so that your legs are above parallel to the floor and the heels are below the knees.

Bass Drum and Hi-Hat

The Snare Drum The height of the snare drum should be a few inches ABOVE your legs. Adjust the tilt of your drum so that it offers a level playing surface.

Start with a comfortable snare drum position and move the bass drum and hi-hat to you. The foot pedals should be in a position where the feet naturally fall. The height of the hi-hat cymbals should be roughly 6–8 inches above the snare, with the cymbals opening about 1 inch when the left foot is off the footboard.

Mounted Toms

Position your mounted toms in front of your snare with a slight angle toward you. Try to get them as close as possible without the rims touching. Avoid extreme angles as this will affect the sound you get from the drum.

Crash Cymbal

The crash cymbal is usually placed to the left of the toms, within easy reach of the right AND left hands. Adjust the stand height so that the cymbal does not make contact with the drum when it’s played.

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A FRESH APPROACH TO THE DRUMSET

Floor Tom

The floor tom should be within easy reach – roughly the same height as the snare drum, with a slight angle towards you. Be sure to leave a comfortable amount of space for your leg.

Ride Cymbal

The ride cymbal is placed to the right of the toms - and at a lower height. You should be able to reach the ride with the right hand without extending your elbow.

Drum Tuning Basics

If you’ve spent any amount of time in a music store, drum shop or browsing the internet looking at drums, you’ve probably discovered that there are literally thousands of types of drums and heads – each with its own specific

sound qualities. A great drum sound is a matter of personal preference – based on your musical style and taste. The following instructions include tuning basics that will help you get a good fundamental sound from the drums.

Drumhead Selection One of the most over-looked aspect of getting a great drum sound is determined by the quality of your drum heads. The heads on your drums should be in good condition (without holes or large dents), and the proper heads

for top and bottom should be used (bottom heads are thinner, which allows the drum to RESONATE). If you’re unsure of which heads to purchase, Google what your favorite drummer uses and try those!

Replacing a Drumhead Remove the old head and take a moment to clean out the inside of the drum and tighten the internal screws. Put the new head and counter hoop on the drum. Replace the tension rods, screwing them in until each one is “finger tight.” To seat the head, press down with the palm of your hand. Make sure that there are no slack tension points or wrinkles in any area of the head. Check the lugs once again for equal tension.

1 7

4

6

Cross Tensioning 5

3

2

Starting with the tension rod in the 12 o’clock position, tighten it 1/2 turn with a drum key. Move across the drum according to this diagram until you have tuned all the rods equally. Continue in this manner until you reach the desired pitch. How high or low a drum is tuned is a matter of personal preference. ONE IMPORTANT NOTE: The batter head on the snare drum should be tight enough for the stick to rebound easily.

8

Fine Tuning Once you tighten the head into the desired pitch range, tap the drum with your finger or stick at each tension rod and listen for a pitch (it might be helpful to place the drum on a rug or towel to isolate the sound of the head your tuning). Pick one tension rod as a reference point and begin to use small turns of the key to match the pitch of the other rods to it.

Muffling Once you have the drums tuned, you may wish to apply a small amount of muffling to control the sustain – either with a small cloth patch, moleskin or “moongel.” A good sounding drum should have some resonance, or sustained tone – too much muffling will make your drums sound like cardboard boxes!

!

This is only a brief explanation of the tuning process. Finding a great sound can take years of experience. Listen, learn and experiment! There are hundreds of articles, books and dvd’s devoted to the subject. Do your homework and keep experimenting until you get the sound and feel that you like.

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11

Lesson

1Gripping the Sticks the BALANCE 1 Find POINT of the stick. The

1

best place to grip the stick is usually about a third of the way from the butt of the stick.

2 You’ll hold the stick

3 The stick should lay across

the heel of the hand with the back fingers wrapping loosely around the stick. Keep a small amount of space between the back fingers and the palm.

between the thumb and index finger. This is called the FULCRUM – the place where the stick will pivot. Avoid squeezing the stick! You should feel no tension in your fingers or wrist.

4 With your shoulder

relaxed and elbow close to your body, place the tip of the stick on the center of the drum head. Your hand should be at about a 45 degree angle.

Matched Grip

The most natural way to grip the left stick is with the matched grip – where both hands grip the sticks exactly the same. Simply repeat the steps above for the left hand, then place the tips of your sticks on the center of the drum in roughly a 90 degree (or slightly smaller) angle.

!

This page provides only a brief overview of how to grip the sticks. For a more in-depth discussion of adjusting your grip for various musical styles, refer to my free lesson series on vicfirth.com or consult a private drum instructor.

Left Hand Traditional Grip Even though the left hand traditional grip was developed at a time when drummers held their drums on the side of their bodies, many jazz players still use it today. Because of the difficulties with learning this grip correctly, I HIGHLY recommend that beginning players play with matched grip. Video lessons on learning the traditional grip are provided on vicfirth.com. These videos will get you started, but I recommend that you get lessons from a qualified private instructor to develop the proper grip and stroke.

12

A FRESH APPROACH TO THE DRUMSET

The Rebound Stroke The REBOUND stroke (also called the “FREE STROKE” or “NATURAL STROKE”) is named for how the stick is allowed to naturally rebound when it strikes the drum head.

Without the Stick

Raise your arm to the playing position and pretend to dribble a basketball using a relaxed wrist motion. Keep the fingers, wrists and forearms completely free of any tension!

With the Stick

Starting in the playing position, raise the tip of the stick until it’s perpendicular to the floor. Allow a little space between the palm of the hand and the back fingers. As you “throw” the stick to the drum, allow it to rebound naturally. Watch yourself in the mirror as you play. There should be no stopping points in the path of the stick as it travels down and up.

Rebound Exercise: “8 on a Hand ” R R R R

!

R R R R

1-2

A-D

L L L L

L L L L

Watch yourself in the mirror to constantly monitor your grip and the path of the stick. Practice with the play-along tracks until you develop a consistent, relaxed rebound stroke.

Essential Rudiments

The RUDIMENTS serve as building blocks to great hand technique. Practice these first three rudiments with the playalong tracks – with perfect rebound strokes – and work to balance your sound so that each stroke sounds the same.

Single Strokes (“Single Stroke Roll ”) L R L R

L R L R

L R L

R

L R L R

L L R R

L L R R

L L R R

R L R R

L R L

R L R R

Double Strokes (“Double Stroke Roll ”) L L R R

Single Paradiddle L R L L

L

A FRESH APPROACH TO THE DRUMSET

13

Lesson

2Sticking Patterns

1-2

A-D

Practicing various sticking patterns will help you to develop a consistent sound from left to right. Start slow, practicing each exercise separately with a metronome or play-along tracks. Watch yourself in a mirror and listen to each stroke!

2

R R L L

3

R L L R

4

R L R R

5

R L L R

6

R R L R

R L R L

L R L R

L R L R

R R L L

14

L L R R

L L R R

R L L R

15

L R R L

L R R L

L R L L

16

L R L L

R L R R

L R R L

17

L R R L

R L L R

L L R L

18

L L R L

R R L R

R L R L

L R L R

19

L R L R

R L R L

8

R R R L

R R R L

20

L L L R

L L L R

9

R R L R

R R L R

21

L L R L

L L R L

sa

7

10

R L R R

R L R R

22

L R L L

L R L L

11

L R R R

L R R R

23

R L L L

R L L L

12

R R R R

L L L L

24

L L L L

R R R R

!

There a literally hundreds of ways to apply these simple sticking permutations to the drumset. Throughout the book, you will learn a few common methods that will help you learn control, coordination and independence. Practice each exercise at least 20 times each day. Focus your attention on your technique, listening for a consistent sound from hand to hand.

14

13

pl e

R L R L

m

1

A FRESH APPROACH TO THE DRUMSET

THIS IS NOT A RACE! Playing fast as you can won’t help you to develop proper form and muscle memory. Be patient and take it slow! There are more sticking combinations located in the APPENDIX on page 94 in the back of the book. For even more exercises, check out “STICK CONTROL FOR THE SNARE DRUMMER” by George Lawrence Stone.

Bass Drum Technique Heel Down

Heel Up

The heel up technique is preferred by drummers who want the greatest volume. With this technique, play by lifting the leg and dropping the foot to the floor – or by suspending the leg in the air while you play the pedal with the ball of the foot.

pl e

This technique is generally preferred by drummers who want control on low volume and expressive playing. To play with the heel down technique, simply play your right foot while leaving the heel touching the footplate.

Open Tones and Dead Tones

An OPEN TONE is achieved by allowing the beater to rebound off the drum head – similar to a snare drum rebound stroke. This allows the bass drum head to vibrate freely and achieves the most resonant sound from the drum.

A DEAD TONE is played by “burying the pedal” into the drum head. This type of stroke has the maximum punch and attack, but the least resonance because the batter head isn’t allowed to vibrate.

sa m

Bass Drum Pedal Exercise

Practice playing bass drum strokes along with a metronome or play-along tracks. Once you achieve a consistent sound with a relaxed stroke, try playing the bass drum along with the sticking patterns from the previous page.

1

HANDS BASS DRUM

Play a bass drum stroke along with every stroke in the hands:

œ œ œ œ

R

L

R

L

2 HANDS BASS DRUM

Play a bass drum note along with every other stroke in the hands:

œ

R

L

œ

R

L

Hi-Hat Pedal Technique

Most drummers use both the heel up and heel down techniques on the hi-hat: HEEL DOWN when playing open hi-hat sounds with the sticks – and HEEL UP when playing left foot hi-hat “chick” sounds.

Hi-Hat Pedal Exercise

Practice both the heel up and heel down techniques with the play-along tracks. After you’re comfortable, play hi-hat AND bass drum beats along with the hands playing the Sticking Patterns on the previous page.

3 HANDS BASS DRUM HI-HAT

Play a bass drum and hi-hat stroke along with every stroke in the hands:

œ œ œ œ

R x

L

x

R x

L

x

4 HANDS BASS DRUM HI-HAT

Play a bass drum and hi-hat note along with every other stroke in the hands:

œ

R

L

x



œ

R

L

x

A FRESH APPROACH TO THE DRUMSET

15

Lesson

3Right Hand Hi-Hat

To play the hi-hat with the right hand, start by depressing the pedal so the hi-hat cymbals are in the “closed” position. When you play with the right hand on the hi-hat, keep the elbow and shoulder relaxed.

pl e

The hi-hat can be played with the tip or the shaft of the stick – each creates a unique sound (the tip is used for lighter sounds, the shaft for heavier sounds). Most drummers play “right-over-left” on hi-hat/snare patterns.

3

Beginning Independence

A

Start by counting “1, 2, 3, 4” out loud while you play the top part (x) on the hi-hat, then add your left hand on the snare drum playing the bottom notes.

¿ ¿ ¿ ¿ œ

1

“1”

“3”

“4”

¿ ¿ ¿ ¿ œ œ

¿ ¿ ¿ ¿ œ

2



“1”

“2”

“1”

“2”

“3”

“4”

“3”

“4”

¿ ¿ ¿ ¿ œ œ œ

5

m

4



“2”

Next, try the bottom notes on the bass drum instead of snare drum. The play-along track alternates between the two: 4 times with hi-hat/snare, then 4 times hi-hat/bass.



“1”

“2”

“3”

“4”

¿ ¿ ¿ ¿ œ œ

3



“1”

“2”

“3”

“4”

“1”

“2”

“3”

“4”

¿ ¿ ¿ ¿ œ œ œ

6



Extra PRACTICE

sa

For more practice on these exercises, you can split the parts between the feet – playing the top line with the left foot hi-hat. Then try playing with any combination of hands and feet: including both hands and both feet!

“ROCK STAR ”

3

B-C

This rock beat is easy to learn – and it’s been played by some great drummers on countless hit records! The right hand will play steady beats on all four counts while you alternate between bass drum and snare drum beats.

RH HI-HAT

x

LH SNARE

BASS DRUM

Count:

! 16

œ

1

œx 2

x

œ

3

Start slowly and count out loud as you play. Practice the groove over and over until you can play with steady relaxed strokes. After you can get a consistent sound and feel, try playing it with the play-along track.

œx 4

x

œ

1

œx 2

x

œ

3

œx 4

WHAT you play is not as important as HOW you play it. Even a simple groove like this, played in perfect time with conviction and a great sound can be all that a song needs to make the band sound great!

A FRESH APPROACH TO THE DRUMSET

&

Music Notation Basics

4 ã 4 œPERCUSSIONœ CLEF œ

Music is written on a STAFF

1

2

3

4

5

2

1

4

3

pl e

The staff has 5 lines and 4 spaces.

Note Values

whole rest

1



A HALF NOTE is equal to TWO COUNTS:

All note values have a corresponding rest:

w

A WHOLE NOTE is equal to FOUR COUNTS:

2

h1



2



BAR LINES separate notes into equal numbers of beats.

bar line

1

m œ

œ

œ

1

ã 44 œ 1

3

4

h3

half rest

4

Œ

q1 q2 q3 q4

A QUARTER NOTE is equal to ONE COUNT:

bar line

y

œ

The tells you that the notes on the staff are for non-pitched instruments.

measure

quarter rest

A MEASURE is the space between bar lines.

y

1 1

y

y

y

1

measure

4 ã4 œ

The end of a piece of music is notated with a DOUBLE BAR LINE

sa

Note Value Exercise

3

D

Play steady quarter note beats in the bass drum (bottom notes) while you play the whole, half and quarter note exercise on the snare (top notes). Count out loud while you play, SUBDIVIDING each beat by saying “and” between the numbers.

ã 44 ˙œ œ œ œ

Count:

1 & 2 & 3 & 4 &

ã œœ œœ œœ œœ 1 & 2 & 3 & 4 &

œ

œ

œ

— There are FOUR BEATS in a measure — The QUARTER NOTE receives one beat

1 1

A TIME SIGNATURE tells you how many beats belong in a measure and what kind of note receives one beat.

&

..

When you reach the REPEAT SIGN, repeat back to the beginning.

..

œ˙ œ œ œ

˙œ œ ˙œ œ

˙œ œ ˙œ œ

1 & 2 & 3 & 4 &

1 & 2 & 3 & 4 &

1 & 2 & 3 & 4 &

œœ œœ œœ œœ

œœ œœ œœ œœ

œœ œœ œœ œœ

1 & 2 & 3 & 4 &

1 & 2 & 3 & 4 &

1 & 2 & 3 & 4 &

..

A FRESH APPROACH TO THE DRUMSET

17

Lesson

4Music Reading Exercises

4

A

Keep steady time in the bass drum while you play the various rhythms in the snare drum. The play-along track moves from one exercise to the next with 8 counts between. Count out loud while you play, subdividing each beat.

Count: 1 & 2 & 3 & 4 &

Œ 4 ã 4 œœ œœ œœ œ

3

4 Œ ã 4 œ œœ œŒ œœ

5

Œ Œ ã 44 œ œ œœ œœ

4 Œ Œ ã 4 œœ œ œœ œ

˙œ œ ˙œ œ

..

4 Œ ã 4 œœ œ œœ œœ

˙œ œ œœ œœ

..

6

4 Œ ã 4 œœ œœ œ œœ

œœ ˙œ œ œœ

..

ã 44 ˙œ œ œ œ

˙œ œ œÓ œ

..

..

2

œ œ ˙ œ œ œ œ

..

4

Œ ˙ œ œ œ œ œ

..

Ó œ œ œœ œœ

..

8

1 & 2 & 3 & 4 &

m

7

Œ Œ Œ Œ œ œ œ œ

pl e

4 ã 4 œœ œœ œœ œœ

1

Extra PRACTICE

More READING EXERCISES can be found in the APPENDIX on page 80.

sa

Technique Focus: Independence

You can use the Reading Exercises above to work on independence between your limbs.

1 Play steady quarter notes on the bass drum

AND hi-hat (with your right hand) while you play the reading exercise with your left.

y œy œy œy 4 œ ã4 œ œ œ œ

y œy œy œy 4 œ ã4 œ œ œ œ

œy œy œy œy Œ Œ Œ Œ

3 Play steady quarter notes with alternating strokes on the snare drum while you play the Reading Exercises with both feet.

.. 2

yŒ Œy yŒ yŒ œ œ œ œ

Play quarter notes on the right hand (hi-hat) and left hand (snare) – then add a Reading Exercise in the bass drum.

ã 44 œœy œœy œœy œœy

œ œ œ œ Œ Œ Œ Œ

After you’ve played through these 8 Reading Exercises, you can apply the same short concepts to the Reading Exercises in the Appendix in the back of the book!

18

A FRESH APPROACH TO THE DRUMSET

..

..

The Ride Cymbal

Œ

y

ã

The “RIDE CYMBAL” was named for the “ride” (time-keeping) patterns that are often played on it. A general “all-purpose” playing area for the ride cymbal is about a third of the way in from the edge.

Ride Cymbal Grip (“French Grip”)

pl e

When you begin to reach around the drumset, it often helps to rotate your hand slightly so you can minimize the movement of your arms. The grip you’ll use on the ride (most commonly referred to as the “FRENCH GRIP”) is produced by turning your hand to where the thumb is on top of the stick, as if you were going to shake hands.

Or you can play with the shoulder of the stick across the cymbal for a washy “heavy metal” sound.

For more ride cymbal sounds, you can also play on the bell (also called the “dome”).

Practice this rock beat which uses the ride cymbal instead of the hi-hat:

4

œœy

m

B

y 4 ã4 œ

Count:

sa Count:

“1” 2

4

3

y œy y œy ã œ œ “5” 2

3

4

B

y œy y œy ã œ œ œ œ

(ride)

“1” 2

3

4

y œy y œy ã œ œ œ œ “5” 2

3

4

y œy y œy œ œ

“2” 2

3

4

y œy y œy œ œ

“6” 2

3

4

y œy y œy œ œ œ œ

“2” 2

3

4

y œy y œy œ œ œ œ

“6” 2

y œ

œœy

y œ

œœy

1 & 2 & 3 & 4 &

..

Notice how moving from the hi-hat at letter A to the ride cymbal at letter B gives this tune two distinctly different sounds.

C-D

A

y œy y œy 4 ã4 œ œ

(hi-hat)

œœy

1 & 2 & 3 & 4 &

4

“ROCK STEADY ”

y œ

3

4

y œy y œy œ œ

“3” 2

3

4

y œy y œy œ œ

“7” 2

3

4

y œy y œy œ œ œ œ

“3” 2

3

4

y œy y œy œ œ œ œ

“7” 2

3

4

y œy y œy œ œ

“4” 2

3

4

œœy Œ Œ œ

“8” (2)

(3)

4

y œy y œy œ œ œ œ

“4”

2

3

4

œœy Œ Œ Œ

“8” (2)

(3)

(4)

..

A FRESH APPROACH TO THE DRUMSET

19

to the stem. Groups of 8th notes can be connected together with a BEAM. There are TWO 8th notes in each quarter note.

œ œ Ó 1

j œ

8th Notes An EIGHTH NOTE looks like a quarter, but with a FLAG attached

BEAM

FLAG

pl e

Lesson

&

1

5

8th notes “subdivide” the beat into two parts. The first 8th note in each set of two falls on the DOWNBEAT (the numbers), the second 8th falls on the UPBEAT (“ands”). In this exercise, the right hand plays on all the downbeats. The left adds the upbeat 8th note in the 2nd measure.

ã 44 œœ R

R

R

œœ

Count: 1

&

R

œœ

2

&

3

R

œœ

&

4

&

L

R

L

R

L

R

L

œœ

œ

œœ

œ

œœ

œ

œœ

œ

1

&

2

&

3

&

4

&

..

5

8th Note Exercises

A-B

Work for a consistent, relaxed hi-hat sound and make sure that all of the notes hit precisely together in tempo.



1

&

2

&

3

4 &

&

y y y y y y y y 4 . . ã4 œ œ œ œ

m

1



1

1

&

2

&

3

&

4

&

y y y y yœ y yœ y 4 . . ã4 œ œ

2

sa

8th Note Rock Beats

&

2

&

3

&

4

&

4

&

..

œy y yœ y yœ y yœ y 1

&

2

&

3

&

.. .. œy y yœ y yœ y yœ y

3

..

5

C-F

Try to get different sounds on each of these grooves – from a soft, tight hi-hat sound with the tip of the stick, to a loud, trashy, open sound with the shaft of the stick. Listen carefully to the groove and strive to put every note “in the pocket.”

y y œy y y y œy y 4 . ã4 . œ œ &

.. .. œy y œœy y œy y œœy y &

..

y y œy y y y œy y 4 . ã4 . œ œ œ

.. .. œy œy œy y œy œy œy y

..

1

Count:

1

&

2

&

3

&

4

3

1

&

2

&

3

&

4

&

2

1

To create a different sound to your groove, move the right hand to the ride cymbal and add a left foot hi-hat on beats 2 & 4: A FRESH APPROACH TO THE DRUMSET

2

&

3

&

4

4

Extra PRACTICE

20

&

1

&

4 y ã4 œ

2

y

&

œy y

3

y

y œ

&

4

&

y

œy y

y

..

5

Music Reading: Quarters and 8ths 4 ã 4 œœ œ œœ œœ œ œœ

count: 1 & 2 & 3 & 4 &

2

.. .. œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ

œ œ œ œœ œœ œ œœ

1 & 2 & 3 & 4 &



1 & 2 & 3 & 4 &

Extra PRACTICE

1 & 2 & 3 & 4 &

4

.. .. œœ œŒ œœ œ Œœ

4 ã 4 œœ œœ œ œœ œ œœ œ œœ œœ œ œœ œ œœ

3

..

pl e

1

G

1 & 2 & 3 & 4 &

1 & 2 & 3 & 4 &

œœœ œœŒ œ œ œ œ

1 & 2 & 3 & 4 &

..

1 & 2 & 3 & 4 &

Play an 8th note ride in the right while you play the rhythm patterns in the left – then switch. Next, play the rhythm in the bass drum with a left foot hi-hat on each beat.

m

More 8th note READING EXERCISES can be found in the APPENDIX on page 81.

5

“SOLID AS A ROCK ”

H-I

Listen to how different the groove sounds from letter A to letter B. Songs will often have different sounds when moving from one phrase to the next.

y y œy y y y œy y 4 ã4 œ œ

sa

A

Play 3 times

count:

ONE MEASURE REPEAT This sign tells you to repeat the previous measure.

‘

2 & 2 & 3 & 4 & 3 & 2 & 3 & 4 &

y y œy y y y œy y ã œ œ

‘

B

y y œy y y y œy y ã œ œ œ y y y y œy y y y œy y ã œ y œ œ y

‘

&

‘ ‘

‘

y y œy y y y œy y œ œ œ

‘

y œ

‘

y y œy y y y œy y œ œ y œ œ y

Œ

y y œy y y y œy y œ œ y œ œ y

œœ œ œœ œ

œœy Œ Ó

..

A FRESH APPROACH TO THE DRUMSET

21

Lesson

6New 8th Note Rock Beats

6

A-H

y y yœ y y y yœ y 4 . ã4 . œ œ œ

2

.. .. y y yœ y y y yœ y œ œ œ

..

y y yœ y y y yœ y 4 . ã4 . œ œ œ œ

4

.. .. y y œy y y y yœ y œ œ œ œ œ

..

y y yœ y y y yœ y 4 . ã4 . œ œ œ Œ

6

.. .. œy y œy yœ y y œy yœ Œ

..

4 .. y y y y y y œy y ã4 œ œ œ

8

..

1

3

5

7

.. .. y y œy y y y œy œy œ œ œ

Extra PRACTICE Move your right hand to the ride cymbal and add a left foot hi-hat on counts 2 & 4 – then try playing your left foot hi-hat on EVERY downbeat!

4 y y œy y y y œy y ã 4 œy œy œ y y

..

Technique Focus: Independence

In this exercise, you’ll use the STICKING PATTERNS on Lesson 2 to work on hand/foot independence. Here is an example of a couple ways to apply the paradiddle sticking pattern (exercise #4): Start by playing a sticking pattern between your right foot and left hand. Once you’re comfortable, add an 8th note ride in your right hand. Next, try adding the left foot hi-hat WITH the right foot.

y 4 ã4 œ



Extra PRACTICE

22

y 4 ã 4 œy

A FRESH APPROACH TO THE DRUMSET

yœ

y œy

y œ

yœ y

y œ

R

yœ y

yœ

yœ

y œ

y œ

yœ

y œ

yœ

yœ

L

R

R

L

R

L

L

..

..

For a real challenge, play straight downbeats on the hi-hat.

The Crash Cymbal

ã

The crash cymbal is used to punch the beginning of a musical phrase or to add a big finish to the end of a drum “fill”. A cymbal crash is usually played with the shoulder of the stick.

Œ

y

Crash Cymbal Exercises

&

Practice these two exercises with a metronome so you can learn to play a cymbal crash without loosing tempo in the groove. Practice with right AND left hand crashes (move the 8th note ride to the ride cymbal to practice left hand crashes).

> yyyyyyyy yyyyyyyy 4 œ œ .. ã4 œ œ œ œ œ œ œ Œ Œ Œ Œ

“8 BALL IN THE CORNER ” > y y y y y y y y 4 ã4 œ œ œ œ

A

Play 3x’s

y y y y y y œy y ã œ œ œ

> y yyyyyy yyyyyy yy 4 œ œ .. ã4 œ œ œ œ œ œ œ Œ Œ Œ Œ 6

I-J

(2)

(3)

‘

> y y œy y y y œy y ã œ œ œ y y y y œy y y y œy y ã œ œ œ y œ y

>

When you see an ACCENT ( ) marking, play the drum or cymbal stronger than the other notes.

y y y y y y œy y œ œ œ

B

‘ (2)

‘

> y œ

‘

‘

Œ

œ œ œ œ R

(3)

‘ (2)

Ó

(3)

‘

R

L

(4)

‘

> y œœ

L

‘ Œ

Œ

Œ

..

A FRESH APPROACH TO THE DRUMSET

23

Lesson

&

‰

Music Reading: 8th Rests

In the following measures, each 8th rest takes the place of an 8th note in the previous bar.

1

2 ã 4 œœ œ œœ œ 1

&

2

j j œœ ‰ œœ ‰

&

1

(&)

2

(&)

2

1

&

2

&

.. .. œœ œ œœ œ

j j ‰ œ ‰ œ .. œ œ

(1)

&

(2)

&

pl e

11

More exercises using the 8th rest can be found in the READING APPENDIX on page 83.

Upbeat Ride Pattern

11

A-D

The “upbeat” ride pattern is a common way to give a groove more of a “upbeat” feel. Work through these grooves slowly until you’re comfortable, then try the upbeat ride with the “8th Note Combos” in Lesson 9.

j j j j 14 ‰ y ‰ y ‰ y ‰ y œ œ .. ã4

j j j j 24 ‰ y ‰ y ‰ y ‰ y œ œ .. ã4

j j j j 34 ‰ y ‰ y ‰ y ‰ y œ œ .. ã4

j j j j 44 ‰ y ‰ y ‰ y ‰ y œ œ .. ã4

œ

m

œ œ

œ œ

sa

Style Essential: Disco

œ

œ œ

œ ‰ œ J

œ

11

E-F

DISCO developed in the 1970’s as a dance beat popularized in nightclubs called “discotheques.” This groove has an upbeat ride and a heavy “four-on-the-floor” bass drum (playing heavy quarters on all four beats).

‰ yj ‰ yj ‰ yj ‰ yj œ œ .. ã 44 œ œ œ œ

“DISCO FEVER ”

11

G-H

o y y 4 ã4 œ >

&

o > o > o œy y y y œy y œ œ œ > > >

This tune adds a short intro to the AB song form.

intro

32

ã 44

3

A verse

PLAY 16 . ’’’’ . ’ ’ ’ ’ FILL — — — —|

A FRESH APPROACH TO THE DRUMSET

ã 44

MULTI-MEASURE REST Don’t play for the specified number of measures

B chorus PLAY 8

3

y . ’’’ ’ . œ Œ Ó

..

’’’’

Fills Using the 8th Rest

11

I-P

Work up each fill with a metronome, then play it in the last measure of a four or eight bar phrase. Remember that if you need to build momentum during the fill, you can add bass

œ

œy

œ ‰ œj .. œ œ L

R

R

j y y œ œ œ .. ã 44 œ œ œ œ ‰

3

j j j . œ 4 œ œ œ ‰ ‰ ‰ œ . ã4

5

j ‰ œ œ œ

..

sa m

> y 7 4 ã4 œ œ œ

“BUILD IT UP ”

24 y

ã4 œ

..

j œ j 4 œ .. ‰ ã4 œ œ ‰ œ œ

4

j j y œ œ œ .. ã 44 œ œ ‰ œ ‰

6

Œ f 4 Ó ã4 œ œ Ó ‰ J p

A

y y œy y y y œy y ã œ ‰ œJ ‰ Jœ Œ F

C

y y œy y y y œy y ã œ œ œ œ œ ‰ J ‰ J ‰ J f

>j >j y y ‰ œ ‰ œ œ œ

4 ã4 œ

8

&

11

Q-R

This tune starts soft and builds from phrase to phrase. Notice how much the drum beats and dynamics contribute to the overall musical shape of the tune.

D

> ‰ >j œ œ œ œ œ

pl e

14 y ã4 œ

drum and/or hi-hat quarters underneath. In cases where you are leading the listener from loud to soft (as in a chorus to a verse), extra downbeat notes might be unnecessary.

p P

This tune includes 3 new DYNAMIC MARKINGS: – PIANO – (soft) – MEZZO PIANO (medium soft)

y y y fy ’’’’ œ ‰ Jœ Ó P j y y y 5 more ‰ œ Œ œ œ ’’’’ ‰ œ œ œ œ ‰ Œ 7 more

5 more

’’’’

B

y œ œ

..

j y ‰ œ Œ ‰ Jœ Œ

y œ œ

DIMINUENDO (gradually softer)

7 more

’’’’ FILL — — — —|

’’’’ ∑

FILL — — — —|

..

A FRESH APPROACH TO THE DRUMSET

33

16

New 8th and 16th Rhythms

œ œ œ

In these two new rhythm patterns, an 8th note takes the place of two 16ths. Subdivide, counting 16th notes out loud as you practice these exercises.

A

R L R

R

R

2 ã 4 .. œœ œ œ œœ œ

B

R L R

R

R

œ œ œ

œ œ œ œ 1

e

&

œ

a

1

œ œ œ œ

C

R

œ œ œ œ

R L R

R

D

e

œ œ &

a

œ œ œ œ R

œ œ œ R L R

R

pl e

Lesson

&

œ œ œ œ

Count: 1 e & a 2 e & a

.. .. œy œ y yœ y

.. .. œœ œ œœ œœ œœ œ.. .. œy œy œ yœ œ yœ ..

œ œ

1 e & a 2 e & a

1 e & a 2 e & a

œ

œ œ

œ

1 e & a 2 e & a

More exercises utilizing 16th/8th combinations can be found in the READING APPENDIX on page 88.

Syncopated Left Hand 16ths

16

A-H

sa m

Learn these grooves first with a loud backbeat and soft (ghosted) syncopated notes – then begin to experiment with the volume of the syncopated left (all loud, some soft/some loud).

1

2

.. .. œy œ y œy y yœ œ yœ œy yœ Œ ‰ J

..

3

4

.. .. y œ y œy y œ y y œy y œ œ œ ‰ œ Œ J

..

5

6

.. .. yœ œ y œy y œ yœ œ yœ œy yœ Œ ‰ J

..

8

..

y y œy y y œ y œy y 4 . ã4 .œ œ œ Œ Œ y y œy y œ y y œy y 4 . ã 4 .œ œ œ Œ Œ y y œy y œ y œ y œy y 4 . ã 4 .œ Œ ‰ œJ Œ

> > > 7 1 1 1 1 1 1 1 1 œ œ ã 44 .. œy œ œy y y œ

1 1 œ 1 1œ 1 1 1œ 1 .. .. œœ œy œy œ œy œ y

Extra PRACTICE The only limit to finding your sound is your imagination! Move your left hand around the toms. Add open hi-hats. Or, try moving your right hand to the ride while you play quarter notes or eighth notes with the left foot hi hat.

42

A FRESH APPROACH TO THE DRUMSET

Technique Focus: Accent Grid In this exercise, an accent is moved through a 4 note “grid”. Keep the accents strong and innerbeats soft!

> ã .. œœ œ œ œ R

L

R

L

etc

> > .. .. œœ œ œ œ

> .. .. œœ œ œ œ

> .. .. œœ œ œ œ ..

> > > > .. .. œœ œ 16 œ œ .. .. œœ œ œ œ ..

m pl e

> > ã .. œœ œ œ œ

> .. .. œœ œ œ œ

Syncopated Bass Drum 16ths

I-P

> > > > 2 . œ œ œ œ . . œ œ œ œ . y y y y y y y y y y . . . . 4 ã . . . œ œ œ œ . .œœ ã 4 .œ œ œ œ 1

œy y y œ œy œy y

..

3

.. .. y y œy y y y œy y .. œœ œ œ œ

5

6

y y œy y y y œy y 4 . ã 4 .œ œ œ œ œ y y œy y œ y œ y œy y 4 . ã 4 .œœ œœ œ

4

.. .. œy œ y œ œy y œ y œ œy œy œ y

..

> > > > > >> 8 y œ y œ y y y œ y œy y . . y œy y œy y œy y œy œ . 4 . . ã 4 .œ œ œ œœ œ œ . .œ œ œ œ œ

sa

7

&

Style Essential: Syncopated Rock

A syncopated rock feel usually has a driving 8th note ride, with a heavy bass drum and snare back beat.

16

Q-R

> > > y y œy y œ y œ y œy y œ 4 . . ã4 œ œ ‰ œ ‰ œ Œ J J A

> > > > y y œy y œy y œy y œ 㜠œ œ œ œ

B

6 MORE

Y

In this tune, you’ll play the “first ending” THREE times, then finish with the “fourth ending.”

6 MORE

Y

FILL

’ ’ ’ ’

y FILL y> ’ ’ ’ ’ .. œœ ’ ’ œœ 1, 2, 3.

FILL

4.

A FRESH APPROACH TO THE DRUMSET

43

20

Lesson

&

12 8 Time Signature

ã 12 8 œ œ œ œ œ œ œ œ œ œ œ œ 12 œ œ œ œ œ œ œ œ œ œ œ ã 8 thisœ reason, However, counting to 12 in a fast tempo can be difficult. For a more common way to count 12/8 is to keep four primary beats in each measure (like 4/4), and subdivide each beat into 3 eighth notes.>Because > > > each beat is subdivided into three parts, it is called a “triple” time signature (4/4 is a “duple” time signature). ã 12 8 œ> œ œ œ> œ œ œ> œ œ œ> œ œ Here are two common counting systems for ã 12 8 œ œ œ œ œ œ œ œ œ œ œ œ 1

2

3

4

5

6

7

8

9

10

11 12

m pl e

In 12/8 time, there are 12 beats in a measure, the 8th note receives one beat.

12/8 “triple” time. Try each one while placing an emphasis on each number.

12 8 Grooves

1 & a 2 & a 3 & a 4 & a 1 trip let 2 trip let 3 trip let 4 trip let

20

A-F

Start slowly and count the triple subdivision out loud. Keep the hi-hat light, but remember that each grouping of 3 notes should have a slight emphasis at the beginning (but just an emphasis – NOT an accent)!

1

2

y y y œy y y y y y œy y y . . y y y œy y y y y y œy y y . 12 . . . .œ ã 8 œ œ œ œ œ . 3

4

5

6

sa

y y y œy y y y y y œy y y . . y y y œy y y y y y œy y y . . . ã œ œ œ œ œ . .œ œ œ œ œ . y y y œy y y y y y œy y y . . y y y œy y y y y y œy y œy . . . . .œ . ã œ œ œ œ œ œ œ œ œ

Technique Focus: Accented 3’s

The relaxed technique you’ll need to play the hi-hat on 12/8 grooves is similar to the controlled rebound that you learned in the previous lesson – only this time, without a space between each pattern.

> ã œ œ R L

R L

œ

> œ œ

œ

R L

R L

R L

R L

..

Play a full stroke and allow the hand to “follow the stick” as it rebounds naturally. Use the Moeller motion on the 3rd stroke to lift the hand for the next accent.

Keeping the same flowing motion of the right hand hi-hat during 12/8 grooves while playing syncopated parts in the bass or snare is challenging. Practice this hi-hat pattern with both bass and snare:

50

A FRESH APPROACH TO THE DRUMSET

> y y 㠜

y œ >

> y y

y œ

..

12 8 Fills

20

G-O

3 bars time 12 ã 8 ’ ’ ’ ’

2 Count Fills

œœœœœœ

œ œ œ œ œœ œœ œœ œœ œœ ã œœœ

8

4 Count Fills 7

!

ã ’ ’ ’ ’

2 count fill

3

ã œœ œœ œœ œœ œœ œœ

2

> > > œœœœœœ

œœœœœœœœœœœœ ..

3 bars time

> j œœ œ

4

> j œœ œ

4 count fill

> > > j j j œœ œœ œœ œ œ œ œ œ œ œ œ œ œ 5

6

9

œ œ œj œ œ œ œ œ œœœ œœœ œœœ y y

pl e

1

’ ’ œœœœœœ ..

œ

œœœœœ œœœ œœœœ j œ

j œ

Remember that your fills should lead the music from one phrase to the next. Try starting softer and CRESCENDO through the last count or two of the fill.

12 Style Essential: 8 Blues

20

m

P-Q

The “Blues” is considered to be the forerunner of many of today’s popular styles – including jazz, R&B and rock. Unlike the 8 or 16 bar form used in most pop music, the blues is typically played in a 12 bar form. Knowing the chord structure of the 12 bar blues will help you get comfortable with the phrasing necessary to master this style. See if you can pick out the notes on the keyboard and sing the blues progression along with the play-along track.

I/

ã

‘

C

IV/ V/

ã

12 ã 8 ã I

ã

F

∑

Intro

‘ 1, 2, 3.

‘

j œ

Count:

‘ j œ

œ.

I/

F

Œ.

Œ.

Œ.

IV

FILL

œ œ œ

FILL

‘

’ ’

‘ ..

4.

I

‘

C

1 & a 2 & a 3 & a 4 & a

‘ œ.

‘

C

IV/

G

‘

I/

‘

sa

ã

‘

IV V

C

F G

> > .. œy y y œy y œy œy y y œy œy œy

I

I

‘

œœy .. Œ . Ó . .

FILL

‘

V

‘

IV

> U > > y T. j j œ œ œ œ ‰ œ œ œ ˙.

‘

A FRESH APPROACH TO THE DRUMSET

51

23

8th Note Triplets in Quarter Time

44 œœ œ œœ œ œœ œ œœ œ ã 8th note TRIPLETS would subdivide the beat into

An 8th note triplet is defined as “three 8th notes in the space of two.”

In quarter time, 8th notes subdivide the beat into two parts (there are two 8th notes per count):

THREE parts (three 8th notes per count):

ã 44 œœ œ œ œœ œ œ œœ œ œ œœ œ œ

4 ã 4 œœ œ œœ œ œœ œ œœ œ 1

&

2

3

&

3

4

&

1

&

3

3

3

3

3

&

2

a

& a

3

& a

4

& a

ã 12 8 œœ . œ œ œœ . œ œ œœ . œ œ œœ . œ œ

ã 44 œœ œ œ œœ œ œ œœ œ œ œœ œ œ 3

3

pl e

Lesson

&

Practice this exercise to learn to space 8th notes and 8th note triplets evenly:

㠜

œ

œ

œ

œ œ œ œ œ œ œ œ

ã 12 8 œœ . œ œ œœ . œ œ œœ . œ œ œœ . œ œ

Count: 1

&

2

&

3

&

4

1

&

2

&

&

3

&

4

Style Essential: The Shuffle

&

œ œ œ œ œ œ œ œ œ œ œ œ .. 3

m

Shuffle Grooves

3

3

1 & a 2 & a 3 & a 4 &

a

ã 44 œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ 3

The Shuffle, like the 2 beat, is a groove rhythm that has been adapted to many musical styles. The shuffle rhythm is built upon the 1st and 3rd note of a triplet:

Practice this exercise on your right hand, then with the left. As you speed up, “whip” the wrist for the accent.

3

3

3

3

3 > 3 > 3 ã 44 œœ ‰ œ œœ ‰ œ œœ ‰ œ œœ ‰ œ 3

23

A-D

3 3 3 > 3 > 3 > 3 > 3 2 y y œy ‰ y y ‰ y œy ‰ y . . œy ‰ œy œy ‰ œy œy ‰ œy œy ‰ œy . . .œ . ã 44 .. œ ‰ œ œ œ œ œ œ 3

sa

1

3 3 3 > 3 > 3 > 3 > > 3 4 y ‰ y œy ‰ y y ‰ y œy ‰ y . . y ‰ y œy ‰ œy y ‰ y œy ‰ y . . . ã œ œ œ . .œ œ . œ œ œ

3

3

! y . . ã

3

3

3

3

3

3

3

‰ y y ‰ y y ‰ y y ‰ y .. .. y ‰ y y ‰ y y ‰ y y ‰ y .. 23

“T-BONE SHUFFLE” A 4 ã4

melody (2xs)

56

3

The key to playing a great shuffle is in the feel – not the notes! The only way to master this style is to spend time listening to great shuffles by the masters! Shuffles by the legendary B.B. King is a great place to start.

Play 12

Y

A FRESH APPROACH TO THE DRUMSET

E-F

.. B..

12

Y

guitar solo (4xs)

..C..

melody (2xs)

12

Y

..

Technique Focus: Swing Sticking Patterns

‰ ‰ ‰ ‰ ã œ œ œ œœ œ œ œ 3

3

3

3

To reinforce the shuffle rhythm, try playing all the sticking pattern exercises you’ve learned with a swing feel. For example, a paradiddle sticking becomes:

3

ã œ‰ œœ‰ œœ‰ œœ‰ œ 3

3

L R

3

R L

3

3

3

R L

3

and:

L

3

3

3

y ‰ y y‰ y y ‰ y y‰ y ã œ œœ œœ œœ œ

m pl e

R

3

y ‰ œy y ‰ y œy ‰ y œy ‰ œy ã œ œ œ œ

23

Style Essential: Texas Shuffle

G-H

The Texas Shuffle uses a dotted 8th/16th rhythm instead of a triplet. This “delayed” double beat gives it a more laid-back feel than a typical triplet shuffle. Work towards getting a tight spacing of the double beat, with as loud of a backbeat rimshot as you can on the whip stroke! Listen to the music of Stevie Ray Vaughn for some great Texas Shuffles.

ã 44

2

œy .. œ

intro

A

^

Play 12

ã ’ ’ ’ ’ melody

y œy y .. œy

y œy œ .. œ

^

y œy y .. œy

œy

10 more

’’’’

C Play 11 . . ’ ’ ’ ’ . ’ ’ ’ ’

B.

Play 12

guitar solo (2xs)

melody

œœ

œ œ

> Œ œ œ œ œ œ œ . œy 3

> U Œ œ œ œ œ œ œ . œy ˙T 3

23

Style Essential: Rock Shuffle

I-J

A rock shuffle is usually played with a heavy quarter note ride, with the bass drum and snare implying the shuffle rhythm. The ghost note after beat 1 and 3 provides a busier feel to the groove, which helps to propel the motion.

> 3 > 3 3 3 3 > 3 > 3 > 2 y y ‰ y y ‰ y ‰ y ( œ) œy ‰ œ . . ‰ 4 .. y ‰ œ œ œ œ ( ) . .œ ã4 œ œ œ y œ œ œ y œ œ .. 3

sa

1

“ZZ >SHUFFLE” (Guitar) 4 y Œ Ó ã4 œ

A.

Πy Πy

‘

Œ Ó ã œœ

Ó

Fill

’ ’

Groove

Play 4

Y

B

Y

(Guitar)

Groove

‘

Play 16

ã .

1, 2, 3.

23

K-L

’ ’ ’ ’

Play 16

Y

Œ Ó ’ ’ ’ ’ .. œœ 4.

A FRESH APPROACH TO THE DRUMSET

57

Lesson

25

Style Essential: Jazz Swing

25

A-C

Jazz incorporates many different musical styles – from ragtime to bop. The swing style is fundamental to many other jazz styles and incorporates some of the most basic elements: a triplet feel, syncopation and improvisation. Unlike most rock feels which rely on a heavy bass drum and snare backbeat, jazz is built upon the ride cymbal pattern.

2

2 &

a

3 &

a

a

y ‰ y y y Œ 3

y 4 . ã4 . Œ

Practice the jazz ride while you count triplets out loud. When you’ve achieved a consistent feel, add the left foot hi-hat on 2 & 4.

!

&

4

&

a

y ‰ y . . y 3

pl e

1

COUNT: 1

Jazz drummers often incorporate a “heel-toe” rocking motion with the left foot to play repetitive 2 & 4 hi-hat chicks. Another common technique involves bouncing the leg in the heel-up position.

y ‰ y y œy œ

y ‰ y . . œy

3

y 4 . ã 4 .œ

3

In a jazz style, very soft “feathered” bass drum quarter notes are sometimes used to reinforce the walking bass line. The bass drum should be only loud enough to be “felt, but not heard.” Play heel down with an open tone.

sa m

Practice the first two swing patterns with play-along track A until you can develop a relaxed sound and feel.

3

4

Sometimes jazz drummers add a count 4 cross-stick to reinforce the 2 & 4 feel.

+3 o y ‰ y y

o y 4 . . ã4

ã 44

y ‰ y y œy œ

.. yœ

+3 y ‰ y . .

‰ y .. fœy y

3

3

Another common jazz groove uses an open hi-hat sizzle on 1 & 3, closing on 2 & 4. Play along with tracks B & C – 16 measures on the hi-hat groove, then move to the ride.

Technique Focus: Triplet Accent Patterns

Triplet accent patterns are useful for fills in the jazz swing style. Practice each measure separately until you’re comfortable, then mix and match to create 4 or 8 count accent patterns.

1 >

ã œ œ œ œ œ œ R L

6 >

L ––

R

>

L

R

L

ã œ œ œ œ œ œ R

L

R

L

R

2

œ œ œ œ œ œ R

7>

L

Extra PRACTICE 60

>

A FRESH APPROACH TO THE DRUMSET

L

R

>

L

R

L

3>

>8

>

œ œ œ œ œ œ R

L

R

>

L

R

L

4>

> 5

> >

œ œ œ œ œ œ

œ œ œ œ œ œ

R

R

> 9>

L

R

>

L

R

L

L

> 10 >

R

L

>

R

L

>

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ

R

R

R

R

L

R

L

R

L

L

R

L

R

L

L

R

L

R

L

L

R

L

R

L

• Add soft “feathered” bass drum quarters and a left foot hi-hat on 2 and 4. • Play the accents around the drums • More accent patterns are located on page 97.

25

Jazz Fills

D-I

A basic fill can be used to connect musical phrases or to lead one phrase into the next. Play your fills with a triplet subdivision, upbeat emphasis and a lighter approach – and keep the 2 & 4 hi-hat going during the fill.j

!

j ã œ œ ‰ œ ‰ œ œ

3 3 j ‰ ‰3 j ‰ ‰ ‰ œ œ œ ã jœ œ

j j ã œ œ ‰ œ ‰ œ œ

Rhythms in jazz are typically written with “straight” eighth notes for simplicity. In a standard 3jazz fill, you 3 should SWING the 8th note rhythms.

For instance, this rhythm

should be played:

pl e

œ ‰ œ ‰ jœ 4 y y ‰ y y œy ‰ y œ œ ã 4 œ œy œ œy ‘ ‘ j j ‰ œ play ‰ ‰ the Here are a few sample fills in a jazz style. Start with 3 bars of time, œthen œ ‰ fill‰ œin œthe 4th measure. Come up 3

ã

3

3

with your own fills by taking any syncopated 8th note rhythm and move it between the drums and cymbals.

j œ ‰ œ ‰ œj œ ã œ

1

>

4

>

3

2

L

>

L

R

L

R

L

R

>

L

R

3

>5 >

3

R

L

L

L

>

3

R

L

R

R

>

3

3

R

L

>

> >

L

R

>

R

> >

j œ œ

œ

j œ œ œ

L

3

>6

R

L

œœœœœœœ‰œœœœ

œ œ œœ ã œ œ œ œœ œ R

j œ œ œ œ œ

j œ œ

L

>

>

>

L

R

œ œ œ œ œ œ œ

œ

R

>

>

3

L

>

>

R

L

> >

>3 >

! œ! œ œ Swingœ Accent ! œ! œ! œ œ œ! œ œ! œ œ! œ œ œ œ! œ! œ Patterns Technique Focus: œ œ œ œ œ œ œ accented swing patterns. Once œ œ œ œ ã Anotherœhelpful œ technique for coming œ up with new fill ideas is to use

m

3

3

3

3

3

3

3

3

R L R Lon Rpage L R96.L R L masteredR these L exercises, R L R try swinging R the R 8th L note R L accent R L exercises R L R in L the Appendix you’ve

1

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2

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3>

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4

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L R

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ã œ‰œœ‰œœ‰œœ‰œ œ‰œœ‰œœ‰œœ‰œ œ‰œœ‰œœ‰œœ‰œ œ‰œœ‰œœ‰œœ‰œ R

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>

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R

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6>

L R

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ã œ‰œœ‰œœ‰œœ‰œ œ‰œœ‰œœ‰œœ‰œ œ‰œœ‰œœ‰œœ‰œ œ‰œœ‰œœ‰œœ‰œ R

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L R R L R

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œ‰œœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ ã œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ ‰ œ œ œ œJ-K 25 This short jazz tune with the hi-hat groove in the intro and ends

“SWINGIN’ EASY ” R L L R

L R L L R

> o > + 3 >o

L

R

L L Rback L L beat R L LonR the L L finalR “shout” R L R R chorus. L R R L a Rheavy

> > > >3 > + >3 œ œ œ œ œy œ œ ‰ yœ œ‰ œyœ yœ œ œ ã4 œ. œy œ œ œ yœ œ‰ ‰yœyœ œ œ y œ‰œyœ œ ‰ œ œ15œ œmore ã 4 .œ œ œ œ œ œy œ Y P F R L L R L L R

Sax solo

ã

P

L R R L

R L L R

Play 16

Y

f

y œ

>3

L R R L R R L

y‰ y œœ y œ y

>3

y‰ œœ y y

R L L R

15 more

Y

L R R L R L L

y œœ Œ Ó

>3 >

>

R R L

>>

œœœ yfœ‰‰ yœ œ œ œ œ15œ œmore œy Y R

L R R L R R L R L L

> U

..

y Tæ y œ œ œ ˙

A FRESH APPROACH TO THE DRUMSET

61

Lesson

27 Setting Up Ensemble Figures

27

A-H

One key role of the drummer in a big band is to provide a “setup” to “kick” an ensemble figure. In these exercises, you’ll play a downbeat setup and kick the ensemble figure that follows with a bass drum and crash.

> j y. œ ‰ œ.

KICK & of 1:

1 y y‰yy y‰y 4 ã 4 ’ ’ ’ ’ 3

KICK & of 2:

3 y y‰yy y‰y 4 ã 4 ’ ’ ’ ’ 3

3

5 y y‰yy y‰y 4 ã 4 ’ ’ ’ ’ 3

y‰y

> j y. y ’ œ œ. ‰

y‰y

2 y y‰yy y‰y 4 ã 4 ’ ’ ’ ’ œ Œ 3

’ ’ ..

3

> y y y‰y ’ .. ˙ 3

4 y y‰yy y‰y y 4 ã 4 ’ ’ ’ ’ ’ œ Œ 3

’ ..

7 y y‰yy y‰y 4 ã 4 ’ ’ ’ ’

..

3

..

> y . œ .

6 y y ‰y y y‰y y y‰y 4 ã 4 ’ ’ ’ ’ ’ ’ œ Œ 3

3

KICK 1:

8 y y y‰y y y‰yy 4 ã 4 œ ’ ’ ’ ’ ’ ’ œ 3

m

3

Extra PRACTICE

3

KICK 4:

> y y y‰yy œ ’ ’ ’ œ .. ‰ J

3

> y y ˙

KICK 3:

3

3

KICK & of 4: 3

y

3

> y y ‰ y j y. ’ ’ œ œ. ‰

KICK & of 3: 3

KICK 2:

|– continue ride –|

pl e

3

3

..

Also play a bass drum setup with a snare kick (either along with a crash, or under the ride pattern).

sa

Incorporating Fills

After you’ve gotten comfortable playing a single downbeat for the setup, you can begin to experiment with playing fills during the setup. Try these FLAMS AND DRAGS on the downbeat before the kick in each of the exercises above.

1

ã

j œ

œ

2

j œ

œ

3

j œ

4

œ

œœ

œ

5

œœ

œ

6

7

œœ

œ

œœ

RLR

These sample fills add a “PICKUP” before the downbeat setup. Apply each to exercises 1–8 above.

j œ œ ã 8

9

j œ œ

10

j œ œ

11

j œ œ

12

j œœ œœ

13

j œjœ œ

œ

14

j œ

j œ

œ

ONE COUNT fills start one beat before the downbeat setup. Apply each of these sample fills to the exercises above.

15

3

ã œœœ œ

64

16

3

œœœ

A FRESH APPROACH TO THE DRUMSET

17

œ

3

j œ

œœœ œ

18

3

œœ œœ œœ œ

19

3

œ‰ œ œ

j œ

20

3

œœ ‰ œ

j œ

21

3

œ œ ‰ œœ œ j œ

As you apply these TWO COUNT fills to the exercises on the previous page, start the fill 2 beats before the setup. Create your own style by playing at different dynamic levels, adding your own accents and inflections!

>3 >

3

> >

ã œœœœœœ œ

26

ã

3

3

œœ œœ œ œ œ 3

3

œ œ ã œ ‰ ‰œ œ

31

22

27

32

œœ

3

>

3

23

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>

3

28

œ‰ œ ‰ œ œ œ

j œ

3

> >

œ‰œœœœ œ R L L R

œ œ œ œ œ œ œ 3

>

3

24

L

3

3

œœœœœœ œ

25

3

3

œœœœœœ œ >

> >

pl e

21

j œ

j œ

33

3

œœ

3

œ œœ œ œ

3

j œ

3

œ

œ ‰ œ ‰ œ œ œ j œ

j œ

3

3

29

œœœœ

œ

œ œ

3

3

34

30

œœ‰œœ œ

œ œ! œ! œ œ

3

œ‰

35

œœ

3

j œ ‰ œ ‰ œ ‰ œjœ 3

3

Technique Focus: Paradiddle-diddles / 6 Stroke Rolls

Paradiddle-diddles and 6 stroke rolls (in triplet form) can be used in swing fills. Practice each pattern until you develop a relaxed triplet feel – then try playing it at the end of a 4 bar phrase (3 bars of time, 1 bar of fill).

>

>

2

>

>

sa m

1

3>

>>

>4

>>

>>

ã œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ R L R R L L R L R R L L

R L L R L R R L L R L R

“Kick It Old School”

R L L R R L R L L R R L

27

I-J

& D.C. AL FINE

Drum charts are often notated dotted 8th/16th jazz ride, even though the composer wants a triplet subdivision. This chart is typical in that some fills may be notated, but most are not. At letter B, you can play a simple downbeat setup (as notated), or play a longer fill in the setup.

Medium Swing

4A. y

ã 4 .œ

y. y y œ œ

Fill - - - -

>j

ã S S SJ œœ œœ ’ J

Repeat back to the beginning and play to the Fine (finish).

y. y y ‘ ‘ ‘ ‘ ‘ ‘ œ œ

> B œ^ ã œ ’ ’ ’ ’ ’ SJ œœ ..

^ œ ’ ’ ’ ’ ’S œ œ Jœ

4

R R L R L L R R L R L L

>j

C

>

S S S œœ .. J

Fill - - - - -

œy .. y y . yy y . y ‘ ‘ œ œ œ œ œ J Fine

> y y. y y y. y œ œ œ œ ‘ S ˙˙

œœ

>j

œœ . œœ ˙˙ . J

D.C. al Fine

A FRESH APPROACH TO THE DRUMSET

65

Lesson

30 Afro-Cuban Styles: The Cha-Cha In the cha-cha, as in most Afro-Cuban styles, grooves are played on traditional Latin percussion instruments such as clavés, cowbells, congas and timbales – not on the drumset.

Clave’ (pronounced “CLAH-vey”)

30

pl e

A-B

Clavé is both an instrument AND a rhythm in traditional Afro-Cuban music.

The clavé rhythm comprises two measures: a measure with 2 notes and a measure with 3 notes. How the lyrics and melodies are arranged in a song will determine which variation you will play – a 2/3 clavé or a 3/2 clavé.

Clavés are two pieces of wood struck together, creating a woodblock type of sound. The clavé rhythm is the key, or the heartbeat, of Afro-Cuban grooves – just as the backbeat is the key to pop/rock music. In Spanish, the word “clavé” literally means “key”.

2:3 Son Clavé

4 Œ ã 4 1

œ

œ

2

3

Π4

2 SIDE

In order to authentically play these grooves in a modern setting, the drumset player must be familiar with the traditional Latin instruments and their unique rhythms.

œ 1

j ‰ œŒ 2

&

3

The first clavé rhythm to learn is from the music of rural Cuba, called the son clavé (“sohn clah-vey”).

3:2 Son Clavé

œ 4

..

4 ã 4 œ 1

j ‰œŒ 2

&

œ

3

4

Π1

œ

œ

2

3

Π4

..

3 SIDE

m

3:2 Son Clavé with hi-hat

Practice the 2:3 and 3:2 Son Clavé rhythms along with the play-along tracks until you become comfortable with how the rhythm feels. Also practice without the hi-hat 8ths.

Playing the wrong clavé pattern in a afro-cuban song is called “cross-clavé” (crucao). Only by spending time listening to good salsa music will you begin to understand which clavé pattern should be played. Recordings from Tito Puente, Machito and Tito Rodriguez are a great starting point for listening.

sa

!

4 y y y fy y y fy y y y fy y fy y y y .. ã 4 f

30

Bass Tumbao (pronounced “Toom-BOW ”)

C-F

A “tumbao” is a repeated rhythm. The bass player’s tumbao has a syncopated upbeat of count 2, which is reinforced in the bass drum (bombo). Practice the two bass tumbao variations with hi-hat 8th notes, then add a downbeat cross-stick. Next, move the right hand to the ride and add downbeat hi-hats with the left foot.

1

Tumbao with hi-hat

>

>

>

>

>

>

>

>

4 y y y y y y y y y y y y y y y y .. ã 4 Œ ‰ œJ œ Œ Œ ‰ œJ œ Œ

3

70

Add cross-stick downbeats

>

>

>

>

>

>

>

4 fy y fy y fy y fy y fy y fy y fy ã 4 Œ ‰ œJ Ó Œ ‰ œJ Œ A FRESH APPROACH TO THE DRUMSET

>

y fy y . (œ ) .

2

Tumbao variation

>

>

>

>

>

>

>

>

>

>

4 y y y y y y y y y y y y y y y y .. ã 4 Œ ‰ œJ œ Œ Œ ‰ œJ œ œ 4

With ride and hi-hat downbeats

>

>

>

>

>

>

4 fy y fy y fy y fy y fy y fy y fy y fy y .. ã 4 y y œy y y y œ y ( œy )

30

Guiro (pronounced “WE-ro”)

G-I

Another important instrument in Afro-Cuban music is the guiro – a hollowed out gourd cut with notches that is struck and scraped with a thin wooden stick. The guiro pattern has a scraped sound on counts 1 and 3, with short strikes on counts 2 & 4.

. . m . . 4 ã 4 œ œ œ œ œ œ .. m

pl e

Listen to play-along track G to hear the sound of the guiro rhythm. The drumset player can mimic this guiro sound with open and closed hi-hats. These two cha-cha grooves add the guiro sound to cross-stick downbeats in the left hand.You can also move the left hand to a cowbell for a different sound.

o o o 4 fy fy y fy fy y fy fy y ã 4 Œ ‰ œJ Ó Œ ‰ œJ

o fy Œ

Cha-Cha Bell Pattern

o 4 fy y fy y ã 4 Œ ‰ œJ

Variation:

fœy y .. ( ) 30

J-L

m

The cha-cha bell is typically a small, high-pitched cowbell used by the timbalero (timbale player). There are two different sounds that are created: an open/low-pitched sound from playing on the “mouth” of the bell, and a dry/high-pitched sound created by playing in the middle. Listen to track J to hear the cha-cha bell pattern.

o . o . . o . . o . . t t t t t t t t t t t 4 Œ œ œ Œ .. œ ‰ œ Œ œ ã 4 J

Cha-cha bell pattern (with 2:3 clavé)

Here are two ways to orchestrate a cha-cha groove using the cha-cha bell pattern: first with quarter note cross-sticks, then with the guiro part (this time in the left hand). Also practice with a 3:2 clavé by flipping the two measures.

2:3 Cha-cha with tumbao/cross-stick

sa

o . o . . o . . t t t tt t tt 4 f f f f f fœ ã 4 œ Ó Œ ‰ J Œ ‰ J

Conga Tumbao

o o o fy y fy y fy y fy œy fy y fœy y .. Ó Œ ‰ JŒ ( )

o t f Œ

. . tt fœ .. ()

o – Open/Low Pitched Sound • – Dry/High Pitched Sound

2:3 cha-cha with tumbao/clavé

o . o . . o . . o t t t t t t t t t 4 y yyy y y y y y y ã 4 Œ ‰ Jœ Ó Œ ‰ Jœ Œ

. . ty ty . ( œ) .

* All 2:3 patterns should also be practiced as 3:2 by flipping the two bars.

30

M-N

In a typical salsa band, the conguero (conga player) plays a repeated pattern of slaps (high pitched “shots”) and lower pitched open tones that emphasize the upbeat of each bar. The conguero will typically fill around these slaps and open tones with palm and finger strokes. A drumset player can also incorporate the conga sounds with the left hand, moving between cross-stick and open tom sounds (although if a conguero is present in the ensemble, the drumset should generally stay away from playing the toms as this will muddle the sound of the conga parts).

2:3 with conga & guiro

o o o o 4 y fy y y œy œy y fy y y œ œy œy .. ã 4 Œ ‰ œJ Ó Œ ‰ œJ Œ ( œ)

o . o . . o . . o . . t t t œt œt t t t t œt œt 4 f œ . ã 4 y yf œ y y y y œ y ( œy) .

2:3 with conga & cha-cha bell pattern

A FRESH APPROACH TO THE DRUMSET

71

Lesson

31

31

Timbale Abanico (“Ah-ba-NEE-co”)

A-B

One important role of the timbalero is to announce the beginning of a new section in the music with an abanico – a rimshot and a roll which ends with another rimshot on the next downbeat. The abanico happens on the last bar of a phrase, leading into the next section. “Abanico” means “fan” – the roll in the abanico sounds like the opening of a fan.

^ ^ ^ play 7 4 æ ã 4 .. ( y ) ’ ’ ’ ’ ’ y ( !œœ !œ !œ !œ .. yœ ) Œ Ó

^ ^j ^ play 7 4 æ ã 4 .. ( y ) ’ ’ ’ ’ ‰ y Œ ( !œœ !œ !œ !œ .. yœ ) Œ Ó

2:3 Abanico

pl e

3:2 Abanico

* A timbale abanico is best played on the high timbale. If your drum setup does not include timbales, you may substitute a high, open tom sound (play the roll close to the edge for a thin, open sound).

“TIME TO CHA-CHA ”

31

C-D

Experiment with various orchestrations on this cha-cha to compliment the other musicians and sections of the song. Notice that a conguero is present in the play-along, so a lot of tom work isn’t necessary.

>

>

>

>

>

>

>

>

4 yy yy yy yy yy yy yy yy ã 4 f f œ fÓ f f f œ fÓ f Œ ‰J Œ ‰J

2:3

sa m

A. y^ ty y tyo ty ty tyo ty ty tyo ty ty ã . Œ ‰œÓ Œ ‰ œŒ œ

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J

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2.

ã ’’’’

&

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>

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>

>

>

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‘

>

>

>

fy y fy y fy y fy y y y œ y y œæ

œ

- . ^j æ ‘ œœ œœ ‰ y Œ œ

(6)

^j ^j fi 1. œ œ ‰ œ ‰ œ ’ Fill ’ ’ ’ .. œ œ ‰ œ ‰œ J J

Y

- . ^j œ œœ ‰ y Œ œ

œ C ˙ Cut Timeã

‘

12 more

fy y fy y fy y y œ y y

‘

‘ (4)

D.C. al Coda

10 more

Y

fi

^ ã ‰ œœ œœ œœ œœ ‰

^ œœ

œ œ œ œ ˙ C œ˙œ œœ œ˙œ œ œ ˙œ œ œ œ œ˙ œ œ œ

œ ã ˙

The “cut time” signature is literally – 2 beats to a measure, with a HALF NOTE receiving one beat. These two examples are played exactly the same, but written with two different time signatures:

ã C œ˙ œ œ˙ œ

œ˙ œ œ œ œ˙ œ œ œ

ã 42 œœ œ œœ œ

œœ œ œ œ œœ œ œ œ

ã 42 œœ œ œœ œ

œœ œ œ œ œœ œ œ œ

To practice reading rhythms in cut time, go back through the READING APPENDIX (pages 80-87) and play all the 4/4 exercises with 2 beats to the bar instead of 4. Try playing each exercise first with quarter note bass drum beats, then with half notes so you can feel the difference between 4/4 (or “common” time) and cut time.

72

A FRESH APPROACH TO THE DRUMSET

Afro-Cuban Styles: The Mambo The mambo is a rhythmically syncopated style of Afro-Cuban music. It relies heavily on the syncopation of the clavé rhythm as opposed to a distinct downbeat feel in the cha-cha.

31

E-H

pl e

Cascara (pronounced “CAHS-cahra”)

Unlike the cha-cha, which has a 4/4 feel, the mambo has a 2 feel – therefore, it is usually usually written in cut time.

Cascara (meaning “shell”) is a timbale rhythm played on the side of the drum. Since timbales are metal and the sticks are thin, a drumset player typically plays the cascara rhythm on either the rim of a drum or on the hi-hat.

j yy‰y y

2:3 Cascara

ã C

y

y

j j y y‰y ‰y . .

j y yy‰y y ‰ œJ Ó Œ

With Bass Tumbao

y C 㠌

j j y y‰y ‰y . . ‰ Jœ Œ ( œ)

Two common practices in Latin drumset grooves are to “fill in” the missing notes of the cascara, or to play clavé (example 2). R

L

R

L

R

R

L

R

R

L

R

R

L

R

L

R

y y y y y y ( œ) y y ( œ) y ( œ) y . . ã C ( œ) ( œœ) Ó ( œ) Œ ‰ J Œ ‰ œJ Œ ( œ) I-J

m

Conga Tumbao

31

j j y y y y y y y y y f f ‰ f f ‰ f y .. ã C Œ ‰ œJ Ó Œ ‰ œJ Œ ( œ)

In the mambo, the conguero will play slightly different parts in the verse and the chorus (“Montuno”).

2:3 (Verse)

y fy y y œ œy y fy y ‰ y œ y . . Œ ‰ œJ Ó Œ ‰ œJ Œ ( œ)

sa

ã C

Mambo Bell Pattern

. o . . o o . . o o t t tttt ‰ t t t t C ã

ã C

y fy y y œ œy y y œy œ y œ œy . . Œ ‰ œJ Ó Œ ‰ œJ Œ ( œ)

31

K-M

In the Montuno (chorus) section of a salsa tune, a timbalero will switch from the cascara to a large/heavy mambo cowbell.

2:3 Mambo Bell Pattern (Montuno)

2:3 (Montuno)

. . t t . .

Extra PRACTICE Practice each of the grooves on this page in 3:2 clavé by flipping the two measures. Also practice the cascara pattern on the ride cymbal, adding downbeat or upbeat hi-hat chicks with the left foot.

The mambo bell pattern can be incorporated on the drumset on the bell of the ride cymbal, but generally is only authentic if it’s played on a mambo cowbell. Here’s a couple of afro-cuban groove variations that incorporate the mambo bell pattern:

2:3 Mambo Bell with Clavé/Bombo

. . o o . . . o . . o o t t tt t t t t tt t t f f f fœ fœ .. C ã œ ( Ó Œ ‰ J Œ ‰ J Œ )

2:3 Mambo with Conga Tumbao/Bombo

. . o o . . . o . . o o t t t t œt œt ‰ t t œt œt œt œt fœ .. C ã œ œ ( ) Ó Œ ‰ J Œ ‰ J Œ

A FRESH APPROACH TO THE DRUMSET

73

Reading

APPENDIX ISOLATED RHYTHMS A

㠌 E

I

㠜

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œ

œ

Œ

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Ó

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B

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N

Œ

˙

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C

G

˙

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Œ

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m

˙

㠜

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œ

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K

Œ

Œ

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80

Œ

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ã ˙

˙

ã Ó

œ

A FRESH APPROACH TO THE DRUMSET

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Œ

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2 SURFACE READING ã 44 ˙

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sa

ã Ó

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READING EXERCISE ã 44 ˙

D

pl e

ã 44 œ

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ISOLATED RHYTHMS ã 44 œ œ œ A

œ

ã œ œ œ

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F

Œ ã œ œ

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J

œ

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C

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READING EXERCISE ã 44 œ œ œ œ œ œ

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ã œ Œ œœœœ

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sa

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2 SURFACE READING

P

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A FRESH APPROACH TO THE DRUMSET

81

Reading

APPENDIX ISOLATED RHYTHMS Ó

A

ã œœœœÓ E

B

F

Œ

Œ œœœœŒ

READING EXERCISE ã 44 œ œ œ œ Ó ã

∑

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sa

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∑

ã œ œ Ó 82

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A FRESH APPROACH TO THE DRUMSET

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A FRESH APPROACH TO THE DRUMSET

83

Sticking Patterns

APPENDIX

.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R L R L R L R R L R L R L R L L

13

.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R L R L R L L R L R L R L R R L

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.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R L R L R R L R L R L R L L R L

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.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R L R L R L R L L R L R L R L R

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.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R R L L R L R R L L R R L R L L

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.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R R L L R L L R L L R R L R R L

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.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R R L L R R L R L L R R L L R L

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.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R R L L R L R L L L R R L R L R

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.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R L L R R L R R L R R L L R L L

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.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R L L R R L L R L R R L L R R L

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.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R L L R R R L R L R R L L L R L

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.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R L L R R L R L L R R L L R L R

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A FRESH APPROACH TO THE DRUMSET

.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R L R R R L L R L R L L L R R L

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.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R L R R R L R R L R L L L R L L

.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R L R R R R L R L R L L L L R L .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R L R R R L R L L R L L L R L R .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R R L R R L R R L L R L L R L L .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R R L R R L L R L L R L L R R L .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R R L R R R L R L L R L L L R L .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R R L R R L R L L L R L L R L R .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R R R L R L R R L L L R L R L L .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R R R L R L L R L L L R L R R L .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R R R L R R L R L L L R L L R L .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R R R L R L R L L L L R L R L R

Triple Patterns

.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R R L R R L R L L R R R L L R L L R L R R L L L

.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R R L R R L R L R L R R L L R L L R L R L R L L

13

.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R L L R L L R L R L R R L R R L R R L R L R L L

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.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R L R R L R R L R L R R L R L L R L L R L R L L

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.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R L R R L L R L R L R R L R L L R R L R L R L L

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.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R L L R R L R L R L R R L R R L L R L R L R L L

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.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R R R L L L R L R L R R L L L R R R L R L R L L

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.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R R L R R L R R L L R R L L R L L R L L R R L L

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.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R L L R L L R R L L R R L R R L R R L L R R L L

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.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R L R R L R R R L L R R L R L L R L L L R R L L

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.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R L R R L L R L L R R R L R L L R R L R R L L L .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R L L R R L R L L R R R L R R L L R L R R L L L .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R R R L L L R L L R R R L L L R R R L R R L L L .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R R L R R L R L L R R L L L R L L R L R R L L R

.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R L L R L L R L L R R L L R R L R R L R R L L R .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R L R R L R R L L R R L L R L L R L L R R L L R

. R L R R L L œR œR œL œL œR œR œL œR œL œL œR œR œL œL œR œR œL œL ..

22. œ œ œ œ œ œ

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.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R R R L L L R R L L R R L L L R R R L L R R L L

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10 .œœœœœœ 11

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. R L R R L L œR œL œL œR œR œL œL œR œL œL œR œR œL œR œR œL œL œR .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R L L R R L R L L R R L L R R L L R L R R L L R .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. R R R L L L R L L R R L L L L R R R L R R L L R A FRESH APPROACH TO THE DRUMSET

95

Accent Patterns

APPENDIX > > > 2

.. œ œ œ œ œ œ œ œ ..

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96

> > .. œ œ œ œ œ œ œ œ ..

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A FRESH APPROACH TO THE DRUMSET

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Triple Accent Patterns 1

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16

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> > > .. œ œ œ œ œ œ .. > > > > .. œ œ œ œ œ œ .. A FRESH APPROACH TO THE DRUMSET

97

Glossary / Index

Abanico (p. 72) ����������������A Latin timbale rhythm played before the start of a new section of music in the Cha-Cha. Accent (p. 23) ������������������Play the note slightly louder. Bar Line (p. 17) ����������������Divides the staff into measures. Bell (p. 39) �����������������������The raised center dome of a cymbal (also term for cowbell). Brushes (pp. 69, 76) ��������Fan of wire strands attached to a handle.

Feathered Bass (p. 60) ���Bass drum technique in which the notes are played very softly (“felt, not heard”). Fermata (p. 35) ���������������Hold the designated note or rest longer than its usual value. Fill (pp. 26,27,33,35,41,47,51,55,61,64,65)...... Rhythmic pattern at the end of a musical phrase that bridges the gap into the next phrase – usually played around the drums.

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Buzz Roll (p. 25) ��������������Roll played with multiple bounce strokes.

Dynamics (p. 7) ��������������Musical symbols or terms describing the volume of the music (see also: piano, mezzo piano, mezzo forte, forte, crescendo, diminuendo).

Cascara (p. 73) ����������������Latin rhythm played on the shell of a timbale.

Cha-Cha Bell Pattern (p. 71)....... Rhythm in the Cha-Cha played on the Cha-Cha cowbell by the timbale player.

Fine (p. 65) ����������������������The “finish” or end of a musical composition.

Clavé (pp. 70, 75) ������������Latin percussion instrument made of two pieces of wood. Also a fundamental two measure rhythm played in Latin music.

First & Second Endings (p. 35)....... Play the measures under the 1st ending bracket the first time through a passage, repeat, skip the first ending and play the 2nd ending.

Clef (p. 17) �����������������������Musical symbol that indicates how the notes are arranged on the staff. Non-pitched instruments use a percussion clef.

Flam (p. 34) ���������������������Rudiment consisting of a soft grace note followed immediately by a stronger primary stroke.

Coda (p. 69) ���������������������Concluding section of a musical composition.

Four on the Floor (p. 32) Steady bass drum notes on the four primary beats in a 4/4 measure.

Common Time (p. 29) �����4/4 time signature.

Comp (pp. 62,63) �������������Accompaniment or complimentary figures played under the ride pattern in jazz settings.

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Conga (p. 71) �������������������Long single headed Latin drum played with hands.

Controlled Rebound Stroke (pp. 48,58) ..... An accented stroke followed by a softer, controlled bounce in which the player uses an varying amount of fulcrum pressure to control the placement and volume of the second stroke.

French Grip (p. 19) ����������Thumb of the matched grip is tilted towards the ceiling (also, “ride cymbal grip”). Fulcrum (p. 12) ����������������Contact point between the thumb and index finger that acts as the pivot point of the stick. Ghost Notes (p. 31) ��������Very soft notes. Grace Note ���������������������A soft note that is played immediately before a primary stroke (see also: Flam, Drag, Ruff).

Coordination ������������������The ability to harmoniously combine two or more limbs when playing different rhythms.

Grip ��������������������������������Holding the sticks with the hands and fingers (see also matched, traditional, french grip).

Crescendo (p. 27) ������������Gradual increase in volume.

Groove ���������������������������To play perfectly in tempo, with a great feel within a musical style; A specific rhythmic beat pattern within a musical style.

Cross Stick (p. 29) �����������Playing technique with a stick across a drum which produces a wooden sound. Cut Time (p. 72) ���������������Time signature with 2 beats to a measure in which the half note receives one beat. D.C., Da Capo (p. 65) ������Repeat back to the beginning (the “head”). D.S., Dal Segno (p. 67) ����Repeat back to the sign.

Guiro (p. 71) ��������������������Latin percussion instrument consisting of a hollow gourd with ribbed notches cut into one side. Played by rubbing with small wooden stick along the notches which produce a “ratchet” sound.

Diminuendo (p. 33) ���������Gradual decrease in volume (Also, “dim.”).

Hemiola (p. 55) ���������������Rhythm in which one note value is played against another. A common hemiola is a dotted note played against an undotted note (in a 1 1/2 to 1 ratio).

Dotted Notes (p. 35, 44) A dot behind a note or rest increases its value by half.

Independence ����������������The ability to harmoniously combine two or more limbs when playing different rhythms.

Downbeat (p. 17) ������������The “pulse” or primary beats in a measure.

L.V. (let vibrate) (p. 53) ��Allow cymbal to ring without muffling.

Downstroke (p. 31) ���������Stroke that starts high and ends low. After playing a full (accented) stroke, a specific amount of fulcrum pressure is applied to keep the stroke close to the drum.

Legato (p. 66) ������������������Literally “tied together”– smooth, connected.

Double Stroke Roll (p. 17)......Roll played using double strokes or bounces, also called “open” roll.

Matched Grip (p. 12) ������Both hands hold the sticks the same way in an overhand manner.

Drag (p. 45) ���������������������Double or multiple bounced grace note into a primary note (see also: “Ruff”).

Measure (p. 17) ���������������Space between two bar lines (also, “bar”).

Diddle (p. 40) ������������������Double stroke or double bounce.

Drumset Notation (p. 18) Musical symbols in specific places on a percussion staff, designating which drums, cymbals or effects to play.

100

Forte (p. 25) ���������������������Dynamic level meaning “loud.”

A FRESH APPROACH TO THE DRUMSET

Marcato (p. 56) ��������������Accented note with a shorter duration than the full note length (also, “rooftop” accent).

Metronome (p. 10) ���������Device that delivers a steady pulse, used as an aide to develop steady time (tempo). Mezzo Forte (p. 25) ��������Dynamic marking meaning “medium loud.”

Mezzo Piano (p. 33) ��������Dynamic marking meaning “medium soft.”

Tumbao (p. 70) ����������������A repeated rhythmic figure in Latin music.

Multi-measure Rest (p. 32)...... Rest for the number of bars indicated.

Two Measure Repeat (37)...... Repeat the two previous measures.

Multiple Bounce (p. 25) �Stroke with multiple sounds (bounces) per motion. Used in the multiple bounce or “buzz” roll.

Upbeat (p. 20) �����������������The note halfway between downbeats.

One Measure Repeat Sign (p. 21)

Repeat the previous measure.

Open Roll ������������������������Double stroke, or double bounce roll. Paradiddle (pp. 13, 37) ���Sticking pattern consisting of two alternating single strokes followed by a double stroke.

Whip Stroke (p. 57) ��������Two quick strokes in succession – from low to high (soft/loud).Unlike the upstroke, this stroke uses a whipping motion in the wrist.

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Piano (p. 33) ��������������������Dynamic meaning to play “soft.”

Upstroke (p. 31) ��������������Stroke that starts low and ends high. After playing a soft stroke, the player immediately lifts the stick to the “up” position.

Pocket �����������������������������To play with perfect time and great feel. Rebound Stroke (p. 13) ��Stroke that starts up and ends up. After playing a stroke, the stick is allowed to rebound naturally to the up position.

Repeat Sign (p. 17) ���������Repeat from the beginning, or repeat section between the repeat signs. (see also: one measure repeat, 2 measure repeat, 1st & 2nd endings, D.C., D.S.)

Rudiments (pp. 95,96) ����Fundamental sticking patterns for playing drums. Ruff (p. 45) ����������������������Two single stroked grace notes followed by a primary stroke. (see also: drag, grace note)

Shuffle Rhythm (p. 56) ���Rhythm based on the first and third note of a triplet (also dotted 8th, 16th).

Slash Notation (p. 26) ����Musical symbol used to denote “playing time” in a specific musical style.

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Staccato (p. 66) ���������������Play the note with a short duration, no matter what value is notated. Staff (p. 17) ���������������������Lines and spaces on which music is notated.

Song Form Glossary BASIC ELEMENTS

Intro ��������������������������������A unique passage of music that comes at the beginning. The intro usually establishes the tonality, groove and style of the song. Verse �������������������������������The section of music that tells the story. Multiple verses in a song usually have a similar musical style and chord progression, but with different lyrics. Chorus ����������������������������The main refrain or “hook” of a song, often containing catchy, repeated melodies and lyrics. The chorus is usually played at a higher dynamic level with more rhythmic intensity. Bridge �����������������������������An interlude or contrasting section between two parts of a song. The bridge is usually played after repeated sections and gives the listener an unexpected harmonic modulation before the final chorus. Often the bridge will feature a solo instrumentalist.

Straight 8ths (p. 20) �������Ride pattern using even spacing of downbeat and upbeat 8th notes (opposite of swing).

Pre-Chorus (Build) ���������A short phrase added to the end of a verse which propels the song into the chorus. Also called a “climb” or “lift.”

Strokes ��������������������������Various techniques used to play the drum. (see also: rebound stroke, tap stroke, downstroke, upstroke, controlled stroke, whip stroke, multiple bounce)

Break �������������������������������Instrumental interlude between parts of a song. Often everything except percussion will drop out during a break (sometimes called “stop time” or “breakdown”).

Subdivide �����������������������Divide the beat into two or more parts.

Outro �������������������������������A unique ending or tag to a song.

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Swing (pp. 60-69) ������������Playing with a triple subdivision of the beat. (Also a musical style) Syncopation (p. 38) ��������Placing an emphasis on the weak beats for rhythmic effect. Also, omitting downbeats to create a rhythm which emphasizes the upbeat. Tap Stroke (p. 31) �����������Stroke that starts low and ends low (soft note). See also: Ghost Note Tempo �����������������������������The speed of a selection of music. Tenuto (p. 66) ������������������Musical symbol meaning to hold the note for its full value. Also can direct the player to place a slight emphasis on the note. Time Signature (p. 17) ���The musical symbol at the beginning of a piece of music which determines the meter of the song. The top number indicates the number of beats in a measure, the bottom number indicates which type of note receives one beat. Traditional Grip (p. 12) ��A method of holding the left hand in an underhand manner. Triple Time (p. 50) �����������Time signature in which the primary beats are divided into three parts. Triplet (pp. 56,58) ������������A grouping of three notes in the space of two.

BASIC FORM STRUCTURES AAA ���������������������������������One of the oldest song forms, usually used in folk music. This form is simply a verse repeated over and over. AB (Verse/Chorus) ���������This is the way many classic rock songs are formed – moving back and forth between the verse and chorus. AABA (32 bar form) ������A variation of the AAA form, this structure inserts a bridge after two verses, then ends with a final verse. Instead of having a chorus, the bridge is usually a harmonically and lyrically contrasting vocal section to the verse. Extended AABA ��������������Similar to the AABA form, but with added bridge/verse sections (AABABA or AABABABA) 12 Bar Blues �������������������Comprised of 3 four bar phrases. The structure is covered in depth on Lesson 20. Other AB Forms �������������ABABCB: verse, chorus, verse, chorus, bridge, chorus BABAB: chorus, verse, chorus, verse, chorus AABABB: verse, verse, chorus, verse, chorus, chorus A FRESH APPROACH TO THE DRUMSET

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