Fresh Approach To Drumset Sampler PDF

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
TO THEDRUMSET
A FRESH APPROACH
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 LESSON TWELVE........................................34-35
How to Use the Book/CD, Note Values Chart, 3/4 Time Signatures, Grooves in 3/4 Time,
Drumset Notation Key, Notation Elements Rudiment: Flam, Fills in 3/4 Time,
Music Reading: 1st & 2nd Endings,
LEARN ABOUT THE INSTRUMENT...................8-9 Play-along Track: “Horseback Waltz”
SETTING UP THE DRUMS.................................11 LESSON THIRTEEN......................................36-37

Music Reading: Dotted Notes,
Style: Halftime Feel, Halftime Grooves,
LESSON ONE:.............................................12-13 Play-along Track: “Halftime Show”, Technique:
Gripping the Sticks, The Rebound Stroke,
Accented Paradiddles, Paradiddle Grooves
Rudiments: Singles, Doubles, Paradiddle
LESSON FOURTEEN....................................38-39
LESSON TWO:............................................14-15 Syncopated 8th Note Beats, Syncopated
Sticking Patterns, Bass Drum Technique,
Combos, Technique: Single Hand Accent,
Hi-Hat Pedal Technique
Play-along Track: “Synco de Mayo”
LESSON THREE...........................................16-17 LESSON FIFTEEN.........................................40-41

Right Hand Hi-Hat Technique, First Rock Beat,
Music Reading: Sixteenth Notes,
Music Notation Basics
16th Note Grooves, 16th Note Fills,
Technique: Grid Diddles, Style: Rock Ballad
LESSON FOUR............................................18-19
Music Reading: Quarter/Half/Whole,
LESSON SIXTEEN........................................42-43
The Ride Cymbal, Play-along Track:
Music Reading: 8th/16th Rhythmic
“Rock Steady”
Combinations, Syncopated LH 16th
Grooves, Technique: Accent Grid,
LESSON FIVE..............................................20-21 Syncopated BD 16ths, Style: Syncopated Rock
8th Notes, 8th Note Rock Beats,
Music Reading: Quarters and 8ths,
LESSON SEVENTEEN...................................44-45
Play-along Track: “Solid as a Rock”
Music Reading: 16th Rests, Dotted 8ths,
16th Based Rhythmic Permutations, 16th
LESSON SIX................................................22-23 Beat Combos, Rudiment: The Ruff,
New 8th Note Rock Beats, Technique: Style: 8th Note Funk
Independence, The Crash Cymbal,
Play-along Track: “8 Ball in the Corner”
LESSON EIGHTEEN.....................................46-47
Syncopated 16th Note Grooves,
LESSON SEVEN...........................................24-25 16th Open Hi-Hat Combos, Syncopated Fills,
The Toms, New Beats Using the Toms, Style: 16th Note Funk
Rudiment: Multiple Bounce Roll,
Play-along Track: “Jungle Drums”
LESSON NINETEEN.....................................48-49
Technique: Controlled Rebound, Play-along
LESSON EIGHT...........................................26-27 Track: “Slow Motion”, Rudiment: Flam
Drum Fills, Concepts: Sustaining Tap, Style: Train Beat, Rudiment: Lesson 25,
Momentum, Play-along Track: “Solid Time” 6 & 7 Stroke Rolls
LESSON NINE.............................................28-29 LESSON TWENTY.......................................50-51

Open Hi-Hat Sounds, Rudiment: 5 Stroke Music Reading: 12/8 Time Signature,
Roll, 8th Note Combos, Cross Stick, 12/8 Grooves, Technique: Accented 3’s,
Play-along Track: “Spy Games” 12/8 Fills, Style: 12/8 Blues
LESSON TEN...............................................30-31 LESSON TWENTY ONE...............................52-53

Quarter Note Ride Pattern, Technique: Triple Sticking Patterns, 12/8 Reading,
Independence, Style: Two Beat, Play-along Triple Combos, Triple Hi-Hat Combos,
Track: “Two Bits”, Technique: Tap, Down and Play-along Track: “Crooked Stick Blues”
Up Strokes, Time Check
LESSON TWENTY TWO..............................54-55
LESSON ELEVEN.........................................32-33 Music Reading: 16th Notes in Triple Time,
Music Reading: 8th Rests, Upbeat Ride Pattern, 12/8 Grooves Incorporating 16th Notes,
Style: Disco, Fills Using the 8th Rest, Technique: 12/8 Accent Patterns,
Play-along Track: “Build it Up” 12/8 Fills with 16ths, Style: 12/8 Rock
2 A FRESH APPROACH TO THE DRUMSET

LESSON TWENTY THREE............................56-57 READING APPENDIX...................................80-93
Music Reading: 8th Note Triplets, Style:
Blues Shuffle, Technique: Swing Sticking, DUPLE/TRIPLE STICKING COMBINATIONS...94-95
Style: Texas Shuffle, Style: Rock Shuffle
ACCENT PATTERNS....................................96-97
LESSON TWENTY FOUR..............................58-59
Technique: Controlled Rebound, Part 2, RUDIMENT CHART.....................................98-99
Style: Halftime Shuffle, Play-along Track:
“Backstreet Shuffle”, Rudiment: Swiss Army
Triplet, Music Reading: 16th Note Triplets, MUSICAL GLOSSARY.............................100-101
Style: Hip Hop, Play-along Track: “Go Dog”
LESSON TWENTY FIVE................................60-61

Play-Along Tracks:
Index by Styles
Style: Jazz Swing, Technique: Triplet Accents,
Jazz Fills, Technique: Swing Accent Patterns,
Play-along Track: “Swingin‘ Easy’
ROCK / POP / COUNTRY STYLES
LESSON TWENTY SIX.................................62-63 Basic Rock.......16, 19, 21, 23, 25, 27, 29, 33
Jazz Comping, Technique: Independence
Disco.........................................................24
LESSON TWENTY SEVEN............................64-65 Two Beat...................................................32
Setting Up Ensemble Entrances, Incorporating Country Waltz...........................................35
Fills, Technique: Paradiddle-diddle/6 Stroke Rolls
Play-along Track: “Kick it Old School” Halftime Feels............................................38
Syncopated Rock.................................41, 45
LESSON TWENTY EIGHT.............................66-67 16th Note Rock.........................................42
Catching Ensemble Figures, Music Reading:
Ensemble Articulations, Technique: Train Beat..................................................51
Independence, Jazz Chart Reading: Small Group 12/8 Rock..................................................57
Rock Shuffle..............................................59
LESSON TWENTY NINE...............................68-69
Style: Jazz Waltz, Brush Technique, Jazz Ballad
R&B / FUNK / HIP-HOP
LESSON THIRTY.........................................70-71 Funk..............................................47, 49, 51
Afro Cuban Style: Cha-Cha, Son Clavé, 12/8 Blues...........................................53, 55
Bass Tumbao, Guiro, Cha-Cha Bell Pattern,
Conga Tumbao Blues Shuffle.............................................58
Texas Shuffle.............................................59
LESSON THIRTY ONE..................................72-73 Halftime Shuffle........................................60
Timbale Abaniquo, Play-along Track:
“Time to Cha-Cha,” Music Reading: Cut Time,
Hip Hop (Go-Go).......................................61
Style: Mambo, Cascara, Conga Tumbao,
Mambo Bell Pattern JAZZ
Swing............................................63, 67, 69
LESSON THIRTY TWO.................................74-75
Rhumba Clavé, Play-along Track: Jazz Waltz.................................................71
“Mambo Caliente,” Style: Songo, Jazz Ballad.................................................71
Play-along Track: “Chango’s Songo”
LATIN STYLES
LESSON THIRTY THREE...............................76-77
Brazilian Style: Bossa Nova, Cha-Cha....................................................74
Play-along Track: “Bossa Breeze,” Mambo.....................................................76
Style: Samba, Play-along Track:
“Escola de Samba”
Songo.......................................................77
Bossa Nova................................................78
LESSON THIRTY FOUR................................78-79 Samba.......................................................79
Caribbean Style: Calypso, Play-along Track,
Calypso.....................................................80
“Caribbean Nights,” Style: Soca, Play-along
Track, “Soca Dance Party,” Style: Reggae, Soca..........................................................81
Play-along Track, “One Drop Reggae” Reggae......................................................81
A FRESH APPROACH TO THE DRUMSET 3

How to Use the Book
Fundamentally, there is no “right” or “wrong” way to And of course, players at every level will benefit from
approach any book, but here are a few suggestions that the fantastic play-along tracks – whether you play the
might help you get the most out of this book. grooves as written or make up your own.
I recommend that beginners progress through the book, I encourage you to really make the most of all the
each lesson in succession (I designed the book so each grooves throughout the book, even if they look simple.
lesson serves as a building block for the next). Drummers Even professional drummers know that just because
who have been playing for a while will probably want to a groove is easy to play doesn’t mean that it’s easy to
skip around and use the book to fill some gap in their play with perfect time and a great feel. Record yourself
training – whether technical, rudimental or musical. often and analyze your own playing to see if you’re re-
ally mastering the groove, time and feel.
More advanced players can apply a “conceptual
approach” to certain aspects of the book. For instance, Expect that there will be times that you’ll get frustrated
you can apply an almost infinite number of practice or discouraged. Not everything you learn is going to
variations to the “Sticking Patterns” or “Reading be easy! But when you become frustrated, don’t let
Studies” in the Appendix. I’ve included a few ideas to discouragement keep you from having fun. Sometimes
serve as a springboard for conceptual applications to get the best practice strategy is to just put the book away
you started. 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
! The boxes with an exclamation point contain
tips and advice related to the topic or grooves
directly above it.
specific play-along track(s).
Extra
PRACTICE
These boxes give you ideas on how to expand upon the
& Boxes with the “Treble Clef” icon contain
music theory information that’s necessary to
material presented. Helpful if you want to challenge yourself. learn to be able to read music.
Technique/Independence Style Essential

Topics covered in this gray box contain valuable exercises The topic under this header will help you learn
designed to promote hand and feet technical abilities - an essential musical style necessary to become a
and to develop independence between your limbs. well rounded, versatile drummer.
“SONG TITLE”
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. Why not have audio CD’s instead? Because there are
This CD is a data formatted disc which includes play- a HUGE number of play-along tracks included in this
along tracks in MP3 format. All the tracks and other book – and it would take over 8 discs to fit them on
resources can be accessed on a personal computer or audio CDs. With a computer and MP3 player, you’ll be
with an MP3 capable CD or DVD player. 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

Reference Charts
Rhythmic Note Values CORRESPONDING
REST VALUES
WHOLE
ã 44 ˙ ã 44 44 ∑
ã
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NOTE
1 2 3 4
ã 42
Ó 2
ã 44 ˙ ˙ ã 42 Ó
Ó
HALF
4 ã 4
ã 444
NOTE
1 2 3
ã 41 Œ ã 14
Œ
4 ã 41
ã4 œ œ œ œ ã 42 Œ
Ó
QUARTER
4 ã 2 4
NOTE
1 ‰ ã 144 Ó
ã8
1 2 3
ãã 4841 ‰
ã4 ‰
ã 44 œ ãã 841
3 3
œ œ œ œ œ Œ
1
QUARTER
1 ≈ ã 4 Œ
NOTE
TRIPLET
ã 16& a ã 421 Ó≈
ãã 42416
ã 161
1 & a 3
Ó≈
ãã4481 ‰
ã 44 œ œ œ œ œ
ã 32
œ1 œ œã®ã481
11 ‰
Œ®
8th
ã
& ã 132 4 Œ®
1
NOTE
ãã 4232
1 & 2 & 3 & 4
ãã24161 Ó≈
ã ã416 1 Ó≈
ã 44 1
3 3 3 3
8th
œ œ œ œ œ œ œ œ œ œ œ ãœ 8
1 ‰
ã 8 ‰
NOTE
ãã 14132
a 1
Œ®
TRIPLET
1 & a 2 & a 3 & a 4 &
ã ã432 1 Œ ®
1 ≈
ã 16
1
16th
ã 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œã 16œ
1 ‰
≈
e & a 2 e & a 3 e & a 4 e & 1a ã 8
‰
NOTE
ã 81
1
6 ã 132
®
®
ã 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œãã œ32 1œ
6 6 6
16th
16 ≈
NOTE
TRIPLET ã 161 ≈
1 & 2 & 3 & 4 &
ã 1
32 ®
32nd
NOTE
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
œ1 œ ®
1 e & a 2 e & a 3 e & a 4 e & a

Drumset Notation Key
DRUMS
ã œ œ f (œ ) y œ œ œ
Bass Snare Snare Snare Snare Tom1 Tom2 Floor
Drum Drum Cross Ghost Rimshot Tom
Stick Note
CYMBALS
o COWBELLS
y y y 1 y 3 3
ã y
Hi-Hat Hi-Hat Hi-Hat Ride Ride Crash Mambo Cha-cha
Open w/ Foot Cymbal Bell Cymbal Cowbell Cowbell
Basic Notation Elements

1 1
ã 44
Music is written on a STAFF 1
time signature bar line double bar
1
1
The staff has 5 lines and 4 spaces 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 2 2 2 2 2 2 2
REPEAT ONE MEASURE TWO MEASURE MULTI-MEASURE
SIGNS REPEAT REPEAT REST
.. 4 4
ã.. 4 ã 44 ã 4‘’ ‘’ ‘
« ’’«« «.. .. .. .. .. .. ’ ’’ ’’’’’
Repeat to the beginning Repeat the previous Repeat the previous Rest for the number of
or the similar sign measure 2 measures measures indicated
The volume of the music is indicated with DYNAMIC markings.
p f
P F
= PIANO = soft = FORTE = loud CRESCENDO
= gradually get louder
π ƒ
= MEZZO-PIANO = moderately soft = MEZZO-FORTE = moderately loud
DIMINUENDO
= PIANISSIMO = very soft = FORTISSIMO = very loud = gradually get softer

Learn About Your Instrument
Crash
1
Cymbal
Ride Cymbal
Mounted Toms
1 1 1
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.
Batter Head The snare drum has a few unique parts that
1 Tension makes it different from other drums:
Rod
1
Snare Tensioning
Knob
1
1
Rod Snare
1
Shell Casing Strainer

(Throwoff)
1
Snare
1
Gate
1
Counter
Resonant
1
Hoop (Rim) Snares

Head
1
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
RIDE: The ride is the largest and heaviest of the
three. Generally, you’ll play time-keeping
1
Ride Area patterns on the ride cymbal.
CRASH: These are smaller, thinner cymbals that
1
you’ll use to “punch” parts of the music.
1
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
Shoulder
1
1 1 Butt
Tip Neck 1 1
(Taper) Shaft
Without a pair of great sticks, you’ll have a difficult time start with one of those two models, then experiment with
learning to play the drumset. When selecting your sticks, it’s others based on your desired musical style and feel.
important to have a pair that are designed for the drumset
A perfectly matched pair of sticks will give you the best
playing – not concert or marching band! Two of the most
chance of success when learning to play the drums. Here
popular drumset models are the 5A (for rock, country, jazz or
are a few things to consider when purchasing drum sticks:
Latin) and the 5B (for heavier rock styles). It’s a good idea to
• 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 recommend-
ed 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.

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 The Snare Drum

Often young drummers will use The height of the
chairs or stools that do not adjust snare drum should
to the proper position for playing be a few inches
the drumset so having a good ABOVE your legs.
drum throne is important. Adjust the tilt of
Adjust your throne height your drum so that it
so that your legs are above offers a level playing
parallel to the floor and the surface.
heels are below the knees.
Bass Drum and Hi-Hat

Start with a comfortable snare drum posi-
tion 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 Floor Tom

Position your mounted The floor tom should
toms in front of your be within easy reach
snare with a slight – roughly the same
angle toward you. Try height as the snare
to get them as close as drum, with a slight
possible without the angle towards you.
rims touching. Avoid Be sure to leave a
extreme angles as this comfortable amount
will affect the sound of space for your leg.
you get from the drum.
Crash Cymbal Ride Cymbal

The crash cymbal is The ride cymbal is
usually placed to the placed to the right
left of the toms, within of the toms - and
easy reach of the right at a lower height.
AND left hands. Adjust You should be able
the stand height so that to reach the ride
the cymbal does not with the right hand
make contact with the without extending
drum when it’s played. your elbow.

Drum Tuning Basics
If you’ve spent any amount of time in a music store, drum sound qualities. A great drum sound is a matter of personal
shop or browsing the internet looking at drums, you’ve preference – based on your musical style and taste. The
probably discovered that there are literally thousands of following instructions include tuning basics that will help you
types of drums and heads – each with its own specific get a good fundamental sound from the drums.
Drumhead Selection
One of the most over-looked aspect of getting a great for top and bottom should be used (bottom heads are thin-
drum sound is determined by the quality of your drum ner, which allows the drum to RESONATE). If you’re unsure
heads. The heads on your drums should be in good condi- of which heads to purchase, Google what your favorite
tion (without holes or large dents), and the proper heads 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
Cross Tensioning
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
6 5 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.
3 8
2
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.

1Gripping the Sticks
Lesson
1 Find the BALANCE
POINT of the stick. The
2 You’ll hold the stick
between the thumb
best place to grip the and index finger. This
stick is usually about a is called the FULCRUM
1
third of the way from – the place where the
the butt of the stick. stick will pivot. Avoid
squeezing the stick! You
should feel no tension
in your fingers or wrist.
3 The stick should lay across 4 With your shoulder

the heel of the hand with relaxed and elbow
the back fingers wrapping close to your body,
loosely around the stick. place the tip of the
Keep a small amount of stick on the center
space between the back of the drum head.
fingers and the palm. 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.

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.
1-2
Rebound Exercise: “8 on a Hand ” A-D
R R R R R R R R 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 play-
along 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
Double Strokes (“Double Stroke Roll ”)

L L R R L L R R L L R R L L R R
Single Paradiddle
L R L L R L R R L R L L R L R R

2Sticking Patterns
Lesson 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!
1 R L R L R L R L 13 L R L R L R L R
e
2 R R L L R R L L 14 L L R R L L R R
3 R L L R R L L R 15 L R R L L R R L
6
R L R R
R L L R
R R L R plL R L L
L R R L
L L R L
16
17
18
L R L L
L R R L
L L R L
R L R R
R L L R
R R L R
m
7 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
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,
THIS IS NOT A RACE! Playing fast as you can won’t
help you to develop proper form and muscle memory.
you will learn a few common methods that will help you Be patient and take it slow!
learn control, coordination and independence.
There are more sticking combinations located in the
Practice each exercise at least 20 times each day. Focus your APPENDIX on page 94 in the back of the book. For
attention on your technique, listening for a consistent sound even more exercises, check out “STICK CONTROL FOR
from hand to hand. THE SNARE DRUMMER” by George Lawrence Stone.

Bass Drum Technique
Heel Down Heel Up
This technique is generally The heel up technique is pre-
preferred by drummers who ferred by drummers who want
want control on low volume and the greatest volume. With this
expressive playing. To play with technique, play by lifting the
e
the heel down technique, simply leg and dropping the foot to
play your right foot while leaving the floor – or by suspending the
the heel touching the footplate. leg in the air while you play the
pedal with the ball of the foot.
pl
Open Tones and Dead Tones
An OPEN TONE is achieved by allowing the beater to rebound A DEAD TONE is played by “burying the pedal” into the
off the drum head – similar to a snare drum rebound stroke. drum head. This type of stroke has the maximum punch
This allows the bass drum head to vibrate freely and achieves and attack, but the least resonance because the batter
the most resonant sound from the drum. head isn’t allowed to vibrate.
Bass Drum Pedal Exercise

m
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 Play a bass drum stroke along

with every stroke in the hands: 2 Play a bass drum note along
with every other stroke in the hands:
œ œ œ œ
R L R L
œ
R L
œ
R L
HANDS HANDS
BASS BASS
DRUM DRUM
sa
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 Play a bass drum and hi-hat stroke

along with every stroke in the hands: 4 Play a bass drum and hi-hat note along
with every other stroke in the hands:
œ œ œ œ
R L R L
œ
R L
œ
R L
HANDS HANDS
BASS BASS
DRUM DRUM
HI-HAT x x x x HI-HAT x x
3Right Hand Hi-Hat
Lesson
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.
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).
e
Most drummers play “right-over-left” on hi-hat/snare patterns.
Beginning Independence A
Start by counting “1, 2, 3, 4” out loud while you play the Next, try the bottom notes on the bass drum instead of
pl
top part (x) on the hi-hat, then add your left hand on the snare drum. The play-along track alternates between the
snare drum playing the bottom notes. two: 4 times with hi-hat/snare, then 4 times hi-hat/bass.
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
1 œ 2 œ 3 œ œ
“1” “2” “3” “4” “1” “2” “3” “4” “1” “2” “3” “4”
¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
4 œ œ 5 œ œ œ 6 œ œ œ
m
“1” “2” “3” “4” “1” “2” “3” “4” “1” “2” “3” “4”
Extra
PRACTICE
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!
sa
“ROCK STAR ”
3
B-C
This rock beat is easy to learn – and it’s been played by Start slowly and count out loud as you play. Practice the
some great drummers on countless hit records! The right groove over and over until you can play with steady relaxed
hand will play steady beats on all four counts while you strokes. After you can get a consistent sound and feel, try
alternate between bass drum and snare drum beats. playing it with the play-along track.
x
œx x
œx x
œx x
œx
œ œ œ œ
RH HI-HAT
LH SNARE
BASS DRUM
Count: 1 2 3 4 1 2 3 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!

& Music Notation Basics
4 y
Music is written on a STAFF
2
3
4
5
1
2
3
4
ã 4 œPERCUSSIONœ CLEF œ
The tells you that the notes
on the staff are for non-pitched instruments.
œ
1
The staff has 5 lines and 4 spaces.
e
All note values have
Note Values a corresponding rest:
A WHOLE NOTE is equal to FOUR COUNTS: w whole rest

1 2 3 4
h1 h3
pl
A HALF NOTE is equal to TWO COUNTS: half rest
2 4
A QUARTER NOTE is equal to ONE COUNT: q1 q2 q3 q4 Œ quarter rest

BAR LINES separate notes into equal numbers of beats. A MEASURE is the space between bar lines.
1
ã 44 œ
1
bar line bar line
y y y y
m
œ œ œ
1 measure 1 1 measure 1
4
The end of a piece of music is notated with a DOUBLE BAR LINE
A TIME SIGNATURE tells you how many beats belong

ã4 œ œ
— There are FOUR BEATS in a measure œ œ
1 1
in a measure and what kind of note receives one beat. — The QUARTER NOTE receives one beat
sa
Note Value Exercise

&
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
..
When you reach the
REPEAT SIGN, repeat
..
back to the beginning.
loud while you play, SUBDIVIDING each beat by saying “and” between the numbers.
ã 44 œ̇ œ œ œ œ̇ œ œ œ ˙œ œ ˙œ œ ˙œ œ ˙œ œ
Count: 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
ã œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ..
1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &

4Music Reading Exercises
Lesson 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.
4 Œ Œ Œ Œ 4 Œ Œ ..
1 2
ã 4 œœ œœ œœ œœ .. ã 4 œœ œ œœ œ ˙œ œ ˙œ œ
œ œ œ œ
e
Count: 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
4 Œ .. 4 Œ ..
3 4
ã 4 œœ œœ œœ œ œ œ ˙
œ œ œ œ ã 4 œœ œ œœ œœ ˙œ œ œœ œœ
7
4 Œ
ã 4 œ œœ œŒ œœ
Œ Œ
ã 44 œ œ œœ œœ
pl
Œ ˙
Ó
œ
œ œ œ œ
œ œ œœ œœ
..
..
6
4 Œ
ã 4 œœ œœ œ œœ
ã 44 œ̇ œ œ œ
8
œœ ˙œ œ œœ
˙œ œ œÓ œ
..
..
m
Extra
PRACTICE
More READING EXERCISES can be found in the APPENDIX on page 80.
Technique Focus: Independence

sa
You can use the Reading Exercises above to work on independence between your limbs.
1 Play steady quarter notes on the bass drum 4 y œy œy œy

ã4 œ œ œ œ
œ yŒ Œy yŒ yŒ ..
AND hi-hat (with your right hand) while
you play the reading exercise with your left.
œ œ œ œ
4 y œy œy œy
ã4 œ œ œ œ
œ œy œy œy œy .. 2 Play quarter notes on the right hand (hi-hat)
Œ Œ Œ Œ
and left hand (snare) – then add a Reading
Exercise in the bass drum.
ã 44 œœy œœy œœy œœy ..

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

The Ride Cymbal y Œ
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.
ã
Ride Cymbal Grip (“French Grip”)

When you begin to reach around the drumset, it often helps to rotate your hand
e
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
pl
the shoulder of the
For more ride cymbal sounds,
stick across the cymbal
you can also play on the bell
for a washy “heavy
(also called the “dome”).
metal” sound.
4 y
œœy
y
œœy
y
œœy
y
œœy ..
ã4 œ
4
Practice this rock beat
B which uses the ride cymbal
instead of the hi-hat:
œ œ œ
m
Count: 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
4 Notice how moving from the hi-hat at letter A to the ride cymbal
“ROCK STEADY ”
C-D
at letter B gives this tune two distinctly different sounds.
A
4 y œy y œy y œy y œy y œy y œy y œy y œy
ã4 œ
(hi-hat)
œ œ œ œ œ œ œ
sa
Count: “1” 2 3 4 “2” 2 3 4 “3” 2 3 4 “4” 2 3 4
y œy y œy y œy y œy y œy y œy œœy Œ Œ œ
ã œ œ œ œ œ œ
“5” 2 3 4 “6” 2 3 4 “7” 2 3 4 “8” (2) (3) 4
B
y œy y œy y œy y œy y œy y œy y œy y œy
ã œ œ œ œ
(ride)
œ œ œ œ œ œ œ œ œ œ œ œ
“1” 2 3 4 “2” 2 3 4 “3” 2 3 4 “4” 2 3 4
y œy y œy y œy y œy y œy y œy
ã œ œ œ œ œ œ œ œ œ œ œ œ œœy Œ Œ Œ ..
“5” 2 3 4 “6” 2 3 4 “7” 2 3 4 “8” (2) (3) (4)

5
&
Lesson
j
BEAM
œ œ Ó
8th Notes FLAG
1
1
An EIGHTH NOTE looks like a quarter, but with a FLAG attached
to the stem. Groups of 8th notes can be connected together with
a BEAM. There are TWO 8th notes in each quarter note.
œ
e
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 R R L R L R L R L
œœ œœ œœ œœ œ œœ œ œœ œ œœ œ ..
pl
Count: 1 & 2 & 3 & 4 & 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 & 1 & 2 & 3 & 4 &
1
4 .
.
y y y y y y y y œy y yœ y yœ y yœ y ..
ã4 œ œ œ œ
m
1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
2
4 .
.
y y y y yœ y yœ y .. .. œy y yœ y yœ y yœ y
3
..
ã4 œ œ
8th Note Rock Beats

5
sa
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.”
4 . y y œy y y y œy y .. .. œy y œœy y œy y œœy y ..
1 2
ã4 . œ œ
Count: 1 & 2 & 3 & 4
& 1 & 2 & 3 & 4 &
4 . .. .. œy œy œy y œy œy œy y ..
3 4
y y œy y y y œy y
ã4 . œ œ œ
1 & 2 & 3 & 4
& 1 & 2 & 3 & 4 &
Extra
PRACTICE
4 y y œy y y y œy y ..
ã4 œ
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: y œ y

5
Music Reading: Quarters and 8ths G
1 2
4 .. .. œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ ..
ã 4 œœ œ œœ œœ œ œœ œ
œ œ œœ œœ œ œœ
e
count: 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
4
4 .. .. œœ œŒ œœ œ Œœ œœœ œœŒ
3
ã 4 œœ œœ œ œœ œ œœ œ œœ œœ œ œœ œ œœ œ œ œ œ ..
pl
1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
Extra
PRACTICE
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.
More 8th note READING EXERCISES can be found in the APPENDIX on page 81.
m
&
5
‘
“SOLID AS A ROCK ”
H-I
ONE MEASURE REPEAT
This sign tells you to repeat
Listen to how different the groove sounds from letter A to letter B. Songs
the previous measure.
will often have different sounds when moving from one phrase to the next.
4
A
y y œy y y y œy y y y œy y y y œy y
ã4 œ œ ‘ ‘ œ œ œ
sa
Play
3 times
count: 2 & 2 & 3 & 4 & 3 & 2 & 3 & 4 &
y y œy y y y œy y y
ã œ œ ‘ ‘ œ Œ œœ œ œœ œ
B
ã œ y œ œ y ‘ ‘ œ œ y œ œ y
ã œ y œ œ y ‘ œ œ y œ œ y œœy Œ Ó ..

6New 8th Note Rock Beats
Lesson 6
A-H
4
1 2
. y y yœ y y y yœ y
ã4 . œ œ œ .. .. y y yœ y y y yœ y ..
œ œ œ
4
3 4
ã4 . œ œ .. .. y y œy y y y yœ y ..
4
5 6
ã4 . œ œ œ Œ .. .. œy y œy yœ y y œy yœ ..
Œ
4 .. y y y y y y œy y
7 8
ã4 œ .. .. y y œy y y y œy œy ..
œ œ œ œ œ
Extra
PRACTICE
Move your right hand to the ride cymbal and add
4 y y œy y y y œy y ..
a left foot hi-hat on counts 2 & 4 – then try playing ã 4 œy y œy œ y
your left foot hi-hat on EVERY downbeat!
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):
4 y yœ y y yœ y yœ yœ ..
Start by playing a sticking pattern between your right foot
and left hand. Once you’re comfortable, add an 8th note ã4 œ œ œ œ
ride in your right hand. Next, try adding the left foot hi-hat
WITH the right foot.
R L R R L R L L
Extra 4 y
ã 4 œy
yœ y y yœ y yœ yœ .. For a real challenge, play straight
PRACTICE œy œ y œ y downbeats on the hi-hat.

The Crash Cymbal
y Œ Ó
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.
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. When you see an ACCENT ( )
Practice with right AND left hand crashes (move the 8th note ride marking, play the drum or cymbal
to the ride cymbal to practice left hand crashes).
stronger than the other notes.
> >
4 yyyyyyyy yyyyyyyy 4 y yyyyyy yyyyyy yy
ã4 œ œ œ œ œ œ .. ã4 œ œ œ œ œ œ ..
Œ Œ œ Œ œ œ Œ Œ Œ œ Œ œ œ Œ
“8 BALL IN THE CORNER ”

I-J
A
>
y y y y y y y y
4
ã4 œ
y y y y y y œy y
‘ ‘
œ œ œ œ œ œ
Play 3x’s
>
y y y y y y œy y y
Œ
(2) (3)
ã œ œ œ ‘ ‘ œ
œ œ œ œ
R L R L
B >
y y œy y y y œy y (2) (3) (4)
ã œ y œ œ y ‘ ‘ ‘
>
y y œy y y y œy y y
Œ Œ Œ ..
(2) (3)
ã œ y œ œ y œ ‘ ‘ œœ

11 ‰
&
Lesson
Music Reading: 8th Rests
In the following measures, each 8th rest takes the place of an 8th note in the previous bar.
1 j j 2 j j
2 œœ ‰ œœ ‰ ‰ œ ‰ œ ..
1 & 2 & 1 (&) 2 (&) 1 & 2 & (1) & (2) &
ã 4 œœ œ œœ œ .. .. œœ œ œœ œ œ œ
e
More exercises using the 8th rest can be found in the READING APPENDIX on page 83.
pl
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
14 ‰ y ‰ y ‰ y ‰ y
j j j j
24 ‰ y ‰ y ‰ y ‰ y
j
ã4 œ œ .. ã4 œ œ ..
œ œ œ œ œ
m
j j j
34 ‰ y ‰ y ‰ y ‰ y
j j j j
44 ‰ y ‰ y ‰ y ‰ y
j
ã4 œ
œ œ .. œ œ ã4 œ
œ œ .. œ ‰ œ
J
Style Essential: Disco

11
E-F
sa
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).
o > o o > o
‰ yj ‰ yj ‰ yj ‰ yj
ã 44 œ .. 4 ..
y y œy y y y œy y
œ
œ œ
œ
œ ã4 œ œ œ œ
> > > >
& 3
ã 44 ’’’’
11 MULTI-MEASURE REST
“DISCO FEVER ”
G-H
Don’t play for the specified
number of measures
This tune adds a short intro to the AB song form.
3
A verse B chorus
intro y
ã 44 . .
FILL — — — —|
’’’’ . ’ ’ ’ ’ ’’’ ’ . œ Œ Ó
PLAY 16 PLAY 8

Fills Using the 8th Rest
11
I-P
Work up each fill with a metronome, then play it in the last drum and/or hi-hat quarters underneath. In cases where you
measure of a four or eight bar phrase. Remember that if you are leading the listener from loud to soft (as in a chorus to a
> ‰ >j
need to build momentum during the fill, you can add bass verse), extra downbeat notes might be unnecessary.
14 y
ã4 œ œy œ œ ‰ œj .. 24 y
ã4 œ œ œ œ œ œ ..
œ œ
e
L R R
j j
ã 44 œ œ œ œ ‰ œ œ .. 4 j ..
3 y y 4
ã4 œ œ ‰ œ œ ‰
œ œ œ
7
4
ã4
4
œ œ
>
y
ã4 œ œ œ
‰ œ
j
‰ œ
j
‰ œ
j .
.
j pl
‰ œ œ œ ..
6
8
4
ã4 œ
y j
ã 44 œ œ ‰ œ ‰
œ
j
œ œ ..
>j
y
>j
y
‰ œ ‰ œ œ œ ..
m
&
11
“BUILD IT UP ”
p
Q-R
This tune includes 3 new DYNAMIC MARKINGS:
P
– PIANO – (soft)
This tune starts soft and builds from phrase to phrase.
Notice how much the drum beats and dynamics contribute – MEZZO PIANO DIMINUENDO
to the overall musical shape of the tune. (medium soft) (gradually softer)
sa
4 Ó Œ f y y y fy
A 7 more B 7 more
ã4 œ Ó ’’’’ œ ’’’’
p ‰ œ
J ‰ Jœ Ó
P
j
y y y
y y œy y y y œy y ‰ œ Œ œ
C 5 more
FILL — — — —|
ã œ ’’’’ ‰ œ œ œ œ
œ ’’’’
‰ œJ ‰ Jœ Œ ‰ Œ
F
j
y y y
y y œy y y y œy y ‰ œ Œ ..
D
∑
FILL — — — —|
5 more
ã œ œ œ œ œ ’’’’ œ œ
‰ J ‰ J ‰ J œ ‰ Jœ Œ œ
f
16 œ œ œ œ
&
Lesson œ œ œ œ œ œ œ
New 8th and 16th Rhythms œ œ œ œ œ œ
In these two new rhythm patterns, an 8th note takes
1 e & a 1 e & a
the place of two 16ths. Subdivide, counting 16th
notes out loud as you practice these exercises. œ œ œ œ œ œ œ œ
R L R R R R L R R R R œ œ œ œ
R L R R R œ œ œ
R L R R
A B C D
2
e
ã 4 .. œœ œ œ œœ œ .. .. œy œ y yœ y .. .. œœ œ œœ œœ œœ œ.. .. œy œy œ yœ œ yœ ..
Count: 1 e & a 2 e & a 1 e & a 2 e & a œ œ
1 e & a 2 e & a œ œ œ œ
1 e & a 2 e & a
pl
More exercises utilizing 16th/8th combinations can be found in the READING APPENDIX on page 88.
Syncopated Left Hand 16ths

16
A-H
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).
m
1 2
4 . y y œy y y œ y œy y .. .. œy œ y œy y yœ œ yœ œy yœ ..
ã4 .œ Œ œ œ Œ Œ ‰ J
3 4
4 . y y œy y œ y y œy y .. .. y œ y œy y œ y y œy y ..
ã 4 .œ Œ œ œ Œ œ Œ œ œ ‰ œ
J
sa
5 6
4 . y y œy y œ y œ y œy y .. .. yœ œ y œy y œ yœ œ yœ œy yœ ..
ã 4 .œ Œ ‰ œJ Œ Œ ‰ J
> > >
7 1 1 1 1 1 1 1 1 8
ã 44 .. œy œ œy
1 1 œ 1 1œ 1 1 1œ 1
œ œ .. .. œœ ..
y y œ y œy œy œ œy œ
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.

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 .. .. œœ œ œ œ .. .. œœ œ œ œ .. .. œœ œ œ œ ..
R L R L etc
> > > > > > > >
e
ã .. œœ œ œ œ .. .. œœ œ œ œ .. .. œœ œ 16 œ œ .. .. œœ œ œ œ ..
Syncopated Bass Drum 16ths I-P
> > > >

4
ã ..
1
. y
œ y
œ œy œ y .
. .
.
y œ y œ yœ œy .
. .
2
. y y œy y y œ œy œy y ..
ã 4 .œ œ œ œ œ . .œœ
pl
œ œ œ
3 4
4 . y y œy y y y œy y .. .. y y œy y y y œy y ..
ã 4 .œ œ œ œ œ œ œœ œ œ
m
5 6
4 . y y œy y œ y œ y œy y .. .. œy œ y œ œy y œ y œ œy œy œ y ..
ã 4 .œœ œœ œ
> > > > > >>

7 8
4 . y œ y œ y y y œ y œy y . . y œy y œy y œy y œy œ .
ã 4 .œ œ œœ œ œ . .œ œ œ œ œ œ .
sa
Style Essential: Syncopated Rock & In this tune, you’ll play the “first
ending” THREE times, then finish
A syncopated rock feel usually has a driving 8th note 16
Q-R
with the “fourth ending.”
ride, with a heavy bass drum and snare back beat.
A
> > >
4 .
.
y y œy y œ y œ y œy y œ 6 MORE FILL
ã4 œ œ ‰ œ ‰ œ Œ Y ’ ’ ’ ’
J J
> > > >
B
y y œy y œy y œy y y FILL y>
’ ’ ’ ’ .. œœ ’ ’ œœ
1, 2, 3. 4.
6 MORE FILL
ãœ œ œ œ œ
œ
Y
20
&
Lesson
12
8 Time Signature
In 12/8 time, there are 12 beats in a
ã 12 8 œ œ œ œ œ œ œ œ œ œ œ œ
12
measure, the 8th note receives one beat.
1 2 3 4 5 6 7 8 9 10 11 12
ã 8 thisœ reason,
œ œ œ œ œ œ œ œ œ œ œ
> > > notes.>Because
However, counting to 12 in a fast tempo can be difficult. For a more common way to count 12/8
e
is to keep four primary beats in each measure (like 4/4), and subdivide each beat into 3 eighth
ã 12 8 œ> œ œ œ> œ œ œ> œ œ œ> œ œ

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
12/8 “triple” time. Try each one while placing
1 & a 2 & a 3 & a 4 & a
an emphasis on each number.
pl
1 trip let 2 trip let 3 trip let 4 trip let
12 20
8 Grooves
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
12 .
.
y y y œy y y y y y œy y y . . y y y œy y y y y y œy y y .
. .œ
ã 8 œ œ .
m
œ œ œ
3 4
.
.
ã œ
y y y œy y y y y y œy y y . . y y y œy y y y y y œy y y .
œ œ œ œ . .œ œ œ œ œ .
5
sa
6
.
.
ã 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 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 œ œ œ œ ..
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.
> >
R R R R R R
L L L L L L
Keeping the same flowing motion of the right hand hi-hat during y y
ã œ
y y y y ..
œ œ
>
12/8 grooves while playing syncopated parts in the bass or snare is
challenging. Practice this hi-hat pattern with both bass and snare:

12
8 Fills
20
G-O
12 3 bars time
ã 8 ’ ’ ’ ’ ’ ’ œœœœœœ ..
3 bars time
œœœœœœœœœœœœ ..
ã ’ ’ ’ ’
2 count fill 4 count fill
2 Count Fills
1 2 3
> > > 4 > > 5
> > > 6
e
ã œœ œœ œœ œœ œœ œœ œœœœœœ œœœœœœ j
œœ
œ
j
œœ œœ œœ œœ œ œ œ œ
j j j
œ œ œ œ œ œ œ œ
4 Count Fills
7 8 9
œ œ œ œ œœ œœ œœ œœ œœ j œœœœœ j
œ œ œj œ œ œ œ œ œœœ œœœ œœœ
pl
ã œœœ œœœ œœœœ
œ œ
y y
! 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 20
Style Essential: 8 Blues

P-Q
m
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.
ã I/ ‘ ‘ ‘
C
ã IV/ ‘ I/ ‘
sa
F C
I IV V
ã V/ IV/ I/ ‘ C F G
G F C
FILL
I > >
12 Intro
∑ j
œ. Œ. Œ. œ œ œ .. œy y y œy y œy œy y y œy œy œy
ã 8 œ
Count: 1 & a 2 & a 3 & a 4 & a
IV I FILL V IV
ã ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘
> > U
> y T.
Œ. œœy .. Œ . Ó .
I 1, 2, 3.
..
FILL
œ.
4.
œ œ ‰
j j j
ã ‘ œ
’ ’ .
œ œ
œ œ œ ˙.
23
&
Lesson
8th Note Triplets in Quarter Time
44 œœ œ œœ œ œœ œ œœ œ
ã
An 8th note triplet is defined as “three 8th notes in the space of two.”
In quarter time, 8th notes subdivide the beat into 8th note TRIPLETS would subdivide the beat into
two parts (there are two 8th notes per count): THREE parts (three 8th notes per count):
4 ã 44 œœ œ œ œœ œ œ œœ œ œ œœ œ œ
3 3 3 3
ã 4 œœ œ œœ œ œœ œ œœ œ
e
1 & 2 & 3 & 4 & 1 & a 2 & a 3 & a 4 & a
ã 44 œœ œ œ œœ œ œ œœ œ œ œœ œ œ ã 12
3 3 3 3
8 œœ . œ œ œœ . œ œ œœ . œ œ œœ . œ œ
Practice this exercise to learn to space 8th notes and 8th note triplets evenly:
œ œ œ œ œ œ œ œ œ œ œ œ ..
3 3 3 3
ã œ œ œ œ œ œ œ œ œ œ œ œ
ã 12
Count: 1 & 2 & 3
8 œœ . œ œ œœ . œ œ œœ . œ œ œœ . œ œ
Style Essential: The Shuffle
&
pl
4 & 1
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:
& 2 & 3 & 4
> 3
& 1 & a 2 & a 3 & a 4 &
ã 44 œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ
> 3
ã 44 œœ ‰ œ œœ ‰ œ œœ ‰ œ œœ ‰ œ
3 3
3 3 3
a
3
m
Practice this exercise on your right hand, then with the
left. As you speed up, “whip” the wrist for the accent.
Shuffle Grooves
23
A-D
1 > 3 3 3 > 3 2
3 > 3 3 > 3
ã 44 .. œ ‰
y y œy ‰ y y ‰ y œy ‰ y . . œy ‰ œy œy ‰ œy œy ‰ œy œy ‰ œy .
œ œ œ . .œ œ œ œ .
sa
3 > 33 3 > 3 4 3 > 3 > 3 > 3

. 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 .
ã
!
.
.
y
3 3 3
‰ y y ‰ y y ‰ y y ‰ y .. .. y ‰ y y ‰ y y ‰ y y ‰ y ..
3 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.
3 3 3
23
“T-BONE SHUFFLE” E-F
4 A .. B.. ..C.. ..
Play 12 12 12
ã4 Y Y Y
melody (2xs) guitar solo (4xs) melody (2xs)

Technique Focus: Swing Sticking Patterns
‰ ‰ ‰ ‰
3 3 3 3
ã œ œ œ œœ œ œ œ
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 3 3 3
ã œ‰ œœ‰ œœ‰ œœ‰ œ

3 3 3 3
y ‰ y y‰ y y ‰ y y‰ y
and: ã œ œœ œœ œœ œ
R L R R L R L L
3 3 3 3
e
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
A
pl
ã 44
ã ’ ’ ’ ’
intro
Play 12
œ
B.
y
^
œy
.C Play 11
Play 12
. ’ ’ ’ ’ . ’ ’ ’ ’
y
œ œy
^
rimshot as you can on the whip stroke! Listen to the music of Stevie Ray Vaughn for some great Texas Shuffles.
2
œy .. œy y .. œy œ .. œy y ..
y
œy 10 more
’’’’
œœ
œ
œ
> U
Œ œ œ œ œ œ œ . œy Ṫ
3
>
Œ œ œ œ œ œ œ . œy
3
m
melody guitar solo (2xs) melody
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
> 3 > 3
rhythm. The ghost note after beat 1 and 3 provides a busier feel to the groove, which helps to propel the motion.
> 3 33 > 3 > 3 3

1 2 y
4 .. y ‰ y ‰ y ( œ) œy ‰ œ . . ‰ y ‰ y y ‰
ã4 œ œ . .œ œ ( œ ) œ œ ..
sa
œ œ œ œ y œ œ y
“ZZ >SHUFFLE”
23
K-L
4 y Œ Ó Œ y Œ y Play 4
(Guitar) Groove
ã4 œ ‘ ‘ Y
A. Play 16 B Play 16
ã . Y Y
Œ Ó Œ Ó
’ ’ ’ ’ .. œœ
1, 2, 3. 4.
Ó
(Guitar) Fill Groove
ã œœ ’ ’ ’ ’ ’ ’
25
Lesson
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.
COUNT: 1 & a 2 & a 3 & a 4 & a
y ‰ y y y ‰ y .
3 3
4 y
1
.
e
ã4 . .
Practice the jazz ride while you count triplets
Œ Œ
out loud. When you’ve achieved a consistent
feel, add the left foot hi-hat on 2 & 4. y y
! Jazz drummers often incorporate a “heel-toe” rocking motion with the left foot to play repetitive
pl
2 & 4 hi-hat chicks. Another common technique involves bouncing the leg in the heel-up position.
y ‰ y y y ‰ y .
3 3
4 y
2
.
In a jazz style, very soft “feathered” bass drum quarter
ã 4 .œ . notes are sometimes used to reinforce the walking bass

œy œ œy line. The bass drum should be only loud enough to be
“felt, but not heard.” Play heel down with an open tone.
Practice the first two swing patterns with play-along track A until you can develop a relaxed sound and feel.
m
y ‰ y y ‰ y
3 3
3
ã 44 .. yœ fœy ..
Sometimes jazz drummers add a count 4
cross-stick to reinforce the 2 & 4 feel. œy œ y
o +3 o +3
4
4 . y y ‰ y y y ‰ y .
ã4 . .
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.
sa
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 > 2 > 3> > 4> > 5 > >

ã 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 œ œ
R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L
6 > > 7> > >8 > > 9> > > 10 > > >
L ––
ã 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 œ œ
R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L
Extra
PRACTICE
• 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
! Rhythms in jazz are typically written with “straight”

j j
For instance, this rhythm
ã œ œ ‰ œ ‰ œ œ
‰
3
‰ ‰
3
j ‰ ‰3 j
should be played:
jœ œ
4 y y ‰ y y œy ‰ y
ã œ œ œ
eighth notes for simplicity. In a standard 3jazz fill, you
œ ‰ œ ‰ jœ
3
e
should SWING the 8th note rhythms.
ã 4 œ œy œ œy ‘ j j ‘ œ œ
‰ œ play
‰ ‰ the
œ ‰ fill‰ œin œthe 4th measure. Come up
3 3 3
Here are a few sample fills in a jazz style. Start with 3 bars of time, œthen
ã
with your own fills by taking any syncopated 8th note rhythm and move it between the drums and cymbals.
j j œ j j
‰ œj œ j
1 2 3
ã œ
œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ
pl
œ
L R L R R L
4 > > 3 >5 > > 3 > 3 > 3 >6 > 3 >
œœœœœœœ‰œœœœ
3 3
œ œ œœ œ œ œ œ œ œ œ
ã œ œ œ œœ œ œ
R L R L R L R L R L R L L R L L R R L R L R L R L R L
> > > > > > > > > > > > > > >3 >
! œ! œ! œ œ œ! œ œ! œ œ! œ œ
3 3 3
! œ! œ œ Swingœ Accent
œ œ! œ! œ Patterns
3 3 3 3
Technique Focus:
m
ã Anotherœhelpful
3
œ œ œ œ œ œ œ accented swing patterns. Once œ œ œ œ
œ technique for coming
œ up with new fill ideas is to use
R L masteredR these
you’ve L exercises,
R L R try swinging
R the
R 8th
L note
R L accent
R L exercises
R L R in R L R Lon Rpage
L the Appendix L R96.L R L
1 > > 2 > > 3> > > > 4 > > > >
ã œ‰œœ‰œœ‰œœ‰œ œ‰œœ‰œœ‰œœ‰œ œ‰œœ‰œœ‰œœ‰œ œ‰œœ‰œœ‰œœ‰œ
R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L
5 > > > 6> > > 7> > > 8> > > >>
ã œ‰œœ‰œœ‰œœ‰œ œ‰œœ‰œœ‰œœ‰œ œ‰œœ‰œœ‰œœ‰œ œ‰œœ‰œœ‰œœ‰œ
sa
R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L
> > > > > > > > > > > >
ã œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ ‰ œ œ œ œJ-K
œ‰œœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ
25
“SWINGIN’ EASY ”
This short jazz tune with the hi-hat groove in the intro and ends
R L L R L R L L R L R L R R L R L R Rwith
L a Rheavy
L L Rback
L L beat
R L LonR the
L L finalR “shout”
R L R R chorus.
L R R L R R L
> o > + 3 >o + >3 > > > >3 > >3 > > >>
ã4 œ. œy œ œ œ yœ œ‰ ‰yœyœ œ œ y œ‰œyœ œ ‰ œ œ15œ œmore
œ œ œ œ œy œ œ ‰ yœ œ‰ œyœ yœ œ œ yfœ‰‰ yœ œ œ œ œ15œ œmore
œœœ
..
ã 4 .œ œ œ œ Y œ œy œ œy Y
P F
R L L R L L R L R R L R L L R L R R L R R L R L L R L R R L R L L R L R R L R R L R L L
>3 >3 > U

y y‰ y y‰ y Ṫæ
œœ y œ œœ y
Sax solo Play 16 15 more y
ã œ œœ Œ Ó y œ œ œ
Y y y Y
P f
27
Lesson
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.
KICK & of 1: > |– continue ride –|

KICK 2: >
1 y y‰yy y‰y j y. y‰y 2 y y‰yy y‰y y y y‰y
3 3 3 3 3 3
4 4
’ ’ .. ’ ..
y
ã 4 ’ ’ ’ ’ œ ã 4 ’ ’ ’ ’ œ
‰ œ. Œ ˙
e
KICK & of 2: > KICK 3: >
3 y y‰yy y‰y j y. y‰y 4 y y‰yy y‰y y y y
3 3 3 3 3
4 4
’ .. ..
y
ã 4 ’ ’ ’ ’ ’ œ œ. ã 4 ’ ’ ’ ’ ’ œ ˙
‰ Œ
KICK & of 3:
5 y y‰yy y‰y
4
ã 4 ’ ’ ’ ’
KICK & of 4:
7 y y‰yy y‰y
4
3
3
3
3
pl
y
’ ’ œ œ.
y‰yy
‰
3
3
>
y
’ ’ ’ œ ..
>
y ‰ y j y.
..
KICK 4:
6 y y ‰y y y‰y y y‰y
4
ã 4 ’ ’ ’ ’ ’ ’ œ
KICK 1:
8 y
4 y‰y y y‰yy
Œ
3 3
3
3
3
>
y
.
œ .
..
m
y y
ã 4 ’ ’ ’ ’ œ ã 4 œ ’ ’ ’ ’ ’ ’ œ
‰ J
Extra
PRACTICE
Also play a bass drum setup with a snare kick (either along with a crash, or under the ride pattern).
Incorporating Fills
sa
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.
œ
1 2 3 4 5 6 7
j j
ã œ œ œ œ
j œ œœ œ œœ œ œœ
œ œœ œ
RLR
These sample fills add a “PICKUP” before the downbeat setup. Apply each to exercises 1–8 above.
j j j j j j
œ œ œ œ j œjœ
8 9 10 11 12 13 14
j œ
ã œ œ œ œ œœ œœ
œ
œ
œ
ONE COUNT fills start one beat before the downbeat setup. Apply each of these sample fills to the exercises above.
3
3 3 3 3 3 3
œœœ œ‰ œ œœ ‰ œ œ œ ‰ œœ œ
15 16 17 18 19 20 21
j j j j
ã œœœ œ œ œœœ œ œ œœ œœ œœ œ œ
œ œ 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 > > 3 3 > 3 > 3 > > 3 3 3 3
œ‰œœœœ œ œœœœœœ œ œœœœœœ œ

21 22 23 24 25
ã œœœœœœ œ œœ œœ œœ œœ œœ œœ œ
R L L R L
> 3 > 3> > > > >
e
3
œ œ! œ! œ œ
3 3 3 3 3
3 3
œœ œœ œ œ œ œ
26 27 28 29 30
œ‰
ã œœ œ œœœœ
œ œ œ œ œ œ œœ œ œ œ œ œ
j
3 3 3 3
3 3 3 3 3 3
œ œ œ ‰ œ ‰ œœ‰œœ œ œ ‰ œ ‰ œ ‰ œjœ
31 32 33 34 35
ã œ ‰ ‰œ œ œ‰ œ ‰ œ
pl
j j j j j j
œ œ œ
œœ œ œ œ œ œ œ œœ
œ œ œ
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).
1 > > 2 > > 3> >> >4 >> >>

m
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 R L L R R L R L L R R L R R L R L L R R L R L L
27
“Kick It Old School” I-J
Drum charts are often notated dotted 8th/16th jazz ride, even though & D.C. AL FINE
sa
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 Repeat back to the beginning
simple downbeat setup (as notated), or play a longer fill in the setup. and play to the Fine (finish).
Medium Swing
>
4A. y y. y y y. y y
S S S œœ ..
Fill - - - - -
ã 4 .œ œ œ œ ‘ ‘ ‘ ‘ ‘ ‘ œ J
>j
B œ^ ^
> C
ã œ ’ ’ ’ ’ ’ SJ œœ .. œ ’ ’ ’ ’ ’S œ œy .. y y . yy y . y ‘ ‘
œ Jœ œ œ œ œ œ
J
Fine
>j > >j
y y. y y y. y
4 œœ . œœ ˙˙
Fill - - - -
ã S S SJ œœ œœ ’ œ œ œ œ ‘ S ˙˙
œœ
. D.C.
J J al Fine

30
Lesson
Afro-Cuban Styles: The Cha-Cha
In the cha-cha, as in most Afro-Cuban styles, grooves are In order to authentically play these grooves in a modern
played on traditional Latin percussion instruments such as setting, the drumset player must be familiar with the
clavés, cowbells, congas and timbales – not on the drumset. traditional Latin instruments and their unique rhythms.
Clave’ (pronounced “CLAH-vey”)

30
A-B
e
Clavé is both an instrument AND a rhythm in traditional The clavé rhythm comprises two measures: a measure
Afro-Cuban music. with 2 notes and a measure with 3 notes. How the lyrics
and melodies are arranged in a song will determine which
Clavés are two pieces of wood struck together, creating
variation you will play – a 2/3 clavé or a 3/2 clavé.
a woodblock type of sound. The clavé rhythm is the key,
or the heartbeat, of Afro-Cuban grooves – just as the The first clavé rhythm to learn is from the music of rural
pl
backbeat is the key to pop/rock music. In Spanish, the Cuba, called the son clavé (“sohn clah-vey”).
word “clavé” literally means “key”.
2:3 Son Clavé 3:2 Son Clavé

j j
4 Œ œ œ Œ œ ‰ œŒ œ .. 4 ‰œŒ Œ Œ ..
ã 4 ã 4 œ œ œ œ
1 2 3 4 1 2 & 3 4 1 2 & 3 4 1 2 3 4
2 SIDE 3 SIDE
3:2 Son Clavé with hi-hat
m
4 y y y fy y y fy y y y fy y fy y y y ..
Practice the 2:3 and 3:2 Son Clavé rhythms along with the
ã 4 f
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
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 2 Tumbao variation

> > > > > > > > > > > > > > > >
4 y y y y y y y y y y y y y y y y .. 4 y y y y y y y y y y y y y y y y ..
ã 4 ã 4
Œ ‰ œJ œ Œ Œ ‰ œJ œ Œ Œ ‰ œJ œ Œ Œ ‰ œJ œ œ
3 Add cross-stick downbeats 4 With ride and hi-hat downbeats

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

30
Guiro (pronounced “WE-ro”) G-I
. . m . .
m
4
ã 4 œ œ œ œ œ œ ..
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.
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
e
also move the left hand to a cowbell for a different sound.
o o o o o
Variation:
o o o
4 fy fy y fy fy y fy fy y fy fœy y .. 4 fy y fy y fy y fy y fy y fy œy fy y fœy y ..
ã 4 ( ) ã 4
Œ ‰ œJ Ó Œ ‰ œJ Œ Œ ‰ œJ Ó Œ ‰ JŒ ( )
Cha-Cha Bell Pattern
pl
30
J-L
o . o . . o . . o . .
The cha-cha bell is typically a small, high-pitched cowbell Cha-cha bell pattern (with 2:3 clavé)
used by the timbalero (timbale player). There are two
t t t t t t t t t t t
4 Œ œ œ Œ ..
different sounds that are created: an open/low-pitched
ã 4 œ ‰ œ Œ œ
sound from playing on the “mouth” of the bell, and a
dry/high-pitched sound created by playing in the middle. J
Listen to track J to hear the cha-cha bell pattern.
o – Open/Low Pitched Sound
m
• – Dry/High Pitched Sound
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 2:3 cha-cha with tumbao/clavé

o . o . . o . . o . . o . o . . o . . o . .
t t t tt t tt
4 f f f f
t tt t t t t t t t t t
4 y yyy y y y y y y
ty ty
fœ .. .
( œ) .
ã 4 f fœ f ã 4
œ
Œ ‰ J Ó Œ ‰ J Œ () Œ ‰ Jœ Ó Œ ‰ Jœ Œ
sa
* All 2:3 patterns should also be practiced as 3:2 by flipping the two bars.
Conga Tumbao
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).
o . o . . o . . o . .
2:3 with conga & guiro 2:3 with conga & cha-cha bell pattern
o o o o
4 y fy y y œy œy y fy y y œ œy œy .. 4
t t t œt œt t t t t œt œt
.
ã 4 y yf œ y y y y œ y ( œy) .
ã 4 f œ
Œ ‰ œJ Ó Œ ‰ œJ Œ ( œ)

31
Lesson
Timbale Abanico (“Ah-ba-NEE-co”) A-B
31
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.
^ ^ ^ ^ ^j ^
3:2 Abanico 2:3 Abanico
4 æ 4 æ
ã 4 .. ( y ) ’ ’ ’ ’ ’ y ( !œœ !œ !œ !œ .. yœ ) Œ Ó ã 4 .. ( y ) ’ ’ ’ ’ ‰ y Œ ( !œœ !œ !œ !œ .. yœ ) Œ Ó
play 7 play 7
e
* 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 ”
pl
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.
> > > > > > > > - . ^j
4 yy yy yy yy yy yy yy yy æ
2:3
ã 4 f f œ fÓ f f f œ fÓ f ‘ ‘ ‘ ‘ ‘ œœ œœ ‰ y Œ œ
(4) (6)
Œ ‰J Œ ‰J
A. y^ ty y tyo ty ty tyo ty ty tyo ty ty ^j ^j fi 1.

m
12 more
ã . œ œ ‰ œ ‰ œ ’ Fill ’ ’ ’ ..
Œ ‰œÓ J Œ ‰ œŒ œ J
Y œ œ ‰ œ ‰œ
J J
> > > > > > >
^j ^
œæ fy y fy y fy y fy y fy y fy y fy y
2.
10 more
ã Œ ‰ y Œ y
y y œ y y y y œ y y Y
- . ^j fi ^ ^
sa
˙.
ã ’’’’
œ
‘ ‘ œ œœ ‰ y Œ œæ ã ‰ œœ œœ œœ œœ œœ
œ D.C. al Coda
‰
& Cut Timeã

C œ
˙ œ œ œ œ œ
˙
ã 22 œ˙ œ ã ˙ C œ˙œ œœ œ˙œ œ œ ˙œ œ œ œ œ˙ œ œ œ
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
To practice reading rhythms in cut time, go back through the READING APPENDIX (pages 80-87) and play all the
œœ œ œ œ œœ œ œ œ
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.

Afro-Cuban Styles: The Mambo
The mambo is a rhythmically syncopated style of Afro-Cuban Unlike the cha-cha, which has a 4/4 feel, the mambo has a
music. It relies heavily on the syncopation of the clavé rhythm 2 feel – therefore, it is usually usually written in cut time.
as opposed to a distinct downbeat feel in the cha-cha.
Cascara (pronounced “CAHS-cahra”)

31
E-H
e
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 j j j j j
2:3 Cascara With Bass Tumbao
y y yy‰y y y y‰y ‰y . y y yy‰y y y y‰y ‰y .

ã C . ã C .
Œ ‰ œJ Ó Œ ‰ Jœ Œ ( œ)
R L R L R R L R
y y y y y y ( œ) y y ( œ) y ( œ) y .
ã C ( œ) ( œœ) Ó ( œ)
Œ ‰ J
Conga Tumbao
Œ ‰ œJ Œ ( œ)
.
R L
31
I-J
pl
Two common practices in Latin drumset grooves are to “fill in” the missing notes of the cascara, or to play clavé (example 2).
R R L R L R
ã C
y f f ‰
y y
Œ ‰ œJ Ó
y y
j j
f f ‰ f y ..
y y y y
Œ ‰ œJ Œ ( œ)
m
In the mambo, the conguero will play slightly different parts in the verse and the chorus (“Montuno”).
2:3 (Verse) 2:3 (Montuno)
y fy y y œ œy y fy y ‰ y œ y . y fy y y œ œy y y œy œ y œ œy .
ã C . ã C .
Œ ‰ œJ Ó Œ ‰ œJ Œ ( œ) Œ ‰ œJ Ó Œ ‰ œJ Œ ( œ)
sa
31
Mambo Bell Pattern K-M
Extra
PRACTICE
In the Montuno (chorus) section of a salsa tune, a timbalero
will switch from the cascara to a large/heavy mambo cowbell. Practice each of the grooves on this page in
3:2 clavé by flipping the two measures.
. o . . o o . . o o . .
2:3 Mambo Bell Pattern (Montuno)
Also practice the cascara pattern on the ride
t t tttt ‰ t t t t t t . cymbal, adding downbeat or upbeat hi-hat
ã C . 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 2:3 Mambo with Conga Tumbao/Bombo
. o . . o o . . o o . . . o . . o o . . o o . .
t t tt t t t t tt t t t t t t œt œt ‰ t t œt œt œt œt
ã C f f f fœ fœ .. ã C fœ ..
Œ ‰ Jœ Ó Œ ‰ J Œ ) ( Œ ‰ J Ó Œ ‰ J Œœ ( œ )
APPENDIX
Reading
ISOLATED RHYTHMS
ã 44 œ Œ Œ Œ Œ
A B C D
ã Œ Œ
E F G H
œ œ œ œ ˙ œ ˙ œ ˙ ˙
e
Ó Ó Œ Œ
I J K L
ã œ œ œ œ œ ˙ ˙ œ
ã Ó
M
READING EXERCISE
ã 44 ˙
œ
˙
Œ
Œ
pl
N
Œ
˙
˙
œ
Œ
œ œ
O
˙
˙ Ó ˙
P
Ó
∑
œ œ
m
ã œ ˙ œ Œ œ œ œ ˙ ˙ Œ œ œ ˙ œ
ã Ó œ Œ Œ ˙ Œ ∑ Œ ˙ œ Ó Œ œ ˙
sa
2 SURFACE READING
ã 44 ˙ Œ œ Œ ˙ œ ˙ ˙ œ ˙ œ
ã Œ œ œ œ œ ˙ œ ˙ œ œ Ó œ œ
ã ˙ ˙ Œ ˙ Œ ∑ Ó Œ œ
ã Ó œ Œ Œ œ œ œ ˙ Ó Ó Œ œ

ISOLATED RHYTHMS
ã 44 œ œ œ
A B C D
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
E F G H
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
e
Œ œ œ Œ œ œ Œ œ œ Œ Œ œ œ Œ
I J K L
ã œ œ œ œ œ œ œ œ
pl
M N O P
ã 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
READING EXERCISE
ã 44 œ œ œ œ œ œ œ œœœœœ œœœœœ œ œœŒ œœŒ œœœ œ œœ
m
ã œ Œ œœœœ œœœœœœœ Œ œœœ Œ œ œœŒ œœ œœœœœœœœ
ã œœœ œœœœ Œ œœœœœœ œ Œ œœŒ Œ œœœœœ Œ œœœ Œ œœœœœ Œ

sa
2 SURFACE READING
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
ã Œ Œ œ œ œ Œ œ œ œ Œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ
ã 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
ã Œ Œ Œ œ œ œ œ œ œ œ œ œ Œ œ œ œ Œ œ œ Œ œ œ Œ

APPENDIX
Reading
ISOLATED RHYTHMS
ã 44 œ œ
Œ Ó Œ œ œ Ó Ó œ œ Œ Ó Œ
A B C D
œ œ
ã œœœœÓ Œ œœœœŒ Ó œœÓ Ó

E F G H I
œœœœ œœ œœœœ
e
READING EXERCISE
ã 44 œ œ œ œ Ó
pl
Œ œ œ œ œ Œ Ó œ œ œ œ Œ œ œ Œ œ œ
ã ∑ œ œ ˙ œ œ œ œ Ó Ó œ œ Œ œ œ œ œ œ œ
ã œ œ œ œ Œ œ œ œ Ó œ œ Ó œ œ Œ ∑ Œ œ œ œ œ œ œ
m
ã œ œ œ œ œ œ œ œ Ó œ œ œ œ ˙ œ œ Œ œ œ ˙ œ Œ ˙ œ
ã Œ Ó œ œ œ œ œ œ œ œ œ œ œ œ Ó Œ œ œ œ Œ Ó œ œœ
sa
2 SURFACE READING
ã 44 œ œ Ó œ œ Ó œ œ œ œ Ó œ œ Œ Ó œ œ œ
ã œ œ œ œ Œ œ œ œ œ Œ œ Œ ˙ œ œ Œ œ œ Œ œ œ
ã ∑ œ œ œ œ Œ œ œ Œ œ œ Ó ˙ Œ œ
ã œ œ Ó œ œ Ó Œ œ œ œ œ Ó œ œ Ó œ œ œ

ISOLATED RHYTHMS
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
A B C D
ã œ œ œ ‰ œ œ œ ‰ œ œ ‰ œ œ œ ‰ œ ‰ œ œ œ ‰ œ œ œ ‰ œ ‰ œ ‰ œ ‰ œ
E F G H
e
j j j j j j
ã ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰
I J K L
j
ã ‰ Œ
pl
j
œ ‰ Œ
j
œ ‰ Œ Œ
j
‰ œ œ œ Œ
j
‰ Œ ‰
j
M N O P
READING EXERCISE
j j j
ã 44 œ œ ‰ œ œ œ œ œœ‰œœ œ‰œ‰œ‰œ‰ œœ‰œœœœœ œ ‰œœ œ
m
j j j j j
ã œ œ œ ‰ ‰œ œœ‰œœœ‰œ
œ ‰œœœœ Œ ‰ œ œ ‰ œ
œ Œ ‰ œœœœ
œ
j j j jj j j j j j
ã œ œ ‰ œ ‰œ ‰œ œ œœÓ Œ ‰œ œ ‰Œ Œ ‰œ Œ ‰œ Œ œ ‰Œ ‰œ Œ œ ‰œ Œ
sa
2 SURFACE READING
j j j j
4
ã4 ‰ œ
œ ‰ œ œ œ œ œ Œ œ œ ‰ œ œ œ ‰ œ œ œ œ ‰ œ
j‰ jœ
ã ‰ œ œ œ ‰ œj œ ‰ œ œ œ ‰ œ ‰ œ œ ‰ œj œ œ œ ‰ œ œ œ
j j j j j
ã œ Œ ‰ œ œ œ œ ‰ œj ‰ œ ‰ œj Œ ‰ œ œ ‰ œj ‰ œ ‰ œ ‰ œj ‰ œ
j j j
ã Œ ‰ œj œ ‰ œ ‰ œ ‰ œj œ œ œ œ Œ ‰ œj Œ ‰ œ œ œ œ Ó

APPENDIX
Sticking 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 œ œ œ œ œ œ œ œ ..
1 13
R L R L R L R R L R L R L R L L R L R R R L R R L R L L L R L L
2 14
R L R L R L L R L R L R L R R L R L R R R L L R L R L L L R R L
e
3 15
R L R L R R L R L R L R L L R L R L R R R R L R L R L L L L R L
pl
4 16
R L R L R L R L L R L R L R L R R L R R R L R L L R L L L R L R
5 17
R R L L R L R R L L R R L R L L R R L R R L R R L L R L L R L L
6 18
m
R R L L R L L R L L R R L R R L R R L R R L L R L L R L L R R L
7 19
R R L L R R L R L L R R L L R L R R L R R R L R L L R L L L R L
8 20
sa
R R L L R L R L L L R R L R L R R R L R R L R L L L R L L R L R
9 21
R L L R R L R R L R R L L R L L R R R L R L R R L L L R L R L L
10 22
R L L R R L L R L R R L L R R L R R R L R L L R L L L R L R R L
11 23
R L L R R R L R L R R L L L R L R R R L R R L R L L L R L L R L
12 24
R L L R R L R L L R R L L R L R 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 .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..
1 13
R R L R R L R L R L R R L L R L L R L R L R L L R R L R R L R L L R R R L L R L L R L R R L L L
2 14
R L L R L L R L R L R R L R R L R R L R L R L L R L L R L L R L L R R R L R R L R R L R R L L L
e
3
.. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. 15
.. 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 R L R R L R R L L R R R L R L L R L L R R L L L
pl
4 16
R L R R L L R L R L R R L R L L R R L R L R L L R L R R L L R L L R R R L R L L R R L R R L L L
5 17
R L L R R L R L R L R R L R R L L R L R L R L L R L L R R L R L L R R R L R R L L R L R R L L L
6 18
m
R R R L L L R L R L R R L L L R R R L R L R L L R R R L L L R L L R R R L L L R R R L R R L L L
7
19
R 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 R L L R R L L L R L L R L R R L L R
8
sa
R L L R L L R R L L R R L R R L R R L L R R L L R L L R L L R L L R R L L R R L R R L R R L L R
9
R L R R L R R R L L R R L R L L R L L L R R L L R L R R L R R L L R R L L R L L R L L R R L L R
22. œ œ œ œ œ œ
. R L R R L L œR œR œL œL œR œR œL œR œL œL œR œR œL œL œR œR œL œL ..
.œœœœœœ . R L R R L L œR œL œL œR œR œL œL œR œL œL œR œR œL œR œR œL œL œR ..
10
11 23
R L L R R L R R L L R R L R R L L R L L R R L L R L L R R L R L L R R L L R R L L R L R R L L R
12 24
R R R L L L R R L L R R L L L R R R L L R R L L R R R L L L R L L R R L L L L R R R L R R L L R

APPENDIX
> > >
Accent Patterns > > > >
1 13 25
.. œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ ..
2 > > 14 > >> 26 > >>

e
3 > > 15 > > > 27 > >>
> > 16 > > > >>
pl
4 28
5 > > > > 17 > > > > 29 > >
6 > > > > 18 > > >> 30 >> >

m
7 >> >> 19 > >> 31 > >>
8 >> >> 20 > > > 32 > >>

sa
9 >> >> 21 > > > 33 > >> >>>

10 > >> > 22 > > > 34 >>> >>>

11 > > 23 > > > > 35 > >>> >>

12 > > 24 > > >> 36 > > >>> >


37 > >> > 40 > >> >> 43 > > > >
38 > >> > 41 > > > > 44 > > > >>
e
39 > >> > 42 > > > > 45 >>> >>
Triple Accent Patterns

1
2
>
.. œ œ œ œ œ œ ..
>
.. œ œ œ œ œ œ ..
pl 9
10 >
> >
> >
>
.. œ œ œ œ œ œ ..
>
.. œ œ œ œ œ œ ..
17
18
> >
.. œ œ œ œ œ œ ..
> >
.. œ œ œ œ œ œ ..
m
3 > > 11 > > 19 > > >
.. œ œ œ œ œ œ .. .. œ œ œ œ œ œ .. .. œ œ œ œ œ œ ..
4 > > 12 > > > 20 > > >

sa
5 > > 13 > > > 21 > > > >

6 > > 14 > > > > 22 > > > >
7 > > > 15 > > > > 23 > > > >
8 > > > 16 > 24 > > > > >

Glossary / Index
Abanico (p. 72) ��A Latin timbale rhythm played before the start Dynamics (p. 7) ��Musical symbols or terms describing the
of a new section of music in the Cha-Cha. volume of the music (see also: piano, mezzo
piano, mezzo forte, forte, crescendo, diminu-
Accent (p. 23) ��Play the note slightly louder. endo).
Bar Line (p. 17) ��Divides the staff into measures. Feathered Bass (p. 60) ��Bass drum technique in which the notes are
played very softly (“felt, not heard”).
Bell (p. 39) ��The raised center dome of a cymbal (also term
for cowbell). Fermata (p. 35) ��Hold the designated note or rest longer than
its usual value.
Brushes (pp. 69, 76) ��Fan of wire strands attached to a handle.
Fill (pp. 26,27,33,35,41,47,51,55,61,64,65)...... Rhythmic pattern at the
Buzz Roll (p. 25) ��Roll played with multiple bounce strokes.
e
end of a musical phrase that bridges the gap
into the next phrase – usually played around
Cascara (p. 73) ��Latin rhythm played on the shell of a timbale. the drums.
Cha-Cha Bell Pattern (p. 71)....... Rhythm in the Cha-Cha played on the Fine (p. 65) ��The “finish” or end of a musical composition.
Cha-Cha cowbell by the timbale player.
First & Second Endings (p. 35)....... Play the measures under the 1st
Clavé (pp. 70, 75) ��Latin percussion instrument made of two ending bracket the first time through a pas-
pieces of wood. Also a fundamental two mea- sage, repeat, skip the first ending and play
sure rhythm played in Latin music.
pl
the 2nd ending.
Clef (p. 17) ��Musical symbol that indicates how the notes Flam (p. 34) ��Rudiment consisting of a soft grace note
are arranged on the staff. Non-pitched instru- followed immediately by a stronger primary
ments use a percussion clef. stroke.
Coda (p. 69) ��Concluding section of a musical composition. Four on the Floor (p. 32) Steady bass drum notes on the four primary
Common Time (p. 29) ��4/4 time signature. beats in a 4/4 measure.
Comp (pp. 62,63) ��Accompaniment or complimentary figures Forte (p. 25) ��Dynamic level meaning “loud.”
played under the ride pattern in jazz settings. French Grip (p. 19) ��Thumb of the matched grip is tilted towards
Conga (p. 71) ��Long single headed Latin drum played with the ceiling (also, “ride cymbal grip”).
hands. Fulcrum (p. 12) ��Contact point between the thumb and index
finger that acts as the pivot point of the stick.
m
Controlled Rebound Stroke (pp. 48,58) ..... An accented stroke fol-
lowed by a softer, controlled bounce in which Ghost Notes (p. 31) ��Very soft notes.
the player uses an varying amount of fulcrum
pressure to control the placement and volume Grace Note ��A soft note that is played immediately before
of the second stroke. a primary stroke (see also: Flam, Drag, Ruff).
Coordination ��The ability to harmoniously combine two or Grip ��Holding the sticks with the hands and fingers
more limbs when playing different rhythms. (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
Cross Stick (p. 29) ��Playing technique with a stick across a drum beat pattern within a musical style.
which produces a wooden sound.
Guiro (p. 71) ��Latin percussion instrument consisting of a
Cut Time (p. 72) ��Time signature with 2 beats to a measure in hollow gourd with ribbed notches cut into
sa
which the half note receives one beat. one side. Played by rubbing with small wood-
D.C., Da Capo (p. 65) ��Repeat back to the beginning (the “head”). en stick along the notches which produce a
“ratchet” sound.
D.S., Dal Segno (p. 67) ��Repeat back to the sign.
Hemiola (p. 55) ��Rhythm in which one note value is played
Diddle (p. 40) ��Double stroke or double bounce. against another. A common hemiola is a dot-
ted note played against an undotted note
Diminuendo (p. 33) ��Gradual decrease in volume (Also, “dim.”). (in a 1 1/2 to 1 ratio).
Dotted Notes (p. 35, 44) A dot behind a note or rest increases its value Independence ��The ability to harmoniously combine two or
by half. 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 Legato (p. 66) ��Literally “tied together”– smooth, connected.
playing a full (accented) stroke, a specific
amount of fulcrum pressure is applied to keep Marcato (p. 56) ��Accented note with a shorter duration than
the stroke close to the drum. the full note length (also, “rooftop” accent).
Double Stroke Roll (p. 17)......Roll played using double strokes or Matched Grip (p. 12) ��Both hands hold the sticks the same way in
bounces, also called “open” roll. an overhand manner.
Drag (p. 45) ��Double or multiple bounced grace note into a Measure (p. 17) ��Space between two bar lines (also, “bar”).
primary note (see also: “Ruff”).
Metronome (p. 10) ��Device that delivers a steady pulse, used as
Drumset Notation (p. 18) Musical symbols in specific places on a an aide to develop steady time (tempo).
percussion staff, designating which drums,
cymbals or effects to play. 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 mo- Upbeat (p. 20) ��The note halfway between downbeats.
tion. Used in the multiple bounce or “buzz” roll.
Upstroke (p. 31) ��Stroke that starts low and ends high. After
One Measure Repeat Sign (p. 21) Repeat the previous measure. playing a soft stroke, the player immediately
lifts the stick to the “up” position.
Open Roll ��Double stroke, or double bounce roll.
Whip Stroke (p. 57) ��Two quick strokes in succession – from low
Paradiddle (pp. 13, 37) ��Sticking pattern consisting of two alternating to high (soft/loud).Unlike the upstroke, this
single strokes followed by a double stroke. stroke uses a whipping motion in the wrist.
Piano (p. 33) ��Dynamic meaning to play “soft.”
e
Pocket ��To play with perfect time and great feel.
Rebound Stroke (p. 13) ��Stroke that starts up and ends up. After
Song Form Glossary
playing a stroke, the stick is allowed to BASIC ELEMENTS
rebound naturally to the up position.
Intro ��A unique passage of music that comes at
Repeat Sign (p. 17) ��Repeat from the beginning, or repeat section the beginning. The intro usually establishes
between the repeat signs. (see also: one the tonality, groove and style of the song.
pl
measure repeat, 2 measure repeat, 1st & 2nd
endings, D.C., D.S.) Verse ��The section of music that tells the story.
Multiple verses in a song usually have a
Rudiments (pp. 95,96) ��Fundamental sticking patterns for playing drums. similar musical style and chord progression,
but with different lyrics.
Ruff (p. 45) ��Two single stroked grace notes followed by a
primary stroke. (see also: drag, grace note) Chorus ��The main refrain or “hook” of a song, often
containing catchy, repeated melodies and lyr-
Shuffle Rhythm (p. 56) ��Rhythm based on the first and third note of a ics. The chorus is usually played at a higher
triplet (also dotted 8th, 16th). dynamic level with more rhythmic intensity.
Slash Notation (p. 26) ��Musical symbol used to denote “playing time” Bridge ��An interlude or contrasting section between
in a specific musical style. two parts of a song. The bridge is usually
played after repeated sections and gives the
Staccato (p. 66) ��Play the note with a short duration, no matter listener an unexpected harmonic modulation
m
what value is notated. before the final chorus. Often the bridge will
feature a solo instrumentalist.
Staff (p. 17) ��Lines and spaces on which music is notated.
Pre-Chorus (Build) ��A short phrase added to the end of a verse
Straight 8ths (p. 20) ��Ride pattern using even spacing of downbeat which propels the song into the chorus. Also
and upbeat 8th notes (opposite of swing). called a “climb” or “lift.”
Strokes ��Various techniques used to play the drum. Break ��Instrumental interlude between parts of a
(see also: rebound stroke, tap stroke, down- song. Often everything except percussion
stroke, upstroke, controlled stroke, whip stroke, will drop out during a break (sometimes
multiple bounce) called “stop time” or “breakdown”).
Subdivide ��Divide the beat into two or more parts. Outro ��A unique ending or tag to a song.
Swing (pp. 60-69) ��Playing with a triple subdivision of the beat.
sa
(Also a musical style)

BASIC FORM STRUCTURES
Syncopation (p. 38) ��Placing an emphasis on the weak beats for
rhythmic effect. Also, omitting downbeats to AAA ��One of the oldest song forms, usually used
create a rhythm which emphasizes the upbeat. in folk music. This form is simply a verse
repeated over and over.
Tap Stroke (p. 31) ��Stroke that starts low and ends low (soft note).
See also: Ghost Note AB (Verse/Chorus) ��This is the way many classic rock songs are
formed – moving back and forth between
Tempo ��The speed of a selection of music. the verse and chorus.
Tenuto (p. 66) ��Musical symbol meaning to hold the note for its AABA (32 bar form) ��A variation of the AAA form, this structure
full value. Also can direct the player to place a inserts a bridge after two verses, then ends
slight emphasis on the note. with a final verse. Instead of having a chorus,
the bridge is usually a harmonically and lyri-
Time Signature (p. 17) ��The musical symbol at the beginning of a piece cally contrasting vocal section to the verse.
of music which determines the meter of the
song. The top number indicates the number of Extended AABA ��Similar to the AABA form, but with added
beats in a measure, the bottom number indi- bridge/verse sections (AABABA or AABABABA)
cates which type of note receives one beat.
12 Bar Blues ��Comprised of 3 four bar phrases. The structure
Traditional Grip (p. 12) ��A method of holding the left hand in an under- is covered in depth on Lesson 20.
hand manner.
Other AB Forms ��ABABCB:
Triple Time (p. 50) ��Time signature in which the primary beats are verse, chorus, verse, chorus, bridge, chorus
divided into three parts. BABAB:
chorus, verse, chorus, verse, chorus
Triplet (pp. 56,58) ��A grouping of three notes in the space of two. AABABB:
verse, verse, chorus, verse, chorus, chorus

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A FRESH APPROACH TO THE DRUMSET

All the Best,

Mark Wessels Publications • 1271 Crooked Stick Drive, Prosper TX 75078

Copyright © 2009 by Mark Wessels Publications. All Rights Reserved.

SETTING UP THE DRUMS.................................11 LESSON THIRTEEN......................................36-37

LESSON THREE...........................................16-17 LESSON FIFTEEN.........................................40-41

LESSON NINE.............................................28-29 LESSON TWENTY.......................................50-51

LESSON TEN...............................................30-31 LESSON TWENTY ONE...............................52-53

2 A FRESH APPROACH TO THE DRUMSET

LESSON TWENTY FIVE................................60-61

A FRESH APPROACH TO THE DRUMSET 3

Technique/Independence Style Essential

4 A FRESH APPROACH TO THE DRUMSET

ACCESSING THE FILES ON THE CD:

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

A FRESH APPROACH TO THE DRUMSET 5

6 A FRESH APPROACH TO THE DRUMSET

Basic Notation Elements

The staff has 5 lines and 4 spaces percussion clef measure

The volume of the music is indicated with DYNAMIC markings.

A FRESH APPROACH TO THE DRUMSET 7

The Anatomy of a Drum

Shell Casing Strainer

Hoop (Rim) Snares

8 A FRESH APPROACH TO THE DRUMSET

CRASH: These are smaller, thinner cymbals that

A FRESH APPROACH TO THE DRUMSET 9

The Throne The Snare Drum

Bass Drum and Hi-Hat

The height of the hi-hat cymbals should

Mounted Toms Floor Tom

Crash Cymbal Ride Cymbal

10 A FRESH APPROACH TO THE DRUMSET

A FRESH APPROACH TO THE DRUMSET 11

3 The stick should lay across 4 With your shoulder

Simply repeat the steps above for the left

Left Hand Traditional Grip

Video lessons on learning the traditional grip are provided on vicfirth.com.

12 A FRESH APPROACH TO THE DRUMSET

Without the Stick

With the Stick

As you “throw” the stick to the drum, allow it to rebound

Single Strokes (“Single Stroke Roll ”)

Double Strokes (“Double Stroke Roll ”)

A FRESH APPROACH TO THE DRUMSET 13

! There a literally hundreds of ways to apply these simple

14 A FRESH APPROACH TO THE DRUMSET

Bass Drum Pedal Exercise

1 Play a bass drum stroke along

Hi-Hat Pedal Technique

Hi-Hat Pedal Exercise

3 Play a bass drum and hi-hat stroke

16 A FRESH APPROACH TO THE DRUMSET

Note Values a corresponding rest:

A WHOLE NOTE is equal to FOUR COUNTS: w whole rest

A QUARTER NOTE is equal to ONE COUNT: q1 q2 q3 q4 Œ quarter rest

A TIME SIGNATURE tells you how many beats belong

Note Value Exercise

A FRESH APPROACH TO THE DRUMSET 17