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CONTENTS INTRODUCTION ................................3 PART 1: TRIPLETS "1
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One Group Of Triplets .t• • • • • • • • • • • • • • • • • • • • • • • • • • • • .4 Two Groups Of Triplets ·..........•..................5 Three Groups Of Triplets ............................9 Four Groups Of Triplets •............................ 12 Two-Bar Patterns . .' .. :.t' ... ; ....................... 16 Triplet Fills .......... ';' .......................... 17
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PART 2: 16TH NOTES One Group Of 16th Notes ........................... 18 Two Groups Of 16th Notes ..........................20 Three Groups Of 16th Notes ........................24 Four Groups Of 16th Notes .........................29 Two-Bar Patterns .................................34 16th-Note FiIIs .......... ~ ........................35
PART 3: 16TH-NOTE TRIPLETS One Group Of 16th-Note Triplets .....................36 Two Groups Of 16th-Note Triplets ....................39 Three Groups Of 16th-Note Triplets .................. .43 Four Groups Of 16th-Note Triplets ................... .46 Two-Bar Patterns .................................50 16th-Note-Triplet FiIIs .............. '.' .............. 51 . ~!:, I
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PART 4: 32ND NOTES One Group Of 32nd Notes ..........................52 Two Groups Of 32nd Notes .........................58 Three Groups Of 32nd Notes ........................64 Four Groups Of 32nd Notes .........................70 Two-Bar Patterns .................................76 32nd-Note FiIIs ..................................78
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INTRODUCTION The ability to move swiftly around the drumset with speed, control, and accuracy is an extremely important asset for today' s drummer. Drumset Control offers a progressive series of exercises designed to help you attain a substantial level of technical facility on the kit. The format for Drumset Control is simple and direct. The book begins with basic triplet patterns around the drums, followed by 16th notes, 16th-note triplets, and 32nd notes. Each section is further divided into groupings, beginning with one grouping of each note value and progressing to tour consecutive groupings. A selection of sticking patterns is applied, and these offer a wealth of possibilities for moving around the drumkit. Examples of two-bar patterns and fill-ins are also included.
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1) Be sure· to play each exercise precisely as written, with careful focus on stickings. 2) Make certain you're comfortable with the stickings that appear above each series of patterns before attempting to ·play the exercises. 3) Practice each pattern slowly at first, until movement from drum to drum is smooth and flowing. 4) Repeat each exercise at least ten times before moving on. Do not move to the next pattern until the previous one has been mastered. 5) Make an effort to get your eyes out ot the book as soon as possible. Focus on the movement around the drums and the teel of each pattern. 6) Eventually work all exercises up to top speed. Use a metronome or drum machine to gauge your progress. 7) Play the bass drum on 1, 2, 3, and 4 of every measure. 8) Play the hi-hat: a) on 2 and 4, b) using quarter notes, c) using 8th notes. 9) Be sure tomaster the one-bar exercises before attempting the two-bar patterns and fill-ins.
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For an additional challenge ... 10) Play through an entire page without stopping, working each pattern four times, then twice, then once. Start slowly and increase the tempo as your faCility improves. 11) Certain patterns in this book lend themselves well to bass drum development. Try the following: a) substitute the bass drum for all snare drum notes, b) substitute the bass drum for al! tom-tom notes. Maintain the specified stickings when using bass drum substitutions. The following abbreviations are used throughout: SD = Snare Drum RRT = Right Rack Tom LRT = Left Rack Tom LTT= Large Tom Tom HH= Hi-Hat RC= Ride Cymbal SD = Bass Drum
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.
Practice these patterns slowly at first and focus on accuracy. Note that the sticking changes from 'one bar to the next in ,every example. Repeat each exercise until the two bars flow smoothly together. Increase the tempo gradually. 3·
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Triplet Fills Each of the one-barfills below are preceded by three bars of the jazz time beat. Be sure to strive for a smooth and even time flow as you move from the time pattern into, and out of the fill bar. Also practice the exercises at varied tempos and dynamics. (* Note that the final cymbal note on the "ah" of 4 should be omitted during the third repeat of the time pattern.)
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Sticking: RRLR-LLRL-RRLR-L
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J J JJ J J JJJ ~., j JJ
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1
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4
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,
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J J J JJ J J J J J J J J
2
:11
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7
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11
Four Groups Of 16th Notes
Sticking: RLRL-RLRL-RLRL-RLRL
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22
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18
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16
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'--_----'1 1
Sticking: RRLL-RRLL-RRLL-RRLL
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211
e J JJJJ J J 3 J JJJJJ 3 3 :11
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J IIB J. Jj Jj JJJJJJJJJJJ:11
5
6
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R R L L R R L L 1'---_ R R _L----" L R R L L
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7
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8
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R L R R L R L L R L R R L R L L
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R L R R L R L L R L R R L R L L
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JJ JJJJ J J Jj J~ JJJJ:11 R L R R L R L L" R L R R L R L L
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Sticking: RRLR-LLRL-RRLR-LLRL
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e 11
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R R L R L L R L R R L R L·L R L
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~, JJJ JJJJJJJJ JJJJJ:11 R R L R. L L R L R R L R L L R L
R R L R L L R L R R L R L L R L
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JJJJJJJJJJ J§JJJJ:11
7
8 11
e J J J JJ JJJ.J JJJJJJJ:11
R R L R ,L L R L, ,R R L R''--' L-L- n-L'
n n
R R L R ,L L R L, , R R L R''--'L-L- R-L'
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I _ _ _ _ _ _ _ _ J L -_ _ _ _ _ _ J 1_________ 1
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IIB R R L R LL_ ....L__R.....L1 l.R R L R L L R L1 .11
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Two-Bar Patterns
"
Praetiee these patterns slowly at first and foeus on aeeuraey., Note that the sticking ehanges from one bar to the next in ,every example. Repeat ea eh exereise until the two bars flow smoothly together. Increase the tempo gradually.
1
f~T~;; III~
J~ ~ ~ J
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R L R L, R
R L R L R
IJ~
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:11 R R L L R R L L, R '------'"
3
11Ü
R L R L ,R L R L, ,R L R L, R
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R L' R R L R L L R
L - -_ _ - - - . - J
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JJ J J JJ; ; ~ J O O J
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R L R L '-------', R L R L ,R L R L, R
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6
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R R L L ,R R L L, ' R R L L, R
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J J j ~ J J JJ JJ ~ J J J :11
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11~ (~ J J J J ~ J OJ J J J J ~ J OJ 1J J J J J J J JJ JJJjJ J J :11 R L R L L R L R R L R L L R L
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11
11
1
R L R L R L R L R L R L RL R L "
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,
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16th-Note Fills Each of the one-bar fills below are preceded by three bars of an 8th-note rack pattern. Here again, focus on achieving a smooth, even time flow as you move fram the rack beat into and out of the fill bar. Also practice the exercises at varied tempos and dynamics. 3
2
¡jJJJJJJJJJJJJ
:11
R L R L R L R L R L R L R
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35
PART 3: 16TH-NOTE TRIPLETS One Group Of 16th-Note Triplets :
Sticking: RLRLRL-R 3 :
3
3
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1
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3
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R L'R L R L R
3
3
mmJ mmJ 3
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RLRLRLR
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RLRLRLR
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Sticking: LRLRLR-L 3
3
3
3
3
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L R L R L R, L
L R L R L R, L
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3
4
I
3
3
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RRLLRRL
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Sticking: RLRRLL-R 3
1
11
3
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I
mmj
3
1
I
3
,
3
RLRRLLR !
6
11
3
mm~
LLR
R L RR L L R
RL
RR
I
I
3
e mm~ I
:11
I
mmj
3
RLRRLLR
:11
3
mm~ 3
:11
3
,RLRRLLR ,
RLRRLLR
3
RLRRLLR
I
lIe
3
mm~
I
:11
I
3
mpgJ 3
2
RLRRLLR
mm~ 3
5
3
3
:11 1:
I
RLRRLLR ,
) i
I
)
:
Two Groups Of 16th-Note Triplets Sticking: RLRLRL-RLRLRL-R
mmmmJ 333
3
~WRRT13EC________ _ LTT
*-:11
R L R L R LR L R L R L, R
R L R L R L R L R L R L, R
~----~"
3
3
3
~----~"
~~mmmmJ R LR L
~
~
R LR LR I
!lB
eR
3
"
j
~'
3
9
]
III~
3
3
R LR LR LR LR LR LR I
R L R L R L R L R L R L, R "
j
"
3
8
*
:11
11 l'
3
mtJjmiEJ 11
3
-
*
,
R L R L R L R L R L R L, R
3
mm~mJ
,
R L R L R L R L R L R L, R
3
~m~mJ
¡"ii',',\f':" '.:
~----~"
I
3
3
-----;tI:11
LR LR LR
R L R L R·L R L R L R L, R
~
i1 (p.-'
-tH
:11
f
"
3
7
4
LR LR LR LR
_ _ _ _~"
_m_ _ _m ______m ____.~éJj~J~* 333
3
:11
10
III~
3
3
*
:11
3
m~m~J R ,R L R L R L,. R L R L R L --'
*
:11
;..:
~ ~!
1
d
lIe
j ,l.
',':'~
3
3
WmmiEJ "
3
3
R L R L R L R L R L R L, R
'1
]
3
11
12
*
:11
III~
3
3
3
WmWmJ R L R L R L R L R L R L, R ti
*
$1
I
"
-,
'~
.:....
--"
39'1,:
~-l
, I
1\
~~ -
Sticking: RRLLRR-LLRRLL-R 3
~~~;'i~~ m 1
¡ I
,1
I
11
(,~
3
R R L L R R 1I L L R R L L I R
,-;
*
mmmpjJ 3
3
m-m JII ~ 3
3
3
3
:11
"
:11
3
)1
3
3
mmm~~
IIB
"
3
*
3
3
3
*
I
:11
3 '
~mI!Jm-m-j
R R L L R R" L L R R L L, R
:11
3
R R L L R R L L R R L LI R
~e=d~Jnnl¡llJ-~tttnl ,
3
R R L L R R L L R R L LI R
'---
4
*
3
3
JJ1lmJJJJR~
lIe
3
R R L L R R L L R R L LI R
333
3
2
:11
R R L L R R L L RR L L R ,\
I
Sticking: RLRRLL-RLRRLL-R 3
3
1
1
1
~.gtoom~ R L R R L L R L R R L LI R "
,
~~:,
3 "
"íl
'. I¡/,~" ,.
!•.'I
3
Ile
3
3
"
lIe
mmrnwJ 3
3
~II
R L R R L L R L R R L LI R "
*
:11
lIe I
3
"
3
3
I
*
:11
l'
mmmfflJ
lIe
:11
3
R L R R L L R L R R L LI R
3
6
:11
3
'*
~m ~m~
4
3
R L_ _ R _R_L L R L R R L LI R
~
I
3
~mmm~ 3
lIe
3
R L R R L L R L R R L LI R
5
*
:11
1
WI!J~.~.
2
:11
R L R R L L R L R R L L R 11
I
,\
Sticking: RRLLRL-RRLLRL-R
mmmJJJJ 3
~W~~1I1e
3
3
3
211emmmmj 3
:11
3
3_
3
l - -_ _
3
3
:11
lIe
3
3
3
..
':;~ -
RR L LR LRR L LR LR ___
~
mrnJEJJJJ
6
:11
lIe I
I
I
~J'
3
3
"
3
1 (~,Jt::tD?:::::=:.~mI=;..t:j:D?~.'Jr.m~J~t~:llii.,'\IIi" ',:
RR L LR LRR L LR LR ,
.J
~L--
=n=4
~J'
mIDmfflj
5
:11
4
RR L L R L R R L L R LJ R ___
33
3
I
311ernrnrnrnj ~
3
R R L L R L R R_ _L_ L R LR _ _ _ . __
RR L L R LRR L LRLR "
3
3
3
3
:11
RR L LR LR R L LR LR ti
,
Sticking: RLRLRR-LRLRLL-R 3
333
rnJJjlJ1Jlj--b1ll •
1.. _> 11
333
e
o
o
I
~rc,-mmmm .k:+-~-éfl
R LR LRR LR LR L LR JI
R LR LRR LR LR L LR
I
~
_ _ _ _~"
4
l1é
3
3
3
t2311
RLR LRR LR LR L LR
R L_ _ R_L_R R L R L R L LJ R
~
I
,mmmmJ 3
1'-
3
~JJ
"
l.',
I
Ó'
~~
3
5
lIe
3
3
3
mrnmmJ R L RL R R L R L R L L R
~
_ _ _ _~"
I
:11 R L_ _ R_L_R R L R L R L LJ R
~
~J'
41.', I
/'.
¡.¡
Sticki.ng: RRLRRL-RRLRRL-R 3
3
3
3
.~~.%~~;_h8 ___tü__._gg__Ln_~__J~J~~:11 i
2
:11
lIe
RR LRR LRR LRR LR
R R L R R LJI R R L R R L R
~----~,~,------~
333
lIe
lIe
:11 RR LRR LRR LRRLR
~------~"
3
mmmWJ
4
3
:11
R R L R R L R R L R RL , R
'
~--~~"
(
i.
3
3
3
3
333
mmmmJ
5
ne I
:11
lIe
RR LRR LRR LRR LR "
3
mmmfflJ
6
R R L R R L R R L R.R L R
,
!
"
.1:;
I
e I
. Sticking: LLRLLR-LLRLLR-L 3
1
11
I~
3
3
3
WmWm~
3
2
J
:11
lIe
L L R L L R L L R L L R, L
3
3
3
Wm~m~ J
:11
r
L L R L L R L L R L L R, L
"
"
)1:' . "'\
I
'.'i¡\, .. :'!t,¡
3
3
11
I~
3
3
3
mmmm~
3
4
J
lIe
:11
"
3
lIe
3
3
3
mmJ1JmJ LLRL LR LLR LLRL
~
_ _ _ _~"
1
3
3
6
:11
lIe
3
~m~m~ J L L R L L R1I L L R L·
L L R L L R L L R L L R, L
5
3
3
3
L
:11
RL .1
3
mmmmJ
:11
LLRL LRLLRLLR L
~_ _ _ _~"
1
I
.I~
Three Groups Of 16th-Note Triplets Sticking: RLRLRL-RLRLRL-RLRLRL-R 33333
3
§~T~~::i:tj\ .==t1J~.~tlJ~'.==t1J~.~tlJ~m~m~J41:11 (Ij=:'
3
lIe
RLRLRLRLRLRLRLRLRLR
' - - -_ _- - - - - ' "
3
3
"
3
3
3
lIe
' -_ _- - - - ' I t
j
3
"
:11
1B
4
RLRLRLRLRLRLRLRLRLR "
"
3
3
3
3
3
3
3
3
"
3
3
I
3
3
RLRLRLRLRLRLRLRLRLR
3
3
:11
lIe
3
3,
It
3
3
I
RLRLRLRLRLRLRLRLRLR
' - -_ _- - - - - ' I t
"
3
3
RLRLRLRLRLRLRLRLRLR "
3
3
' -_ _- - - - ' "
mmmmmmJ: ' -_ _- - - - ' I t
3
I
3
3
11
RLRLRLRLRLRLRLRLRLR
I
3
I
mmmmmmJ: 3
8
!I
"
RLRLRLRLRLRLRLRLRLR
' - -_ _- - - - - ' I t
lIe
3
!
'
mmrnmjJjmJ 3
9
I
%cJ¡jJn1J~ !
~
"
' - - - -_ _- - - - ' "
Ile
7
3
RLRLRLRLRLRLRLRLRLR
I
3
'3
3
mmm mm mJ:ff':""":I' 3
5
Ij
3
' -_ _- - - - - ' "
RLRLRLRLRLRLRLRLRLR
j
3
RLRLRLRLRLRLRLRLRLR
I
mmrnmmm~
3
3
rnmrnmrnm~ :~I
2
10 11
lIe
3
"
3
3
I
3
3
JJjIDmIDJJjmJ:11 ,
RLRLRLRLRLRLRLRLRLR " " ,
RLRLRLRLRLRLRLRLRLR' ' -_ _- - - - ' "
"
I
43
',1 I
, I "
Sticking: RRLLRR-LLRRLL-RRLLRR-L :
333
3
3
33
~~T~~mmmmmmJ·:11
3
3
3
3
3
mmmmmmJ:11
2
3Fe
RRLLRRLLRRLLRRLLRRL
lR R L L R R'IL L R R L L"R R L L R R, L .
L - -_ _- - l I
I
"
I
i 33
3
3
33
3
m;tJJfflJñjJ:JJjjJ
3
:11
IIB
I RRL LRRL LRRL LRRL LRRL
L - -_ _ _"
3
3
3
3
3
3
3
3
3
RRLLRRLLRRLLRRLLRRL
11
' - - -_ _ - - J
.
3
mmmmmJjjJ :1
4
!
"
!
3
·:~_mdlU3J_mm~1 RRL LRRL LRRL LRRL LRRL " " ,
RRLLRRLLRRLLRRLLRRL
,
I
"
"
!
Sticking: RRLLRL-RRLLRL-RRLLRL-R 3
111 (;
3
3
3
3
3
mmrnmmmJ :1
2
IIB
RRLLRLRRLLRLRRLLRLR l' ,
RRLLRLRRLLRLRRLLRLR I ,
L - -_ _- - l "
L - -_ _---l"
'
4
IIB RRLLRLRRLLRLRRLLRLR I
L--_~--ll
I
11
R R L L R L R R L L R L" R RL L R L R
L - -_ _----..l"
'1
I
t
3
3
3
3
611(~ mmmm J1WJJWJ RRLLRLRRLLRLRRLLRLR 'I I
L - -_ _ _"
RRLLRLRRLLRLRRLLRLR 'I
L - -_ _---l"
I
:11
Sticking: RLRLRR-LRLRLL-RLRLRR-L 2
lIe RLRLRRLRLRLLRLRLRRL
' - -_ _- - - - ' "
3
3
I!
3
3
RLRLRRLRLRLLRLRLRRL
,
3
'--------'"
3
3
311(~ mmrnmmffiJ
:11
3
5
IIB
3
"
3
3
:11
lIe
',-,- - - - - '
"
3
'f
,
mrnmm . f1J~¡¡~tñJ 3
6
R L R LR R L R L R L L R L R L R R L
,
3
"
'--------'"
3
mmmmmmJ
3
RLRLRRLRLRLLRLRLRRL
,
3
3
,
=¡:¡: : ¡~I(~,J~GE:JIt:j.ut1J~·~QJnm~dm~m~J=ti:I:1111i\'IIII" ',:
RLRLRRLRLRLLRLRLRRL
' - -_ _----.JI(
3
I!
I
3
3
3
3
3
:11
RLRLRRLRLRLLRLRLRRL '<-'_ _ _--' !,
Sticking: RRLRRL-RRLRRL-RRLRRL-R 3
l l1B
3
3
3
3
3
mmmmmmJ
3
2
:11
lIe
RRLRRLRRLRRLRRLRRLR '--------'"
3
3
3
I!
3
3
RRLRRLRRLRRLRRLRRLR " ,
3
5
lIe
3
3
3
3
3
3
mmmmmmJ 3
'--------'1(
3
:11
RRLRRLRRLRRLRRLRRLR
3
mmmm~1
3
' - -_ _----.JI!
,
3
3
4
-lEe
3
"
3
3
,
3
3
mmmm_m~1 RRLRRLRRLRRLRRLRRLR " ,
'---------'"
3
jJJmIJJIDWJJ1g RRLRRLRRLRRLRRLRRLR
'----~----'"
I!
,
RRLRRLRRLRRLRRLRRLR
' - -_ _----.J"
"
,
45'
',1 1 '
Four Groups Of 16th-Note Triplets
Sticking: RLRLRL-RLRLRL-RLRLRL-RLRLRL
mmmmmmm.o1 33333333
2
IIB 'RLRLRLRLRLRLRLRLRLRLRLRL
j
"
"
01
11
RLRLRLRLRLRLRLRLRlRLRLRL
'
"
"
!
33333333
4
lIe RLRLRLRLRLRLRLRLRLRLRLRL L----'------'"
"
"
D1OJD1OJmmmm:
11
RLRLRLRLRLRLRLRLRLRLRLRL
,
"
.,
"
'
33333333
6
lIe
3
7
IIB
3
"
3
3
01
3
'
L--_------'"
333
8
lIe
RLRLRLRLRLRLRLRLRLRLRLRL "
"
. 01
'
33333333
jJJJPjJJJP jJJJPjJJJP :11 L--_---'"
11
RLRLRLRLRLRLRL~LRLRLRLRL
RLRLRLRLRLRLRLRLRLRLRLRL L--_-----'"
m.rnJjJ.rnm.rnJjJJJl
"
jJJm plOJjJJmjJJlItlI RLRLRLRLRLRLRLRLRL~LR~RL
,
1 . - -_ _01
"
01
'
10
Ile RLRLRLRLRLRLRLRLRLRLRLRL l'
RLRLRLRLRLRLRLRLRLRLRLRL
'L-'_ _- - I l_ _----..J
1.--_------'01
I
'L-'_ _- - I l_ _----..J
I 3
3
3
3
11~ e mmJjJJjJ.;mJjJJj3:11 RLRLRLRLRLRLRLRLRLRLRLRL ' - -_ _--'JI
"
01
'
12
lIe RLRLRLRLRLRLRLRLRLRLRLRL
L--_----..J' ,
,I
01
'
¡
Sticking: RRLLRR-LLRRLL-RRLLRR-LLRRLL 2
lIe RRLLRRLLRRLLRRLLRRLLRRLL " " " '
RRLLRRLLRRLLRRLLRRLLRRLL
"
"
"
3
411
·3
5
1 :i J
lIe
·3
I!
'3
3
3
"
3
3
3
3
3
3
RRLLRRLLRRLLRRLLRRLLRRLL
"
3
3
n:!JJJmmn:!JJJmnl:II '¡.:,""",
e
RRLLRRLLRRLLRRLLRRLLRRLL
' - - -_ _---'I!
3
3
mmmmmmmm:11
3
3
3
f(
3
333
mJjJmmmJ]jmm:11
6
Ile
RRLLRRLLRRLLRRLLRRLLRRLL " '1-'_ _--'
3
"
RRLLRRLLRRLLRRLLRRLLRRLL
'---_ _---'"
'------_--J"
"
I!
'
~l
:':JI "
..J,
3
7
lIe
.3
3
3
3
3
3
3
mmJ1jpjmmJ1jPlll
8
lIe RRLLRRLLRRLLRRLLRRLLRRLL " "
RRLLRRLLRRLLRRLLRRLLRRLL '---_-JI!
"
"
'----------'"
1
B I
9
Ile :
RRLLRRLLRRLLRRLLRRLLRRLL
RRLLRRLLRRLLRRLLRRLLRRLL
,
11
"
'------_-----'I!
"
11
"
..J
·1
J
11
lIe RRLLRRLLRRLLRRLLRRLLRRLL '-----'"
"
I!
,
, RRLLRRLLRRLLRRLLRRLLRRLL ,
11
"
"
'
47: "
'1 '
:
.
RRLLRL~RRLLRL-RRLLRL-RRLLRL
.:Sticking:
3
3
3
3
3
3
3
3
3
~~T~~*38\~~.~CJ~JJJªªJl3!:!jJj~JJj~.,_~OJªJl3~-ªªt1J§I:11
2
Ile
RRLLRLRRLLRLRRLLRLRRLLRL
3
3
3
3
3
3
3
mJJJmJJJmJJJmJJJ:1 RRLLRLRRLLRLRRLLRLRRLLRL, :
4
lIe RRLLRLRRLLRLRRLLRLRRLLRL
RRLLRLRRLLRLRRLLRLRRLLRL -
3
5
3
3
3
3
3
3
3
JJJj]JJJj] JJJj]JJJj] :11
6
lIe RRLLRLRRLLRLRRLLRLRRLLRL
RRLLRLRRLLRLRRLLRLRRLLRL '--_--'I!
I!
"
'------.JI!
'
I!
"
'
Sticking: RLRLRR-LRLRLL-RLRLRR-LRLRLL 3
3
3
3
3
3
3
3
lIe mmJJJmmmJJJJJ111
1
2
lIe
RLRLRRLRLRLLRLRLRRLRLRLL I1
"
"
RLRLRRLRLRLLRLRLRRLRLRLL '-----'"
'
',
,
"
i~ I
.t~', ;', ,.liJ\.':'!\"i
3
3
3
3
333
3
(~~~j:jJ~üC,m~JJjj::jJJJ~m)Ijl.~tjjt.oJJj~_ttOJtJI:11
=;:;:::::;3
11
4
lIe
RLRLRRLRLRLLRLRLRRLRLRLL
33333333
I
RLRLRRLRLRLLRLRLRRLRLRLL
:,
jJjmJjJJJJjJjmJjJ.011
'---'-----' '-----',,'--------''------'
6
lIe RLRLRRLRLRLLRLRLRRLRLRLL '---_--JI!
I!
"
'
RLRLRRLRLRLLRLRLRRLRLRLL '--_---.JI!
I!
"
'
Stic~ng:RRLRR~RRLRR~RRLRR~RRLRRL
2
lIe - RRLRRLRRLRRLRRLRRLRRLRRL
"
lIe
RRLRRLRRLRRLRRLRRLRRLRRL
3
3
3
3
ft
,
"
mmmmmmmm: 3
3
"
3
3
"
11
RRLRRLRRLRRLRRLRRLRRLRRL II
"
"
I
11 "
"
,
RRLRRLRRLRRLRRLRRLRRLRRL'
RRLRRLRRLRRLRRLRRLRRLRRL '-----_ _----'I!
"
3
RRLRRLRRLRRLRRLRRLRRLRRL ti
/1
'
"
Ir
"
'
,]
1.:'.
.J
:',¡
Sticking: LLRLLR-LLRLLR-LLRLLR-LLRLLR
~] 3
2
1
lIe
lIe
3
333
333
mmmmmmmJJJ:
11
LLRLLRLLRLLRLLRLLRLLRLLR
LLRLLRLLRLLRLLRLLRLLRLLR
"
"
'4
IIe LLRLLRLLRLLRLLRLLRLLRLLR
LLRLLRLLRLLRLLRLLRLLRLLR
! "
::1 .,_:.J
!
jj ,,6 :
5
lIe
IIe LLRLLRLLRLLRLLRLLRLLRLLR ' -_ _-.JI!
I!
"
,
LLRLLRLLRLLRLLRLLRLLRLLR
' -_ _--''-_ _----',L-,_ _--o L-_ _----'
49'
'1
'1 '
I
\ I
Two-Bar Patterns 'Here' again, watch the sticking change between the first and second bars of the following patterns. Practice the exercises ,slowly at first and strive for a smooth flow from one bar to the next. 3'
1 §~T~~T 11
e
3
3
3
3
3
Wm~
ImlIlffl~~
RLR LRLR
R L R LR L R
RRLLRRLLRRLLR
I
~Ie
3
W~~~~ 3
•
3
3
I
3
3
3
*
I
11
',' 3
3
3
mmffljñJ
1mmJJJmJJJWWJJ
RRL LRRLLRRLLR
RLRLRLRLRLRLR LRLRLR
L -_ _---l11
I
,
"
3
3
:11
"
,:11
!
333
3
ILlJm.n:JmmmJ RLRRLLRLRRL LR !
"
3
3
!
3
:11
RR L LRR L LRR L LRR L LRR L
L -_ _--lII
11
I
3
~II~ IDJJJ.n:JJJJJ
:11
RLR LRRLRLRLLR
,
,!
RRLLRLRRLLRLRRLLRLR
,
!
,
R L R L R L R LR L R L R L R L R L R ti
"
"
6 11
IDmmmIDmJ
n
3
J
J
3
"
"
3
"
1
RRLRRLRRLRRLRRLRRLR 3
,
:',
'~t
I
,.liÚ"."!!.~
3
3
3
"
3
3'
!
3
3
3
3
"
3
3
I
"
3
333
PJmJ~JmPJmro'm:11
,
I
3
3
3
R L R,L R R" L R L R L L" R L R L R R" L R L R L L, 3
3
3
3
3
'3
3
3
mm mmmlIljJ Jmi mmJJ JIII mmm JJJ :1
8
. ~::,
3
J
RRLLRRLLRRLLRRLLRRL LRRL L
I "
3
'-----JI!
1
3
' - - -_ _--'1'
"
ID mmmmmm m:1 3
RRL LRLRRLLRLRRLLRLR ,
'
RRLRRLRRLRRLRRLRRLRRLRRL
!
,
3
"
IIe ,
RLRLRLRLRLRLR LRLRLR LRLRL RRLLRLRRLLRLRR LLRLRRL LRL t,
JI.
ti
,
,
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Two-Bar Patterns The ten two-bar 32nd-note patterns that follow require speed, control, and concentration. Practice them slowly at first and increasethe tempo gradually. Be aware of the sticking change between the first and second bars.
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The fourth bar of each exercise below includes a 32nd-note' fil!. Each one is preceded by three bars of a 16th-note rack pat, tern using alternate sticking. The transition fram the rack beat into the fill and back should flow smoothly and evenly. Practice these fills atvaried tempos and dynamics. R
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From Today's
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MODERN DRUMMER COVERS IT ALL! Subcribe todayl Mail the coupon below, or subcribe online at www.moderndrummer.com ..
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r------------------------------------------------------------MUíllUl':tfl o 1Year: $34.97 (SAVE 41% off the newsstand price) Name
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on Spagnardi began drumming at the age of eight and was,performing professionalIy by fourteen. Following his music studies at Montclair State University and Berklee College of Music, along with private studies with Alan Dawson, Sonny Igoe, and Ed Shaughnessy, among others, Ron embarked on a twenty-year professional drumming career. His extensive drumming background has included club dates, big band drumming, touring and recording with small groups and lounge acts, show work, and private teaching in the New York area. In 1977, Ron founded Modern DruOlmer Publications, where he continues as PresidenVPublisher and Editor of Modern Drummer magazine, the world' s first and most respected magazine dedicated to the art of drumming ..
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