Alfred's Beginning

ffiffiffiffiffiffiffi% ffiffiffiffiffiffiffiffiffi ffiffiffiffi%ffiW ffiffiWffiffiffi tr ffi m ffiffi s {h htr# ffireffiw ffffiffiffi%gffiffi#ru ffimwffi ffiffimmffiq &F.,f#fi ffi'H i r:XSi;E,

&ed *:ffi$, s;$u, k$ .qE,s ffi rbd ffi qhw#**ffi#,*F F*#a*sru;effiryW jil'[ANmdll Copyright O IVTCh/!XC by Alfned Publishing Co., Inc. All rights reserved. Printed in USA.

FORHWORD Alfred's Beginning Drumset Methodis an innovative and practical approach to playing the drumset. You may wish to refer to Alfred's Drum Method, Book l for basic instruction prior to beginning this book. Students start their first lesson by playing an actual beat! All of the beats and fills presented can be used in a performance situation. The book is divided into two sections-rock and jazz. ln each section students leam the use of hi-hat, ride cymbal, snare drum and bass drum technique. lncluded with this book is a recording;demonstrating many of the beats and fills contained in the book. With the help of the recording, the student is able to hear each of the beats and fills played while following the music. The play-along recording also includes corresponding drum charts (two in a rock style, the other in a jazz style), allowing the drummer to have the experience of actually playing with a group. The student must set aside a reasonable amount of practice time on a daily basis in order to achieve best results. The authors recommend no less than 30 minutes but some lessons will require more time. We hope that you will find the book to be an enjoyable experience in your pursuit of musical excellence. ABOUT THE AUTHORS Sandy Feldstein is a highly respected performer, composer, arranger, con- ductor and educator of national prominence. He is the recipient of numerous degrees, including a doctorate from Columbia University, and is an ASCAP award-winning composer. ln the area of percussion, Dr. Feldstein has distin- guished himself as a leader in percussion education. As past president of the Percussive Arts Society, he was cited by that group for his contribution to the world of percussion. He is a frequent guest lecturer and clinician at universi- ties and music conventions throughout the country. Regarded as a superstar in the educational field, Sandy Feldstein's music and books are used by hun- dreds of thousands of young people all over the world every day. He is keenly attuned to the needs of the teaching community, and for that reason, has become an innovator in educational music. Dave Black received his Bachelor of Music degree in percussion performance from Galifornia State University, Northridge. He has traveled around the world with a variety of entertainers and shows, performing and/or recording with such artists as Alan King, Robert Merrill, June Allyson, Anita O'Day and Jerry Hey. As a widely published composer/arranger, he has written with and for the bands of Louie Bellson, Sammy Nestico, Bill Watrous, Bobby Shew and Ed Shaughnessy. He is the recipient of eleven ASCAP Popular ComposerAwards and two Grammy participation/nomination certificates. He is the co-author of several national best-selling books, including Alfred's Drum Method, Books 1 & 2, Alfred's Beginning Drumset Method, Contemporary Brush Techniquels and Cymbals: A Crash Course. ln addition, he has written countless articles, book and concert reviews for such magazines as Down Beat, The lnstrumentalist, Modern Drummer, Jazz Educator's Joumaland others. The authors wish to thank the following people for their invaluable assistance: Joel Leach, Christopher Leach (model), J. Jetf Leland (photographer), LLoyd McOausland, John O'Reilly and David Tull.

** {*#st, qg.!il{' fe',L*#ft' tru#'tuE* *\":#ffi****nyi TABLH OF CONTENTS .................4 ...........5 Aruanging Your Drumset. The Drumset.......... Getting Ready to Play Matchgd Grip .. r r.... r.,.... r.. r r.. r r. r...,. r.. r. i r.. r r......6 The Bass Drum ...r r. r r.,... r r r,., r rr.,r....r, r. r r. r. r..,,,7 Traditional Grip ... r. r.. r. r, r.. r r r r... r r i,. r. i r., r. r r... r....6 The Hi-Hat r..r rrr r.r r. r r.rrr. I r r r r.r ! '.. r. r.... ' r. r. r i r......8 Striking thg Snarg Drum .,.r'r,..r.,.rrr,..r.,.r. ....,7 Thg Ridg Cymbal r r. r i, r r r r r r r.. r,,r rrr r. r !. ! r. r.. r r,.....8 Elements of Music. .r....!...rvo Playing Rock Basic Rock Bgats ! r.. r r r' r r.......,. r.... r. r.,. r. t..... 1 0 More Advanced Bass Drum Beats...,..,.,....21 Embgllishing thg Left Hand ...........,.,,...... \". \".1 1 Embgllishing thg Lgft Hand ...,..............rr ....22 Embellishing the Bass Drum ..........,,.....r.. ..12 Embgllishing thg Hands and Fggt...r...,,. ....29 Embellishing the Left Hand and Two-Bar Fills Using Sixteenth Notes ..... ....24 Sixtggnth Notgs on thg Hi-Hat,.,....r..,.... .,..25 BaSS DrUm .. r. r. r.... r r r r... r.. r. r r r r. r r r! r r rr r.. r.. r r. 1 3 More Advanced Sixteenth-Note Beats..... ..26 Embgllishing thg Hands and Fggt.......,.. ....27 More Advancgd Bass Drum Beats ........!. ...14 More Advancgd Fills .rr,!r..,r.....r.r.rrr......,r .,..28 Rock Drum Fills in Context ,,..,,..,,,.,....,.,..... 1 5 Two-bar Fills lncorporating the MOrg FillS r r...' t r.... t r r r r r.. t... r. r.... r r ! r. ! r....r r r r. !r r.. 1 6 BaSS DrUm . r ' r r r. r r. r. r.... r r.. r. r r t r.. r r. r, r r r. t. r. ,.2g Two-Bar Rock Fills ..,.r,r,,,...r..Dr,...r....r.....r. ..17 Winter Poem (Drum Chart) ....,..,....,,.,,,,.....30 Blues for Time (Drum Chart) ...... !....., !.....,..1 8 Sixtgenth-Note Fills ...,,.. !.,..,,,.... r,. !.,....,.,,.. .20 Playing Jazz Basic J azz Bgats ...,,,,..,.,.. r r r..... ! r r..... r., r. ,,,,.32 Twc- Bar Jazz 39Fil ls . . . . r r . r r r ! . . . r r. . t r r. r . r. r r. r, . r . . . . . Embellishing the Left Hand .....r..,....,r.,,......33 Playing on thg Hi-Hat,.,...,,.!,,..,......!.,.,,1,,...34 Hava Nice Day (Drum Chart) ..,,,.............r..40 Lgft-Hand lndependencg ,..,.....,......,. .,,. r. !..35 Bass Drum lndgpgndencg,,,r,,,!,,,..,..r,..,,...42 Left-Hand lndependence Using Triplets ....,36 Snare Drurn and Bass Drum JaZZ FillS . . r r r . r r' . r r r . r . . r. r, r i r r . r . . . . . . . .. . r r . . ., . ., . . . .,,,37 lndgpgndgnce .,. r....r.. r r. r.!!r rrr r...r.. r rt r r. r ,,.4g MOrg FillS r.r. r!...rr'.r.,.. r.., r. r.r. r' r r. r.. r.,. r. .,.... r..38 Jazz Fills Utilizing the Bass Drum............ ..44 Appendix More Advancgd Two-Bar Fills ..,......,.., r......45 Tuning thg Drums ..... r r r r r r r r... r !,. r r r.. r r... r. r,,....46 Muff ling 47 Drumhgad Sglgction .... r r. r..,.,. r,. r...., r r r.. r r,. .,.47 Maintaining Drums ..rr.. r r r t r r.. r r,... r. r r,.. r...... r ..47

ARRANGING YOUR DRUMSET OYERALL SETUP: The drums and cymbals should be centralized around the player in such a way as to minimize reaching, stretching and twisting. The drums should be set in such a way as to accommodate the player-not the reverse. THE THRONE (STOOLI: proper positioning of the throne is very important as it affects.the player's balance as well as the abillty td use onris ieet effectively. Disfanc6 from the drums affects reach, while height affects foot mov6ment. One must experiment with both factors until optimum placement is achieved. THE SNARE DRUM: Whether played with matched or traditional grip, the snare drum should be positioned..and angled in such a'*ay tnaiinJ piop\"r alignment of the'forearms and hands is not affected. With matched grip, in\" rniie Orum is'usirally flit or slanted slightly.downward toward the playerl w-ith traditional 6tib, tn. snare drum is usuallytilted slightly downward toward the right (if right handed). THE MOUNTED (RACKI TOM-TOMS: Drummers may use one or more mounted toms, which range in size from 10\" to 15\" in diameter. They should be slightly tilted toward the player in such a way.as to allow him/her to clear the drum's rims, while sirikihg the heads comfortably with the side of the stick tip. THE FLOOR TOM.TOM: Usually ranging in size from 14\" to 16\" in diameter, the floor tom should be aJ approximately the same heighlas the snare drum. lt may be angled slightly toward the player or the snare drum. THE RIDE GYMBAL: A ride cymbal is usually 19\" to 22\" in diameter and medium toheavy in weighl.Thg ride cymbal shoutd be positioned in such a way as to allow the stick to strike 3\" to 4\" in from the edge. THE CRASH CYMBAL(SI: Drummers use one or more crash cymbals, which usually range from 16\" to 18\" in diameter and thin to medium in weight. Crash cyhbals should be tilted slightly and positioned within normal reach so that the shaffof the drumitick will strike the edge of the cymbal. some drummers place their cymbals above normal playing range to maximize visual effects.

#ru#S$**#m*firgn tm*TS* **\"1#**r,j*r*UT THE DRUMSET Basic Four-Piece Setup Counterhoop (Rim) Lug Crash Cymbal Basic Five-Piece Setup Cymbal Stand Flocr Tom-Tom Hi-Hat Cymbalr Ride Cymbal \\ Mounted Tom-Toms Hi-Hat Stand ./3#3\"' Snare Drum -r' Snare Drum Stand \\ Bass Drum Foot Fedal Bass Drum Pedal NOTATIOru Ride Cymbal WStick (R.C.): MSnoaurngteDdruTmo(mS. D_(.f)i-{-.-f-.l.---: Floor Tom (F.T.) BassDrum(8.D.) I Hi-Hat w/Foot (H.H.)

GETTING READY TO PLAY Holding the Sticks There are several ways to hold drumsticks. Developing the proper position and manner of holding the drumsticks is very important in the development of proper technique, attack and control. HATCI{ED GRIP The Right and Left Hands The stick should be thought of as a natural extension of the arm. 1) Grip the stick between the thumb and the first joint of the index finger, one-third of the distance from the butt end of the stick. The other fingers will be used to help control the stick. 2) Close the other fingers loosely around the stick. 3) Turn the hand so that the back of the hand is facing upward when playing. The stick should be in line with the wrist and arm. TRADITIONAL GRIP The Right Hand ln the right hand, the stick is gripped between the thumb and the first joint of the index finger, one- third of the distance from the butt end of the stick (see matched grip description for details). The Left Hand 1) Place the stick in the socket between the thumb and first finger, with one-third of the stick (from the butt end) extending behind the hand. The grip should be just tight enough to cause a slight drag if one were to try to pull the stick from the hand. 2) The first two fingers should rest lightly on top of the stick (the first more than the second) to act as a guide. The stick should rest across the third finger, which will act as a support. The fourth finger should rest against the third finger.

7 STRIKING THE SNARE DRUM Sound is produced by striking the top head, which sets the air inside the drurn in motion, causing the bottom head and, in turn, the snares to vibrate. Best results are obtained when the sticks are allowed to rebound from the head as quickly as possible. THE STROKE is produced by a turn of the wrist in a down-up motion. .1 Place the tip of the stick on the head. 2. Turn the wrist so the tip of the stick is as far away from the head as pos- sible. 3. Play the stroke (down-up), striking the head and returning irnmediately to the up position. When alternating strokes, the right (left) stick strikes the drum and re- bounds to a position approximately two inches above the head. When the left (right) stick comes down, the right stick goes from the low position to the full up position. TI{E BASS DRUT The bass drum is usually between 18\" and 26' in diameter and. may have one or two heads. lt is played with a bass drum pedal operated by the foot. The bass drum beater is generally made of hard felt or wood. BASS DRUM PEDAL TENSION ADJUSTMENT The pedal's spring tension should be adjusted so that when the foot rests on the pedal the beater does not contact the head. The tighter the pedal tension, the faster and stronger the rebound. Two basic techniques for playing the bass drum are: 1. The entire foot contacts the pedal. The player rocks the foot, causing the beater to strike the head. The foot returns immediately to the \"up\" position as shown in the diagram. (See diagrams 1a and 1b.) 2. The heel is raised off the pedal surface while the ball of the foot operates the pedal. The foot re- turns immediately to the \"up\" position as shown in the diagram. (See diagrams 2a and 2b.) Usually, the beater should not remain against the head after impact. Rebound technique as dis- cussed earlier applies to all drums.

8 TI{E HI.HAT The hi-hat should be placed to the left of the snare drum and operated by the left foot. The hi-hat (sometimes called the \"sock cymbal\") consists of a pair of cymbals, usually 14\" or 15\" in diameter, mounted one above the other and connected to a foot pedal. (A good \"chick\" sound is often achieved by tilting the bottom cymbal slightly.) The most popular combination of hi-hat cymbals is a medium-thin top cymbal and a medium to medium-heavy bottom cymbal. The space between the cymbals when at rest should be approximately 1* to 2'. When the toot pedal is pressed, the cymbals come together. The top hi-hat cymbal may also be struck by the tip of a drumstick. This may be done while the cymbais are closed, partially closed (cymbals lightly touching) or completely open. HhHAT PEDAL TENSION ADJUSTMENT The hi-hat spring should be tensioned so as to otfer strong resistance to th.e !o9t whe.n.placed on the pedal. The tfuhter the pedaltension, the faster and stronger the rebound of the pedal. Two baslc technlques for playing the hi-hat are: 1. The \"heel-toe\" (rocking) technique is often used when playing 2 and 4. ln this case, as the ball of the foot pressed the peOal down, the heel rises off the pedal, and when the heel goes down, the ball of the foot rises. (See diagrams 1a and 1b.) 2. The \"toe\" techniqu'e is particularly useful when executing rapid rhythms. ln this case, the leg is raised to keep the heel off the pedal while the ball of the foot \"bounces\" up and down to activate the cymbals. (See diagrams 2a and 2b.) THE RIDE GY]TBAL Cymbals should be mounted on a cymbal stand which has a piece of rubber tubing to serve as a cushion between the stand and the cymbal. The wing nut should never touch the cymbal. Each ride cymbal has a number of playing areas and each area pro- duces a different sound. When a ride cymbal is struck near the bell, it produces a high pitched \"ping\" sound (very etfective for Latin-American rhythms and funk). When struck near the edge, the cymbal produces a broader sound and more mid-range overtones. About 1/3 of the way between the edge and the bell is generally considered to be the best area for playing the ride-cymbal rhythm. Other interesting effects can be obtained by using the tip, the shoulder and the butt end of the drumstick on the ride cymbal. It is very important for the drummer to develop a balance of volume between the ride cymbal, hi- hat cymbats, the bass drum and snare drum. Listen carefully to the blending of all sounds.

ELEMENTS OF MUSIC WHOLE. HALF. QUARTER NOTES The duration of musical sounds (long or short) is indicated by ditferent types of notes. WHOLE NOTE HALF NOTE QUARTER NOTE EIGHTH NOTE SIXTEENTH NOTE ) ,,r{'|:)./f{.Doi\\f$iJIf-i One whole note equals two half notes. )) iffisfi,ffiffi One half note equals two quarter notes. )= JJ One quarter note equals two eighth notes. n)= One eighth note equals two sixteenth notes. I )= JH) MEASURE. BAR LTilES. DOUBLE BAR LINES Music is divided into equal parts called MEASURES. BAR LrNE BAR LINE BAR LINES indicate the beginning and end of measures. DOUBLE BAR LINES, one thin and one thick, BAR LINE BAR LINE DOUBLE show the end of a piece. BAR LINE REPEAT SIGNS Two dots placed before a double bar line 'll means to go back to the opposite facing sign. lf there is no such sign, then go music. back to the beginning of the TIME SIGNATURES AND NOTE VATUES TIME SIGNATURES are placed at the beginning of a piece of music. They contain two numbers that show the number of beats (or counts) in each measure and the kind of note that receives one beat. The top number shows the number of beats (or counts) in each measure. The bottom number shows what kind of note gets one beat. means four beats in each measure. means a quarter note ( J ) gets one beat. ln 414 time, a whole note receives four beats. A half note receives two beats. A quarter note receives one beat. An eighth note receives half of a beat. A sixteenth note receives a quarter of a beat. At the beginning of each line of music there is a clef sign. Unpitched percussion music uses the neutral ( ll ) clef. TEMPO - The rate of speed of a musical piece or passage. Tempo may be indicated by a musical term or by an exact metronome marking. METRONOME - A device which produces clicks and/or light flashes to indicate the tempo of the music. For instance, J = 120 means that the metronome will click 120 times in a minute and each click will, in this case, represent a quarter note.

10 BASIG ROCK BEATS @*' Play the following basic beat in which the right hand (on the ride cymbal) and the right foot (on the bass drum) play together. Tr\"ck 2 '$*' .l = 96 R,H. I ln many beats, the left hand (snare drum) and the left foot (hi-hat) play together as shown in the \\yf,\\frzct 3 following example: 2 Here's a basic beat that combines the hands and feet. All of the following beats can also be played with the bass drum on 1 and 3 only. Often, the right stick is played on the hi-hat, which may be partially closed (cymbals lightly touch- ing) or tightly closed. ln slucc1h cases, the left foot applies light or heavy pressure on the hi-hat pedal. I Trd' 5 €,, R\"H. on t-P H.H. 4 By changing the right-hand quarter notes to eighth notes, we create a more interesting beat. Beat s's 5 uses the right hand on the ride cymbal, ln beat 6, the right hand moves to the hi-hat. Track 5 Ride cym. 5 .FT'ad( 7 -P 6

11 EMBELLISHING THE LEFT HAND Eighth notes can also be played by the left hand. Practice all of these beats first with the right hand on the ride cymbal and then on the hi-hat. J=96 J JJX@**' xx xvvx > x> x - - - -- @*' The left hand is used to play other drums as well. Beat 4 adds the mounted tom-tom, beats s and 6 add the floor tom-tom, while beat 7 incorporates both tom-toms. q$\"*ro JJJ}x X>(>/ x> X} x ---- - >1 x > x> x x xx ! -f JJJ-JJX xv\\av JJJ} ! - ) -- ---

12 EMBELLISHING THE BASS DRUM So far, the bass drum has played quarter notes on all four beats. Now, we'll change that rhythm somewhat. After practicing each beat with the the right hand on the hi-hat, repeat them using the right hand on the ride cymbal. (When playing the right hand on the ride cymbal, add the hi-hat on 2 and 4.) 1&2&3& 4& *l & 2 & 3 J=96 q$\"'r'rr q$\"*rz 1$\"** These three bass drum patterns can be used with any of the previous beats. We suggest that you repeat each beat between four and eight times. ,sSro\"t lq 1 'A dot ( . ) placed after a note increases its value by one-half the value of the original note.

13 EMBELLISHING THE LEFT HAND AND BASS DRUM The dotted quarter- and eighth-note bass drum patterns can also be used with the beats where the left hand moves around the drumset. Practice going across the page (ex. 1 ,9, 17, etc.), as well as down the page (ex. 1 ,2,3,4, etc.), repeating each beat between four and eight times. Track 15 @ 1

14 Track l6 MORE ADVANCED BASS DRUM BEATS @ Very often the right and left hands remain constant while the bass drum becomes busier. Once youtve mastered these beats, you may use your left hand on other drums as shown on page .13. Repeat each beat between four and eight times. .=96

15 ROCK DRUM FILLS IN CONTEXT Drum fills are usually played at the end of a musical phrase to serve as a bridge to connect ideas. Always practice fills in a musical \"time\" setting: we suggest that you play three bars of time fol- lowed by the one-bar fill. You may use any of the beats in the previous exercises for the time pat- tern. Play this page as a complete study, moving from fill to fill (in any order) without stopping. Remember to always play three bars of time between fills. Although fills break away from the basic beat, they should not speed up or slow down. Example: 3 bars time t- Eill_(e5apple 1l j=96 q$\".2 bars time bars time I f\\ 'L*t*\"1 { 'il \"r r*r, bars time bars time bars time bars time bars time bars time bars time bars time dTrack 19

16 MORE FILLS Try playing the first note of each bar on the ride cymbal to create an interesting variation. Here are some examples, but you should experiment with your own. Play three bars of time before each fill. l\" $t rq The next group of fills are based on the following sticking patterns: Double 3{ it ri) t., i)Ij'rt\\ Paradiddle lR t..., Paradidde - Diddle ,{ rqt l ' 3{ f{ l. L' Rr. $TI\" t) .t-/ t' ln the rudimental style of snare drumming these are called a paradiddle-diddle and a double para- diddle. Play three bars of time between each fill. Remember, practice across the page (ex. 7, 11, 15, etc.), as well as down the page (ex.7,8,9, etc.). i4 1\" gt g{ }. t. Practice Drill

,17 TWO.BAR ROGK FILLS In this section you will play two bars of time followed by a two-bar drum fill. You may use any of the beats in the previous exercises. Play this page as a complete study, moving from fill to fill (in any order) without stopping. Remember to always play two bars of time between fills. 2 bars time Ttl_(e1amgte. z)_ Example: I F{\" l. i{. L\" K Track 22 J=96 bars time }R. L @ a^4 t t.\\ .r'.' 1 l-t. l. L lq. 2 bars time 2 bars time 2 bars time bars time bars time bars time 2 bars time .The flam is a combination of a small note (grace note) and a main note. lts purpose is to produce a 'broader sound (tenuto). ffIi orirSTrack 23 I

18 BLUES FOR TIME The blues is based on a twelve-bar form made up of three four-bar phrases. Many tunes require a fill only in the twelfth bar, but sometimes the music requires fills in bars four and eight as well. After playing the tune as written, try using any of the previous beats and fills that you've learned. tj130 Comp.lArr. by Gordon Brisker lxr&DucrtoN r-1 O 1989 Sandra Kay Music/BMl * =repeatthe previous bar. -

19 LAsf cl\\(,us ^I-r LFtlLbrr--

20 SIXTEENTH.NOTE FILLS I e&ah? e&ah3e &ah4 e&ah 1& 2&3&4 & Practice each fill across the page (ex. 1 , 7, 2, B, etc.), as well as down the page (ex. 1,2,3, 4, etc.). '=96 3 bars time 3 bars time it I. Ft tr. 3 bars time 3 bars time rE 3- F{ i. f{F{ t\". r- 3 bars time 3 bars time H i\" l4 g. it t. ${. {., Ft I3q^ h: 3 bars time bars time iq ;. Eq 3 bars time 3 bars time it IqL.H i 3 bars time bars time GTrack 27

q$\"*ze 21 MORE ADVANCED BASS DRUM BEATS Adding dotted eighth- and sixteenth-note patterns to the bass drum will create sorne interesting variations. 1&2&3&4 & 1&2 & 3 & 4 & 3e&alr4 J=96

n\" EMBELLISHING THE LEFT HAND You may also add sixteenth notes to the snare drum and ride cymbal/hi-hat. The bass drum pattern remains constant in beatsl-4 and 5-8. W\", q$\"'rro

($\"'*rr 23 EMBELLISHING THE HANDS AND FEET J=96

24 TWO'BAR FILLS USING SIXTEENTH NOTES ln this section you will play two bars of time followed by a twg-bq drum fill. As in the previous section, you miy use any-of the previous beats and should play- the page as a complete study, moving fiom fill fo fill withbut stopiing. Although fills break away from the basic beat, they should not speed up or slow down. \\sll'rrck 32 ,=96 R TqtR iT\"LH LltLl{ }rt}q. H,t.tdL ,G\\ 2 bars time 1 R let3{ Rtfr Lld{,R}-, 2 bars time ${ L H\"L bars time 2 bars time K L.K [-, 2 bars time 2 bars time 9\". ]{ }\" ${ ffild *^c !{ x. R l. F{ t t{- l. i{ bars time tsefore going on, go back to the chart of Btues for Time and play it using the beats and fills that in- corporate sixteenth notes.

q$** 2s SIXTEENTH NOTES ON THE HI'HAT Playing sixteenth notes rather than eighth notes on the hi-hat adds another dimension. lf you start the-sixteenths with the right hand, the right hand moves to the snare drum on 2 and 4. lf you start with the left, the left hand moves to the snare on 2 and 4. Try practicing both ways until you decide which feels best for you. ln the following beats, the hands remain the same while the bass drum changes. Play from one to the other in any order. J=96 $t j, ft $, i:{ I. Fl }-

26 MORE ADVANCED SIXTEENTH.NOTE BEATS ln the following beats, the hands become busier while the bass drum pattern remains constant in beats 1-5 and 6-9. lf you start with the left hand, all stickings will reverse. l;i i.., ;-i. f\". strredk 3 5 r=96 f ;l't. t t i*r: I '.-S I sTi-d 36 ii> 6 rilYi'T.ls .t- .t'r .f..,

q$\"\"rrz 27 EMBELTISHING THE HANDS AND FEET

T 28 MORE ADVANCED FILLS Remember: 1) Always play three bars of time before each fill. 2) Use different time patterns. 3) Practice the whole page, going from fill to fill (with time between) in any order. \\spfrrck 38 il. l, R tr_, il$t Ls\" I{l-{{. l\" Lit 3 bars time 1 ${ L tt i. }t l_, 14 bars time 3 bars time R 3R LFt. t{ } }4 bars time 3 bars time 3 bars time bars time tffi g_3e id i.\" H l\" 3 bars time bars time 3 bars time (Single Paradiddle) bars time I{LItitL Frt-L Rt\"$.}e [\".R'Li\"- 3 bars time T4 iE i_ l{ }. }{. 1. [q, $. H t H, i- }q L g{ 1\". 3 bars time Ki- Rl\" bars time 3 bars time

re TWO.BAR FILLS TNGORPORATING THE BASS DRUM ln this section we have incorporated the bass drum as part of the fill. As in previous sections, you should play two bars of time followed by a two-bar drum fill. You may use any of the previous beats and should play the page as a complete study, moving from fill to fill without stopping. Track 40 3.9.,; 3) .I8..*, .Tl(:\\I. 'fl if-_F\\ f{ t\" .& \\. 5..., @ J=96 2 bars time I ffi\"riti, 2 bars time bars time bars tirne R 't_. $t i. F{. L, .:i. \"f pa bars time bars time bars time ffiTfack 4l _

30 WINTER POEM By Sammy Nestico Arr. Gordon Brisker e=106 0 loSact bAt ft? J- 0 It t6tlt Firr\\ L0 I grlt at ) Fftr-1 ^- - r -1 F,}r'J Ft r..-1 lftuu- { FvLb (.TFI, tutv: --1 LtrqFtuL' - - -1 tFllL-rrl ITT' ttt E ---l I - - - @ 1987 Fenwood Music, lnc. Used with Permission

3X 6d -E @

BASIG JAZ.Z BEATS 'lmlcniyiuzmrcobhcaal(l,l,e)rsutahsinemfdrbeintaqFjsuesechonditm-rlhyueamsitn(Oifswrohophifrciehmthqamueraioliylysitmmfoobprftoaethrlntsea:pn'plcautehyrpbstooo\"srnteihd.2eoefasrannhcdayctrhe4emn)'dti\"rnu(gmp.ala,nybdeudtpipnbPyiahtzahzse,izlrhiingegh-bt ah.Tsahsnedd.brouanmsictihsfeeuersilediden .S'fr-Gk 4'f The ride rhythm is based on a triplet feeling as shown in the following example: >3 ..-p 107 1 32 (&) ah 4 (&) &h, etc. The ride rhythm pattern is sometimes notated as follows: | 2 ah3 4 ah, etc. and the bass drum play^ together' The play the following basic beat in which the ride cymbal iazz leel. (Beats 1 and 3 should be de- acc'ent (>) on z inO + is uery important for the auihentic emphasized.) Practice these exercises with the bass drum on all four beats and then again with the bass drum Tracr 45 resting. € -D siplFract .lO As with rock beats, the left hand (on the snare drum) and the left foot (hi-hat) play together as shown in the following examPle: Here's a basic beat that combines both hands and both feet. .ifrTracx 47 f-ooU.,.u,sorenbtooefaotthlsves.boraotshrsetdnsru\"tumpderoinnptoawlilo.fuooludi rtdtbiiesev-aoetostooitpn<,bjaatnzlazenwacaeusdthcocoormsomrddeoicnniadp'teirodanct.oticHsqohwybeweavrteshr,eaogbnoacsbesutcdoisrmufTaforrpltealasbysliencgwomiathl-l tnit tr.nnique, the siudent should leave the bass drum out when playing basic \"time.\" if*f,T*tr qS Example 5 without Bass Drum

3il EMBELLISHING THE LEFT HAND The left hand often plays eighth notes rather than quarter notes on the snare drum as shown in the following beats. As with the right hand, they are played with a triplet feel. Practice these beats with the right hand first on the ride cymbal and then on the hi-hat. J= 107 q$\"*+r q$\"*so Some of the left hand's notes may be moved to a tom-tom. Beat 3 adds the small (mounted) tom- tom, beat 4 adds the floor tom-tom, while beats 5 and 6 incorporate all of the drums. 1$\"*sr

34 PLAYING ON THE I{I.HAT The right hand may also play the ride rhythm on the hi-hat rather than on the ride cymbal, A plus (+) sign represents a closed hi-hat, the letter o an open hi-hat. When the hi-hat is in the open posi- tion, release the foot slightly so that the top cymbal is slightly touching the bottom cymbal. As with the ride cymbal, the hi-hat rhythm is based on a triplet feeling as shown in the following ex- ample: s'ruk 52 +3 o +3 o. +it o +:I ,'a.tF o?10o7 +3 o +3 IJ; .ti J JJ )to +3 o| +fr 3 Jl J J Jjo-l| JJHi-Hat JI -J-% '/ J7 - -l - | 2 (&)ah 3 4 (&) &h, etc. sri.ack s3 Play the fOllOwing basic beat in which the hi-hat and the bass drum play together. .-y, o +3 o +3 o +3 o + 3 o + 3 o. + Hi-Hat Here are some basic beats that combine both hands and both feet. Beats 4-6 are based on a two- bar pattern.

($tr.*.t 35 LEFT.HAND INDEPENDENCE

LEFT-HAND TNDEPENDENCE USING TRIPLETP str 'G\\ytf.* 6+

37 JAzz FILLS As in rock, jazz fills are usually played at the end of a musical phrase to serve as a bridge to connect ideas. Always practice fills in a musical \"time\" setting: we suggest that you play three bars of time followed by the fill. You may use any of the beats in the previous exercises. Play this page as a complete study, moving from fill to fill (in any order) without stopping. Remember to al- ways play three bars of time between fills. 3 bars time Fill_(eryqnlg 1) L lt l, i]. Example: -t J=107 (;: =l'J) in. g, H. i, iR q$a*sz bars time bars time I t_ ft. 'v'l g_ J, \\, bars time bars time 3 bars time bars time bars time bars time 3 bars time l.Er 3? 9\"\" tq\" L R t. i3{ >t bars time bars time bars time R g, R L;dI. t{. Liq. t .J:=i'] t2 3 33 dTrack 58

38 MORE FILLS To create an interesting variation, play the first note of each bar on the ride cYmbal. Here are some examples, but you should experiment with your own. Play three bars of time before each fill. .-107 (l=f'I') t lq\"R LId K T- I{R R l. RL. RT. \\y l5 'qiiffiro.t sr }t it 1'' R [ ' R - L rTL R 3tf\"$q. The next group of fills are based on the following sticking pattern: R RL RR. I., L, ln the rudimental style of snare drumming this is called a p'(eaxra.d7id, d1l1e,-d1i5d,dleet.c.P),laays three bars of time practice across the page well as down the between each fill. Remember, page (ex \" 7,8, 9, etc.). ?T R L, { R^ L RR}-RRLL R R t R R L,T, u3 R RLRRL.LR.RLRRLL This pattern may also be played with a triplet feel. The first beat can be played on the snare drum or ride cymbal, the second may be a note or a rest. R L I{LR}t[,L iq L RLR RLL R L R R X, I, 15 R.L}T K I*t 3

3g TWO.BAR JA7I7| FILLS ln this section you will play two bars of time followed by a two-bar drum fill. You may use any of the beats in the previous exercises. Play this page as a complete study, moving from fill to fill (in any order) without stopping. Remember to always play two bars of time between fills. I.{ i, - RR Ft Track 6l I107 (;: -r 3 Lffi L } .F 3qt E^, t iE I. @ J) 2 bars time bars time bars time bars time 2 bars time R LR Rft t\". r. 2 bars time t( L !iL 2 bars time 3 2 bars time L l{R8.. }e ${ [.KI $,.;

40 HAVA NIGE DAY* The following tune is in A-B-A form, which is one of the most common ways of organizing musical thoughts. The A section presents the first musical idea; it is followed by a contrasting B section and then the A section returns again, although this time the A section may be slightly altered. , = 118 By Sammy Nestico Arr. Gordon Brisker ffiLr-J lnrt=L! b - - -1 (c,oe ctt (sorr '')t ;r0 ffie-f f u.t ,t 4--- @ 1970 Banes Music, lnc. --- Used with Permission 'Th€ tlrg band version, as recorded by Count Basie, may be heard on the album titled Hava Nice Day (Daybreak Records, lnc')'

q r rrt D D (FtL!* :- t

42 q$\"*es BASS DRUM INDEPENDENGE The left hand, which plays the snare drum, is often used for accents, set-ups and imitation. As a result, it is not used in the following exercises which are devoted to basic time concepts.

dfil SNARE DRUM AND BASS DRUM INDEPENDENGE ''.3r

I M dAz.z FTLLS UTll-l7|tNG TI{E BASS DRUM These fills utilize your right foot as part of the fill. PIay three bars of time before each fill using different time patterns. Practice the whole page, going from fill to fill (with time between) in any order. .? 1or (;: =-JtJ) LR i#{rpcr ee bars time 3 bars time 1 3 bars time bars time id bars time 3 bars time r I-t rgL. L .$1.. bars time T,K bars time bars time bars time

45 MORE ADVANCED TWO.BAR FILLS In this section play two bars of time followed by a two-bar drum fill. You may use any of the beats in the previous exercises. Play this page as a complete study, moving from fill to fill (in any order; without stopping. Remember to always play two bars of time between fills. $\" i- lR s.r $t rT it tt R 2 bars time i,$ .Xr. \\3 i*L) y- It tl\" bars time -l\\ $* ,9,\\, 3R 3 /> R}-T{ 2 bars time Iti_R;-Rg_,R RL RLf R 1\". bars time 3 3 R J-\" it t. R Rfl L. R LL $.,,f 2 bars time 2 bars tirne K RRL i{. ;_, 3e i- R *\"x'R 2 bars time 3 3 i{ }_ tt 'i-.'iR3 L H. Llt K t R.r R LR RL *The drag (or 3-stroke ruff) consists of two grace notes and a main note. The two grace notes are played softer than the main note. The drag may begin with either hand. Track 7l /,

46 APPENDTX TUNING THE DRUMS THE SNARE DRUM is called the snare head' by threaded rods. Tight- The top head of a snare drum is called the batter head; the bottom. head Drumheads are neU in place by metal counterhoops, which are adjusted rning or loosening thes6 rods aiters the tension of the heads. when tuning the snare drum the authors suggest that you deal first with the batter head. Cross-tension system of tensioning Twecouvitnenhseniastttheedennrsutbimoaantsrtioetnicrugkhnteoata*Jbdnnoueb6ty-dtuiwrnsroerin. gidnlftctuhihtmeeiss\"tcnhfrorrooots,ursnag\"-dhemjouausectththitnohrdodeid,votiudftonuteianbnlgestieopcnnersoirnitcoageni,nsasrotrsh.datsTht\"iasPthsmetnhaepeienitdthcaeehidnai.sds Clockwise sYstem of tensioning 3 Yfdweorieutuhlmsma.faidrTymrouamb.lsegsogteiitcnuksn*u'e,rtn;th,hetoigIdiwhrtuo6omnteinsenceasnqdieounsnesnianCtinarf?yelloy*l',ruongnm-eeomavctowihnr'regEr.otitndhoafatnothcbteihrecewucrloaeistrrthtafueainnrstshitl'hiotaThnteaptahdretrohuumepnidhthceehtahadieds consistent around\"nthoeuidrum. \",Tfhsrnahenaeedrlesytn.oraSarlotieflmtehteheeaodrsuynomis-ar--rnteeipesnirsosfir\"ootenimgeendotrhr.nienGtstnnhueserifooiscinatetmetohrefehmtensaanendahnrteeeigarhfdiatremswr lthyihhi,leaebnbuteatthn,tbteseeirosnsnhiuaenrigaeed,wt.whitaYhhtioletiuht oemisthoasetyhtriselwlrdaaohnbatltenhtodet.outroesvveiabevroraosnteiede' There is no firm rule; it is slmply a matter of tone preference. Awa,,ccfhthheilioerekvaeaec,d,htjtuhiheseevtiidnndrggeusmttihhr,eeseds,d,soseonusaunirrndeedd. a.tpdegijstuectshtcrmeaaperneendaitutteiei.nOnrois\"yli*oto\"noytfoosovtrrbeibkrriitonrigitgghlttethhhneeeatsdhhnseea,adrdtearsuspwmitnihhttheeoaabcdoadsntrttuoeamrrcttshhteweicaiktdshnwwathhriteeihlesh,ameadasard,kuyinmoagnusdtwaicdtiokl-l justments. THE SNARES Wire snares are most commonly used on concert and kit drums. They have an excellent sound, are not affected by weather conditions and require little upkeep' Gut snares are more often used on marching drums, where a crisp sound and a hig.h volume level care is required to maintain them' oquir\"o. bin.. gut snares are affected 5y humidity, extra T\"rH.E BASS DRUM AND TOM.TOMS around the entire circumference of the bass drum and It's important that the tension be equalized aicomplished in the same manner as when tuning the tom-toms to obtain the best tone. Thls is snare drum. The tone of the bass drum rsihnogutlodobme \"udcanrk.\"gaontnd lnoewaoins'psihtcohu.l.d.lfbteheatheaappdroisxitmooatelolyoseth, eit will vibrate rifelessly; if too tight, it will same pitch for maximum resonance. The multiple iomtoms of varied diameters shbuld be tensioned to sound high to low as one moves from left to right'

47 DRUMHEAD SELECTION Whereas drumheads were once traditionally made of animal skin, it is lar more common today tc use heads made of plastic. There are numerous brands and thicknesses of plastic heads on the market today, so the drummer will have to choose wisely those that beslfit his/her needs. Plastic heads become soiled after continued use and may be cleaned with a damp cloth and mi{o soap or cleanser. MUFFLING forFlaiunotthgreamart.tntuahdfcafhlsninmilgeteantnpthti.npeagrandcddrutripcumermos. vhsideoeaudntshdraeanenddsstcatuogtnfeitnsrgobllfdinsrglomu\"nasdfhteemrlrlosindig\"if,ii\"tcnathipieoirnra:oum*tih.o-oorMesruarfetfe'clso6mfnitmginecsnoiddneit,Jt,nRt,ee-rmOtuoidumiMouwmff,itulsnf,--. MAINTAINING DRUMS r\"/fwpfilnoqoilsOoishduh.el.af-isnr ilcs.ahleyeasnbii9nf gdceleosafinryeeoddu'rwMditrehutamal sdsahwmeilliplshcaetndlpdtnph'aronooolopnsmgm'.i.ubaoystghbadtph;beltejurarbnneeitoauur*etiy'ipnaJnia\"dnotaomne[ .rairoWsnooooinedoiaplonprdtimepdeeatatrott Tension rods should be lubricated with. Vaseline.or light grease.. Moving parts, including the snare throw-otf switch, bass drum pedal and hi-hat pedal, s-nouiO be lubriciteo\"witn ligni mlchine oir. Tomthaheneursfaanfcoetnusartebarrsnadsmiveaearskceieletsastpnwesaceiyar.lolyN-f efcovleremarnuulianstgeedysotceuyermlcbwyamolobclaleolsar naisinnty!opourtohsdeeurCcatosOm. r-ae-ltiucelemanasteerr,iaBlr.aMssoostocr ysmombael

STUDEIIT'S PRAGTIGE REGORD 48 To become a good musician you must practice every day. Find a convenient place where you can keep your instrument, book, music stand and any other practice equipment. Try to practice at the same time every day. To help you schedule your time, use this Daily Practice Record. Name Lesson Assignment Band Class (Day/Time) Sat. Sun. Approved Date Mon. Tues. Wed. Thurs. Fri.