Learn To Play Drums The Complete Drum Method Volume 1

Learn to Play Drums The Complete Drum Method Volume One Essential Drum Techniques, Grooves, Fills, Patterns and Rhythms Published by www.fundamental-changes.com Copyright © 2018 Daryl Ingleton The moral right of this author has been asserted. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, without the prior permission in writing from the publisher. The publisher is not responsible for websites (or their content) that are not owned by the publisher. www.fundamental-changes.com Twitter: @guitar_joseph Over 10,000 fans on Facebook: FundamentalChangesInGuitar Instagram: FundamentalChange s For over 250 Free Guitar Lessons with Videos Check Out www.fundamental-changes.com

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Contents Learn to Play Drums Contents Introduction How to Use This Book Suggestions for Independent Studying Repetition What You Will Need:

Lesson One – Introduction to the Drum Kit A Brief History of the Drum Kit Standard Four-Piece Drum Kit Components Setting up a Drum Kit – Body Ergonomics Introduction to Grip Technique Matched Grip Hand and Arm Position Application of Matched Grip Striking a Drum

Lesson Two – Notation, Notes and Rests, Two Hand Playing, Foot Technique, Two Voice Playing Introduction to Music Notation Notes and Rests Drum Notation The Percussion Clef Time Signatures Bars and Beats Beats Whole Notes, 1/2 Notes and 1/4 Notes Rests Two Hand Playing Foot Technique Playing on Two Voices Playing on Two Voices with Multiple Notes

Lesson Three – 1/8th Notes and 1/8th Note Rhythms 1/8th note s 1/8th Note Sticking Exercise 1/8th Note Sticking Exercise on Two Voices Two-Voice Playing With Multiple Notes 1/8th Note Rhythms 1/8th Note Rhythm Exercises 1/8th Note Rhythm Exercises on Two Voices 1/8th Patterns With Other Notes

Lesson Four – Hi-Hat Technique and Three-way Coordination Hi-Hat Technique Hi-Hat Technique Multiple Note Notation Two-way Coordination

Three-way Coordination Three-way Coordination 1/8th Note Hi-Hat Pattern Exercises

Lesson Five – Repeat Signs, Backbeat, 1/8th Note Bass Drum Grooves Repeat Signs Example of Multiple Repetition Drum Grooves Backbeat With 1/8th Note Bass Drum Grooves 1/8th Note Bass Drum Grooves in 4/4 Two Bar Grooves

Lesson Six – 1/16th Notes, 1/16th Note Rhythms 1/16th notes 1/16th Note Stickings 1/16th Notes in Conjunction With Other Notes 1/16th Note Rhythm Notation Beaming 1/16th Notes and 1/8th Notes Explained Playing 1/16th Note Rhythms 1/16th Note Rhythms in Conjunction With Other Notes Combining 1/16th Note Rhythms

Lesson Seven – Fills, Playing on the Toms Drum Fills Playing on Toms Floor Tom Moving Between Drums Top Tom Playing Floor Tom Playing Moving Around the Kit Playing Groove and Fills

Lesson Eight – Simile Marks, Fills of Different Lengths, Four-bar Phrasing Simile Marks Playing Simile Marks Playing Fills of Different Lengths One-, Two-, and Three-Beat Fills Four-bar Phrasing Concept Four-bar Phrasing

Lesson Nine – Ride Technique, Playing the Hi-Hat With the Foot, Four-way Coordination Ride Technique Playing on the Ride Two-Way Coordination Ride Playing Three-way Coordination Ride Playing Playing the Hi-Hat With the Foot Four-way Coordination

Lesson Ten – Bar Line Notation, Crash Technique, Transitioning Between the Hi-Hat and the Ride Bar Lines Crash Technique Crash Playing Groove Playing With The Crash

Ride Playing With The Crash Four-way Coordination With Crash and Fills Transitioning Between the Ride and the Hi-Hat

Introduction Welcome to The Complete Drum Method Volume 1 . This is the first volume in a two-book series that has been created to give new drummers a guided education through drum technique, knowledge and playing concepts. Each book contains ten lessons that will provide you with all the knowledge and skills needed to grow your drumming understanding and playing ability. My aim is that, upon completing these books, you will be armed with enough skill and technique to get serious about a career in music. I came up with the concept for these books while I was working professionally on the London music scene. At the time, I was talking to and performing with many other drummers of varied experience and training. Some had a high level of training, others had limited training and some were completely self-taught. All of them had lots of passion for what they were doing, but I noticed that only the drummers with a high level of training had the technique and drumming vocabulary to truly express themselves. When I talked to drummers who were self-taught, they would generally enquire about the techniques and concepts I was using – which I gladly shared. I would usually encourage them to take lessons or pursue studying through a music school, but there were often financial barriers to this. As an alternative, I would recommend books or online tuition videos. The usual response to this was that they felt overwhelmed by the sheer volume of online tuition that was available and didn’t know where to begin. This is when I decided to create these books, to give drummers a comprehensive knowledge of the essential techniques and concepts in a guided environment. By the time you’ve completed these lessons, my hope is that you’ll have the drumming vocabulary to express yourself on your instrument, regardless of the style of music you love to play. The path to becoming a great drummer is long, but it is incredibly worthwhile.

Get The Audi o The audio files for this book are available to download for free from www.fundamental-changes.com and the link is in the top right corner. Simply select this book title from the drop-down menu and follow the instructions to get the audio. We recommend that you download the files directly to your computer, not to your tablet and extract them there before adding them to your media library. You can then put them on your tablet, iPod or burn them to CD. On the download page there is a help PDF and we also provide technical support through the form on the download page. We spend a long time getting the audio just right and you will benefit greatly from listening to these examples as you work through the book. They’re free, so what are you waiting for?! Head over to www.fundamental-changes.com and grab the audio files now. If you’re reading this book on an eReader, double-tap each image to enlarge it. It helps to hold the eReader in landscape mode and turn off column viewing.

How to Use This Book This book is divided into ten lessons. Each begins with a lesson plan explaining the lesson’s objectives and how they will be achieved. They are organised to give you information about theory and playing through exercises and repetition. If you are a beginner… Work through each lesson one at a time. Start by reading the lesson plan. Understand what the objectives are and how they will be achieved. Then work through the lesson. When you have finished one lesson, make sure you rehearse and practice all you’ve learned before moving on to the next. If you are already a drummer… Read through the book from beginning to end, focusing on the parts that cover material that is new to you. Read the text and practice the exercises in these parts. Ensure that you rehearse the material well before you continue to the next lesson. If you are a tutor teaching from this book… Read the entire book. Ensure that you are familiar with every aspect of the content before you begin teaching it yourself. You can use this book as a curriculum, but you will have to gauge the level of your student and adapt it accordingly. Right- or Left-handed… This book series is written for the right-handed player. If you are left-handed you have two choices: It is possible to use this teaching just as it is presented and learn the drums as a right-handed player. Alternatively, you will need to invert the information. In other words, every time a RIGHT is indicated, you will play a LEFT – and vice versa. Remember that you will get out of this book what you put into it. Work steadily through the lessons, complete the tasks, and keep an eye on the tips and suggestions. Keep in mind that one of the key tools in learning an instrument is repetition.

Suggestions for Independent Studying Schedule Your Practice Scheduling practice time is very beneficial for learning an instrument. I recommend that you allocate yourself set time slots during the week for your practice sessions. You don’t have to follow a rigid regime if you don’t want to, but make sure you allow yourself time to rehearse, practise and continue your development. Playing Proficiency Don’t be tempted to skip the text in each lesson – it contains valuable information needed to understand that lesson. If you skim over it, you will be missing out on necessary knowledge If you are struggling to play something, break it down into smaller parts. Learning the vocabulary of drums is similar to learning to pronounce a new word. Break it down into its syllables. Do this with all the drum parts you find difficult Play slowly. It is important to play slowly when encountering new ideas. Playing at a slower tempo allows you to truly understand the task at hand. When you are comfortable at a slower tempo, only then increase to a faster one. You cannot play something fast if you cannot play something slow! Play in front of a mirror. This will help you to analyse your body movements and position. It will help to ensure that your posture is correct and your movements are symmetrical Record yourself. If you own any type of recording device, such as a video camera, tape recorder, mobile phone etc., then record your playing. Play it back and listen to it. This is a great way to analyse your playing and keep a record of your progression Reading and Writing Notation Proficiency Pay attention to all the information regarding notes in this book Practise writing notes by copying the exercises in this book Repetition

You will achieve a higher level of proficiency in drumming if you repeat the exercises and drum phrasing as often as possible. It doesn’t always have to be on a drum kit – you can use a practice pad or even tap on your legs Listening It is important to listen to music as often as possible. As your drumming knowledge grows you will be able to analyse what the drummer is doing on a record. This will give you new ideas and open the door to more playing possibilities.

What You Will Need: Standard Four-Piece Drum Kit This includes: Snare drum Bass drum Top tom Floor tom Hi-Hat Ride Crash Drum stool Hardware for these elements Sticks There are many sticks on the market; find a pair that you find comfortable to hold. Practice Pad These are usually round and made of rubber. The practice pad is designed for quieter practise. Music Stand This is for holding your music, so you can play and read easily. Digital Metronome Use this to practise your time keeping.

Lesson One – Introduction to the Drum Kit Lesson Overview Lesson one is an introduction to the drum kit and the basic elements of how to play. We will begin with a brief look at the history of the drum kit and how it came to be standardised in its modern form. We’ll look in detail at every component of the kit, examining its musical role in drumming. Then, I will explain how to set up the kit in relation to your body. Once you’re set up, I’ll demonstrate how to grip the sticks and how to apply grip technique to your playing. This is a fundamental building block of solid drumming. Finally, I’ll show you some simple exercises to get you using the drum kit the right way. What are you waiting for? Let’s dive in!

A Brief History of the Drum Kit The drum kit that we know and love today did not just simply appear. Its roots can be traced back over 150 years and evolved out of military and orchestral percussion. These styles of music feature bass drums, snare drums and cymbals, but instead of being played by a single drummer, there is one percussionist for each instrument. It wasn’t until the mid 1800s, in theatre and stage shows, that percussionists began experimenting with playing multiple drums. Due to limited budgets in shows and bands it was unaffordable to hire several percussionists. As a result, percussionists had to work out how to play multiple parts at the same time, which led to a technique known as double drumming (where a percussionist plays the snare and the bass with their hands at the same time). This was the first step towards the development of the drum kit. Double drumming became widespread in theatre and popular music and was used up to the early 1900s. During this time players also experimented by adding other elements to their double drum set up, such as wood blocks, cowbells and small cymbals. In the early 1900s the drum kit had a big breakthrough in the form of the bass drum pedal. There had been earlier attempts to construct a pedal, but none matched the impact of the 1909 release of the Original Ludwig Pedal . This allowed drummers to play the bass drum with their foot, giving them more freedom with their hands and enabling them to create more complicated rhythms. The next advancement in the drum kit was the Snowshoe , a pre-cursor to the hihat. This was a pair of shoe-shaped boards, attached together with a springloaded hinge, with small cymbals attached to the end of each board. When the percussionist pressed down on the top board with their foot, the cymbals struck each other. Despite its crudeness, the Snowshoe added a whole new dimension of playing possibilities. Other companies quickly copied and elaborated on the Snowshoe and soon the Low-Boy was invented. The Low-Boy looked very similar to the modern hi-hat, but was only about ten inches tall. It was very popular and soon drummers began to experiment by playing it with their hands. This created a demand for taller Low-Boys and so in the early 1920s the hi-hat was invented. Up until the 1930s, drums were mostly used for time keeping and sound effects. Many drummer’s setups were so large and diverse with percussive instruments

that the drum kit was referred to as the contraption ! However, this was all about to change . During the 1930s, big band music rose to popularity and the drum kit played a large role in this sound. One of the key drummers of the time was Gene Krupa. He moved the drum kit from the back of the stage and put it under the spotlight. His ideas and playing style helped to create the modern drum kit. Krupa stripped his kit of all extra percussive instruments and concentrated on the bass drum, snare drum, toms, and cymbals. This became known as the stripped-down kit and, because of Krupa’s popularity, soon became the standard set up. Gene Krupa also worked with his drum company to help create the first tuneable toms. Up until this point, toms were based on traditional Chinese toms, made from non-tuneable skins pinned onto wooden shells. The new tuneable toms quickly replaced the traditional Chinese-style toms. Krupa also collaborated with the Zildjian Cymbal Company to develop the modern hi-hat cymbals and helped standardise the roles and names of the ride, crash and splash cymbals. He also developed many techniques and ways of playing that soon became standard. The modern drum kit has now come into existence, consisting of the strippeddown kit, hi-hats, bass drum pedal, tuneable toms and standardised cymbals. Since this time, manufacturers have continued to refine the drum kit’s aesthetics and functionality, and drummers have continued to develop new techniques and ways of playing. From the original double drummers to the drummers of today, the drum kit has undergone a long evolution and has become a prolific instrument which has permeated most musical genres and styles.

Standard Four-Piece Drum Kit Components The term four-piece drum kit refers to the number of drums in the kit: snare, bass drum, top tom and a floor tom. It typically has three cymbals – hi-hat, ride and a crash. It also comprises the hardware needed to hold its components. The fourpiece kit is the standard upon which all kit setups are based, and all drum notation is based on this setup. Over the next few pages you will see names of the components of the four-piece drum kit and what makes up these components. Numerous other components could be added to the standard setup, but this book series focuses on the standard four-piece drum kit setup with three cymbals.

Drums 1. Snare drum; 2. Top tom; 3. Floor tom; 4. Bass drum (also known as the Kick drum) Cymbals 5. Crash; 6. Ride; 7. Hi-Hat Hardware 8. Straight cymbal stand; 9. Boom cymbal stand; 10. Hi-Hat stand; 11. Snare drum stand; 12. Bass drum pedal; (not in photo) drum stool.

Drum s A drum is a cylindrical-shaped percussive instrument with taut membranes (drum heads) stretched over one or both ends of the cylindrical shell. When the membranes are struck, either with a hand or a drum stick, they resonate and produce sound. Drums are typically made of wood, usually oak, maple or birch, but can be made out of other materials such as plastic, metal or fibreglass, each of which will affect its sound in different ways. Drum Anatomy

Size and Thickness – Drums have two measurements, diameter and the depth, and are referred to by the diameter first, then the depth (e.g. 14” x 5”). The size of the drum affects the sound it produces. The larger the drum, the lower the pitch. The thicker the drum shell, the higher the pitch; the thinner the drum shell, the lower the pitch and the louder the drum. Types of Drums on a Drum Kit Bass Drum – A large drum with a low pitch, played with the bass drum pedal. Mounted horizontally on the floor. The heads are usually muffled to create more of a thud sound. Diameter: usually 20”, but can range from 16” to 24”. Depth: usually 18”, but can range from 14” to 24”. Top Tom – A small drum with a high pitch, played with sticks. Usually used for fills and accents, but can also be used for rhythmic patterns. Mounted on either the bass drum or cymbal stand, or can have its own independent stand. Diameter: usually 10”, but can range from 6” to 16”. Depth: usually 8”, but can range from 6” to 16”. Floor Tom – A medium drum with a medium-to-low pitch, played with sticks. Usually played for fills and accents, but can also be used for rhythmic patterns. Mounted on three legs which sit on the floor, or can be attached to a cymbal stand. Diameter: usually 16”, but can range from 12” to 20”. Depth: usually 14”, but can range from 10” to 20”.

Snare Drum – A medium drum with a high pitch. Probably the most expressive drum in the kit due to its sensitivity and high-tension tuning. The snare wires attached to its bottom head give it its characteristic sound. Usually mounted on its own stand. Diameter: usually 14”, but can range from 10” to 15”. Depth: usually 5”, but can range from 3” to 12” . Cymbals A cymbal is usually a round, slightly concave disc of metal made of a bronzebased alloy. When played, it produces a sound of indefinite pitch and has multiple tonal and harmonic properties. Cymbal Anatomy

The edge of a cymbal creates its fullest and loudest sound and is also the thinnest part. The surface produces the majority of the cymbal’s vibrations and sound. Playing closer to the bell produces a higher, sharper pitch. Playing closer to the edge produces a lower, fuller sound. The bell produces a separate tone from the rest of the cymbal – usually a singular, high tone. Size and Thickness – Typically, the larger the cymbal the lower pitch, with a louder volume and longer sustain. The smaller the cymbal, the higher pitch, with a shorter sustain. Thinner cymbals have a greater response, a lower pitch and a shorter sustain. Thicker cymbals have less response, a higher pitch and a longer sustain. Types of Cymbals on a Drum Kit Hi-Hat – Paired cymbals used to maintain a rhythmic pattern. Mounted opposite each other on a hi-hat stand, usually with the thinner cymbal on top. Can be played with sticks and can be opened and closed with the foot. Diameter: usually 14”, but can range from 10” to 15”. Ride – Large cymbal used to maintain rhythmic patterns. Diameter: usually 20”, but can range from 18” to 24”.

Crash – Accent cymbal that creates a sharp sound. Diameter: usually 16”, but can range from 14” to 20”. Other Types of Cymbals Include : Splash, Splish, China, Gongs, Bells, Trashers, Effects Cymbals and Combination Cymbals (hybrids of two types of cymbals). Sticks A drum stick is a type of mallet used to play particular types of percussion. A drum stick is fashioned from a single piece of lathed wood, usually made of hickory, oak or maple. These materials are typically used because of their properties, i.e. strength, resistance to damage, weight, how they flex, how they rebound. Drum sticks come in many different sizes, weights, materials and lengths.

Stick Anatomy

The Tip – The main striking part of the stick. It can come in various materials, most commonly wood or nylon. The tip comes in various shapes, such as: ball, oval, teardrop, acorn or pointed. These shapes will affect how the stick rebounds and the sound it produces. The Shoulder – The tapered section between the shaft and the tip. It is also used as a striking part of the stick – usually used to hit the edge of the cymbal to create a louder crash sound. The Shaft – The main body of the stick, typically cylindrical in shape. The Butt – The opposite end of the stick to the tip; can also be used for playing. Stick Length – A longer stick can create more power to give you a greater reach around the kit. A shorter stick will give you more control and create more rebound when playing. Stick Thickness – A thicker stick creates more volume and power. A thinner stick gives you greater rebound and better control for low-volume playing. Tip of Stick – The tip affects the attack and overall sound that the stick produces. A larger tip will create a more powerful hit, but will muffle the attack. A smaller tip has a sharper attack, but creates less power. Bass Drum Pedal The bass drum pedal is an integral part of a drum kit. The pedal converts the downward motion of a drummer’s leg and foot into a controlled striking action on the bass drum. The pedal operates by pushing down on the foot plate, which pulls the drive chain, which in turn pulls and turns the cam. As the cam turns, it pulls the beater forward and also engages the tension spring, so that when the foot plate is released the beater returns to it resting position. The first commercial bass drum pedal was made available in the early 1900s. Although the bass drum pedal has evolved into many variations – such as the

double bass drum pedal, cable bass drum pedal, the dual-action pedal, etc. – its basic design has remained the same.

Bass Drum Pedal Anatomy

Hi-Hat and Hi-Hat Stan d A hi-hat is a pair of matched cymbals mounted on a foot-operated stand. The hihat consists of a top hat and bottom hat. The hats are operated by the hi-hat stand. The stand functions in a similar way to the bass drum pedal, but instead of the drive chain pulling on a cam, it pulls on a spring-loaded rod that controls the top hat, which is attached to the rod via the clutch. The top and bottom hats can be quite different in sound. The top hat is usually thinner, allowing it to be more responsive when played with sticks. The hi-hat can be played with just the sticks, or just the foot, or a combination of the two.

Hi-Hat Anatomy

Setting up a Drum Kit – Body Ergonomics How a drum kit is set up is incredibly important. The kit should be arranged in a way that fits your body ergonomically and maximises your movement, efficiency and power. The setup should also minimise negative movements and harmful positions that can cause damage to your body. Every drummer will set up their kit differently, because each drummer has a different body, and different requirements to anyone else. Height, arm length and reach, and leg length are all factors that influence how you will set up your kit. This section will explain the general rules about how a kit should be set up. Keep in mind that this is a guide to finding the best playing position for your body. You may need to set up your kit slightly differently because of your body, playing requirements or because you have a larger kit with more components. Always remember the importance of setting up your kit in a way that is correct to suit your body and its movement. What Will be Covered in This Section How to set up and sit at a drum stool Hi-Hat placement and position Foot and leg placement Tom placement Upper body placement Ride position Snare drum position Crash placement Bass drum placement

1. The Drum Stoo l When sitting on the stool, sit as far forward as you can while still remaining balanced and comfortable. This allows the ball and socket joints in your hips to have the greatest freedom of movement without being restricted by the seat. Sitting too far back on the stool will restrict the movements of your thighs. Sitting too far forward on the stool minimises your balance. 2. Drum Stool Height and Thigh Angle The height of the stool will depend on how long your legs are. When sitting on the stool your thighs should be between 100 and 110 degrees to your body. This means your knee should be slightly below your hip joint. This position allows the greatest amount of power to transfer from your legs to your feet, while also requiring minimum effort to raise the leg. This position also minimises negative strain on the knee. 3. Shin, Feet and Knee Position Where you position your feet will depend on the length of your shins. The angle between your shins and the floor should be 80-85 degrees. This means your ankle should be slightly in front of your knee. This position allows for maximum movement and energy transferral though the legs to the foot. If your foot is too far forward or too far backwards, it will restrict your ankle’s movement, causing a lack of power. Your feet should point in the same direction as your thigh to achieve maximum energy transferral through the legs to the feet. If the feet are pointing inwards or

outwards, this can cause unnecessary strain on the feet and legs. Your knees should be about 15 inches apart to allow enough space for the snare drum.

4. Upper Body Position (left picture ) When sitting on the stool your spine should be straight and perpendicular to the floor. You should not be leaning forward or backward, or to the left or right. Sitting straight aligns your vertebrae, which takes a lot of pressure off your spine and back muscles, allowing for greater movement around the kit. Your shoulders should be parallel to the floor. If one shoulder is down and the other is up, this misaligns your vertebrae and can cause damage to your body. It is common for drummers to hunch their backs and slouch while playing. This is a very negative position to be in, as it causes excess strain on the shoulders and lower back. It limits your range of movement and can cause pain while playing. 5. Snare Drum Position (right picture) The angle of the snare should be flat or slightly angled towards you to maximise the amount of rebound, which will give you greater control. If the snare is angled away from you, it will force the stick to rebound away from you. If the snare is angled too much towards you, it will dampen the rebound of the stick. The height of the snare is very important as it affects how you play and the sound that is produced. The rim of the snare should be about 2-3cm above your thighs, so that your hands have the maximum range of movement without your thighs hindering them. If the snare is too low, your thighs will block your hands and sticks, and it will create a negative playing position. If the snare is too high, this will minimise your movements and can force your arms into a negative playing position.

6. Bass Drum Placement The bass drum pedal should be placed directly under where your right foot is positioned (as discussed previously), following the same line as your foot. When secured to the bass drum, it should follow the same line as your thigh in order to maximise the power transfer from your leg to the drum . Make sure the bass drum and bass drum pedal stay in line with your thigh. The bass drum and/or pedal can move when playing, creating a negative playing position, as it can force you to stretch your leg out to reach the pedal or twist your foot. If this happens you should correct it as soon as you can. 7. Hi-Hat Position The pedal of the hi-hat stand should sit under where your left foot is positioned (as discussed previously), and the pedal should follow the same line as your foot. The height of the hi-hat should be roughly level with your elbow, so that when the right stick is playing on the hi-hat, your forearm is parallel to the floor. This allows your arm to have a 90-degree range of movement, while allowing enough clearance for your left-hand to play the snare drum. If the hi-hat is too high, it will decrease your arm’s range of movement and create an uncomfortable playing position. If the hi-hat is too low, it will force your hands to obstruct each other when playing. The space between the top hat and bottom hat is up to the discretion of the drummer. However, it is recommended that beginners start with a gap of 1cm. This is because a smaller gap is easier to control while learning.

8. Top Tom Placement (picture top left) The top tom should be in front of you, without being too far to the left or right, so that when you are moving between the snare drum and top tom you don’t have to change body position. This allows for more efficiency and speed. The playing surface of the top tom should be close to the snare drum and should only be angled slightly towards you. This minimises the distance between the playing surfaces of the two drums and maximises your efficiency when moving between the snare drum and the top tom. 9. Floor Tom Placement (picture top right) The floor tom is on the right of the snare drum and should be the same height. It should be either un-angled or slightly angled towards you. The centre of the floor tom skin should be the same distance from you as the centre of the top tom skin (picture bottom left), so that when you are moving from the top tom to the floor tom, you do not have to change the position of your arms. This increases the efficiency and speed of your movements.

10. Ride Position (left picture ) The ride should be to the right of the bass drum. The bell of the ride should be at your furthest reach, while still being comfortable to play without stretching or leaning forward. The height of the ride should be the same as the hi-hat in order to minimise the need to change arm position when moving from the hi-hat to the ride. The ride should be slightly angled towards you. This puts the playing surface of the ride in a good position for comfortable playing and maximum rebound. 11. Crash Position (right picture) The crash should be in between the hi-hat and the top tom, without obstructing either one. The bell of the crash should be at your furthest reach, while still being comfortable to play without stretching or leaning forward. The height of the crash should be between chest height and chin level and should be slightly angled towards you. This is to minimise the distance between the crash and the rest of the kit. If the crash is too high, you will decrease your efficiency when reaching for it.

Completed Drum Kit Set Up Keep in mind that this is only a guide. You should be comfortable when you play and if you find that you need to move components on your kit for you to be more comfortable, then you should do so. As you develop as a drummer, you will discover your own personal preferences for how you want your kit to be arranged. When this happens, always remember to have your kit set up in a way that is complimentary to your body and your playing movements.

Introduction to Grip Technique Grip technique simply refers to how you hold and control the sticks. It is imperative that you develop a good, correct grip technique, as this will allow you to properly control the sticks, which will in turn allow you to play better and create more fluid rhythms on the kit. Incorrect grip technique will hinder your progression on the drums, negatively impact how you play and may cause pain and strain in your arms. There are two main grip techniques used for the drum kit. They are: Matched (left picture) Matched grip gets its name from the right-hand and left-hand grips being formed identically, meaning that they are matched . Traditional (right picture) Traditional grip was developed by marching drummers who had to mount their drums on their left side, to allow them to march while playing. The matched grip would have been impractical. When the modern drum kit came into being, most drummers came from a marching background and brought the traditional grip with them. The traditional grip is still valid and used by drummers today, simply due to preference and tradition.

Both grip techniques are valid. However, this book series will concentrate only on the matched grip, since this is the most prevalent. There are variations of the matched grip which will be covered in later lessons.

Matched Grip How to Construct the Matched Grip Find the balance point on the stick (fig.1) With the pad of the thumb and the second knuckle of the index finger, loosely grip the stick about 3cm below the balance point of the stick. This creates the pivot point, which will allow the stick to move (fig.2) Cup the lower half of the stick with your three remaining fingers. These are the fingers that will control the stick’s motion and rebound (bounce). These fingers should remain in contact with the stick at all times. However, you should not grip the stick too tightly, as this will diminish the amount of rebound and control you get from the stick (fig.3) Make sure that your thumb is parallel with the stick (fig.4) Apply this grip to both hands

Hand and Arm Position Having your arms and hands in the correct position is incredibly important. This will allow for the best control over the sticks and your movement. Hand and Stick Position Hold the sticks in the matched grip Have the palms of your hands facing down Place tips of the sticks in the centre of the snare drum, with the sticks at a 90-degree angle from each other Arm Position Keep a straight back and shoulders to allow for the best range of movement Place your elbows loosely at your sides If your elbows are too far away from your body, this will cause a negative playing position and will waste a lot of energy. If your elbows are too tight to your body, this will restrict your movement.

Application of Matched Grip Striking a Drum Movement Analysis of Matched Grip and Hand Motion:

1. Start with the tip of the stick in the centre of the snare drum. Hold the sticks in the matched grip and have the palms of your hands facing down. 2. Bring the stick to 90-degrees by bending your wrist and slightly relaxing your fingers 3. Start to bring the tip of the stick to the centre of the snare drum by straightening your wrist and contracting your fingers. 4. Just before the stick hits the skin, the wrist is straight and the fingers are contracted. 5. As the stick hits the skin, the fingers relax to allow the stick to rebound. 6. As the stick rebounds back, the fingers start to control the rebound, by guiding it back to 90-degrees. 7. As the fingers start to control the rebound of the stick, the wrist starts to bend. 8. As the stick reaches 90-degrees, the fingers have fully controlled the rebound and are back in their relaxed position. The wrist is bent and the whole process is ready to start again. Do not consciously lift the stick back to 90-degrees; allow the stick to naturally rebound. This motion is much like bouncing a ball. Striking a drum requires a

relaxed grip, because if you grip the stick too tight it will not rebound. When practising this, notice that all the movements and elements work together to create a fluid motion that produces a great sound with great control over the stick.

Now it’s time to put this into action. Here are eight exercises for practising grip technique and correct body position. The rhythms in each exercise are the same, but the hand pattern will change. Play each exercise on its own, until you are comfortable with it. Then play each exercise continuously for one minute. Tips R = right-hand, L = left-hand While playing, concentrate on your grip, rebound and accuracy. Make sure the grip is right every time, that the stick is rebounding (not being lifted), and that the stick is hitting the centre of the drum While playing, concentrate on your body position. Ensure that you are sitting correctly. Keep your back straight and your legs and arms in the correct position Make sure your timing is correct; make sure that the notes are evenly spaced apart Make sure all the notes are the same volume and that both hands are playing with the same amount of power Play the exercises at a SLOW, comfortable speed. The point is not to play them as fast as possible, but to work on your grip technique and body position Audio Example 1a:

Lesson Two – Notation, Notes and Rests, Two Hand Playing, Foot Technique, Two Voice Playin g Lesson Overview Lesson two is an introduction to music notation and to basic playing. We’ll explore the basics of music notation theory and the specifics of drum notation, looking at the information needed to understand written music and then exploring the concept of notes and rests . Once the concept of music notation is understood, we’ll begin looking at the next steps in playing, which are two hand playing, foot technique and two voice playing . Each concept will be explored in depth by looking at the theory, methods and the techniques needed to play them. Each concept will conclude with playing exercises to cement the ideas of that concept.

Introduction to Music Notatio n Drumming is about understanding rhythm, and the more you understand rhythm the better drummer you will be. Written music is simply a visual representation of rhythm and the more you understand notation, the more you will be able to express yourself on your instrument. At first, written music can seem daunting. However, as your knowledge of music notation grows, you will find it to be an invaluable tool that will benefit you throughout your musical life. This book series will guide you through the music notation and reading skills needed for playing the drums by sharing the appropriate knowledge, and through practice and repetition. Beginning Music Notation Music notation can be broken down into three sections: The Stave The stave comprises five lines on which all notation is written. The position of notes and symbols on the stave will dictate what is played.

Notes and Rests A note is a visual representation of the relative duration of a sound. Every note also has a corresponding rest that is equal to its relative length. The difference between notes and rests is that a note depicts the duration of a sound , while a rest depicts the duration of silence . Where notes are placed on the stave dictates on which part of the kit they are to be played.

Musical Symbols Musical symbols are marks and symbols on and around the stave that depict direction. These directions can include: arrangement, tempo, style, dynamics, rhythm, pitch, etc.

Drum Notation We are going to be looking at the specifics of drum notation, including what is written at the beginning of the stave and where to write each instrument. At the beginning of a piece of written drum music you will see two symbols on the stave.

The Percussion Clef (a.k.a. neutral clef; drum clef; indefinite pitch clef). The percussion clef is a type of clef that indicates each line on the stave represents a specific instrument. It is written either at the beginning of a piece of music or at the beginning of every line. All un-tuned percussive instruments (such as the drum kit, congas, bongos, timbales etc.) use the percussion clef. However, since each percussive instrument has its own instrumentation, a

notation key is required for each component. The Drum Kit Notation Key

1. Crash cymbal (two notation variations) 2. Hi-Hat or ride cymbal (will be specified by H.H. or R.C. at the beginning of section) 3. Bell of the ride cymbal 4. Open hi-hat, played with stick 5. Closed hi-hat, played with stick (always follows open hi-hat symbol) 6. Top tom 7. Snare drum 8. Cross stick on snare drum 9. Floor tom 10. Bass drum 11. Hi-Hat played with foot Notes played by the hands are stemmed upwards. Notes played by the feet are stemmed downwards. However, notes can be stemmed in either direction to make it clearer to read. The drum kit key is not universal – there will be slight variations used by different composers and authors – however, the overall concept is the same. There will always be a key if there are any great differences.

Time Signatures The time signature is a musical symbol which illustrates the rhythmic pulse/beat of a bar of music. It is written at the beginning of a piece of music or at a time signature change within a piece of music. It is commonly written in fraction form. The numerator (top number) denotes the number of beats in a bar, and the denominator (bottom number) signifies the length of the beat as a subdivision of a whole note (whole notes will be discussed later in this lesson). The most common time signature in modern music is 4/4 (pronounced four-four)

Don’t worry too much about other time signatures at the moment. This is not something that a beginner drummer needs to know. At the moment, you only need to concentrate on the time signature 4/4.

Bars and Beats Bars (aka: Measures) A bar is a tool used to organise music into equal small sections. This helps keep track of arrangement, rhythm and time. The time signature indicates the length of a bar as it dictates the amount and duration of the beats within each bar. Each bar is separated by a bar line .

Beats Beats are the term for the basic rhythmic pulses within a bar. The number of beats in the bar are indicated by the time signature. For example, in a bar of 4/4, there are four beats and each beat has the length of one 1/4 note. This means that there are four 1/4 notes in a bar of 4/4, and each 1/4 note is a beat. This does not limit the rhythmic possibilities, it just means that the count (or pulse ) will be on these 1/4 notes (or beats).

Whole Notes, 1/2 Notes and 1/4 Note s A note is simply a visual representation of a relative duration of sound played on an instrument. Here are whole notes, 1/2 notes and 1/4 notes. These are the first notes you need to know. Below you see the names of the notes, how they are written, their duration, and how the notes correspond to each other. All notes are divisions of each other. A whole note has the duration of four beats (the length of a bar of 4/4), a 1/2 note has the duration of two beats (half the duration of a whole note), and a 1/4 note has the duration of one beat (half the duration of a 1/2 note).

Below you will see how a note is written on the stave and how many beats each note lasts for.

Reading and Playing Whole Notes, 1/2 Notes and 1/4 Note s Now that you have an understanding of whole notes, 1/2 notes and 1/4 notes, it’s time to start playing them. Below are nine exercises written in 4/4 time signature. Each exercise is two bars long and contains combinations of whole notes, 1/2 notes and 1/4 notes. Written above each exercise is the count of beats in the bar. Play each exercise on the snare with your right hand until you are comfortable with it, then repeat with your left hand. Tips Read through each exercise, before playing it Work out the note lengths before playing Say the count out loud while playing Keep the count even and don’t speed up or slow down Audio Example 2a:

Rest s I’ve already mentioned that every note has a corresponding rest that is equal to its relative length, to designate the duration of silence in a bar. The rests exist because there cannot be blank spaces in a bar, otherwise reading rhythms would be impossible. If nothing is to be played, then a rest must be written to indicate the required length of the silence.

Playing Notes and Rests Because written music always contains a combination of notes and rests, it is important that you learn how to read and play them in conjunction with each other. Here are eighteen exercises for reading and playing whole notes, 1/2 notes, 1/4 notes and their corresponding rests. Play each exercise on the snare with your right hand until you are comfortable with it, then repeat with your left hand . Tips Read through each exercise and work out the notes and rests before playing Say the count out loud while playing Keep the count steady (do not speed up or slow down) Play at a comfortable speed Audio Example 2b:

Two Hand Playing Playing and coordinating your two hands is a necessity for playing the drum kit, as almost all drum playing is based around this. Below are eighteen exercises for practising playing with two hands. When playing with two hands stickings are needed. Stickings are the hand patterns that are played. Written underneath each note is R or L, indicating which hand to play. When stickings are indicated, they are always written under the stave. Play each exercise on the snare until you are comfortable with it . Tips R = right-hand, L = left-hand Read through each exercise and work out the stickings before playing Concentrate on your grip technique and body position, ensuring they are correct Say the count out loud while playing Audio Example 2c:

Foot Technique Foot technique is the term for the method used to play the kit with your feet. Correct foot technique is important, as it will allow you to have a greater control over what your foot is playing. Incorrect foot technique can cause restricted playing and can lead to straining your lower leg. Heel Down Technique The heel down method is the first foot technique to learn. It allows for greater low-dynamic control and offers more stability for beginners. This technique is used on the bass foot (right foot) and the hi-hat foot (left foot). Constructing Heel Down Technique The heel is static on the butt plate of the foot pedal, the foot is in line with the pedal, and the beater is against the bass drum skin Raise the front of your foot up (but keep the heel on the butt plate and your toes on the pedal). This action will bring the beater away from the bass drum skin Push down the front of your foot (still keeping your heel on the butt plate and your toes on the pedal). This movement causes the bass drum beater to hit the bass drum skin (the faster and harder you push down, the louder the sound) Keep your foot in contact with the pedal at all times. This maximises your efficiency. If your foot comes off the pedal, you waste energy getting back in contact with the pedal Keep the beater gently against the skin when you are not playing it

Playing on Two Voices In drumming terminology, voice refers to an instrument on the kit, so two voices refers to playing on two instruments on the kit. Below are five exercises for practising playing on two voices (snare and bass). These exercises are the first in this series that require you to coordinate your hands and feet. The bass drum is on constant 1/4 notes and the snare drum has varying 1/4 note patterns. When playing two voices on the same beat, the voices must be played exactly together, called unisons . It is imperative that these unisons are precisely in line with each other and that one is not slightly in front or behind the other. Extra Information Notes that are played with the hands are stemmed up. Notes that are played with the feet are stemmed down. This is to make it clearer to read. Notes that are stemmed up are in a separate group to the notes that are stemmed down. This means that even though they are on the same stave, they require their own rests.

Play each exercise with your right hand until you are comfortable with it, then repeat with your left hand. Tips Read through each exercise before playing it Make sure that the snare drum and bass drum are in unison when played together Audio Example 2d:

Playing on Two Voices with Multiple Notes When playing on two voices, each voice will not always have the same note, so it is important to start learning how to read and understand different notes on the two voices. Below are sixteen exercises for practising playing on two voices with multiple notes. The bass drum is on constant 1/4 notes and the snare drum is playing a variety of all previously studied notes. Play each exercise until you are comfortable with it. Follow the stickings written underneath. Tips Read through each exercise and work out the sticking before playing it Say the count out loud while playing Make sure the unisons between the two voices are together Audio Example 2e:

Lesson Three – 1/8th Notes and 1/8th Note Rhythms Lesson Overview Lesson three is a thorough look at the concept of reading, writing and playing 1/8th notes and their rhythms. In the previous lesson we studied whole notes, 1/2 notes and 1/4 notes. 1/8th notes are just the next subdivision of note. We will explore all aspects of 1/8th notes by looking at the notation and theory needed, playing exercises and playing them in conjunction with previously studied concepts. 1/8th notes are the first subdivision of notes where the concept of rhythms can be explored. This is where the fun begins, so let’s start!

1/8th notes Below you will see an 1/8th note, a description of its anatomy and its corresponding rest.

An 1/8th note has the duration of 1/2 a beat. In a bar of 4/4 there can be eight 1/8th notes. Illustrated below is a diagram of how 1/8th notes correspond with whole notes, 1/2 notes and 1/4 notes.

1/8th Note Count

The 1/8th notes that are on the 1/4 note beats are on the beat. The 1/8th notes that are in between the 1/4 note beats are off the beat .

Beaming 1/8th notes can be connected together. This is called beaming. In other words, they are connected by removing the flag and replacing it with a beam. Beaming notes does not affect the note duration, it just makes it visually easier to read. Only notes with flags can be beamed. Notes are usually beamed together to fit inside one beat, although they can be beamed to fit up to an entire bar.

1/8th Note Sticking Exercise Much like all the other notes that have been studied so far, stickings are required when reading 1/8th notes. The exercises below are for practising playing and reading 1/8th notes. All the exercises have a constant 1/8th note rhythm with different sticking patterns. Play through each exercise on the snare until you are comfortable with it . Tips R = right-hand, L = left-hand Read through each exercise before playing it Work out the sticking before playing Say the count out loud while playing Keep the notes even Audio Example 3a:

1/8th Note Sticking Exercise on Two Voices Below are nine exercises for practising 1/8th note reading while playing on two voices. All the exercises have constant 1/4 notes on the bass drum and constant 1/8th notes on the snare with varying stickings. These exercises require a good level of coordination between your hands and your feet, because the hands are now playing on the subdivision that is in between the 1/4 note bass drum pattern. When playing these exercises, be sure to keep the unisons between the snare drum and bass drum together, and make sure that the 1/8th notes that are on the off-beat are evenly played between the beat. Play through each exercise until you are comfortable with it. Audio Example 3b:

Two-Voice Playing With Multiple Notes Now that you understand the concept of 1/8th notes and rests and playing them on two voices, it’s time to start playing them in conjunction with previous notes you have studied. Below are nine exercises that incorporate all the previously studied notes and rests. Play through each exercise until you are comfortable with it. Tips Read each exercise before playing it Concentrate on note placement and note duration Concentrate on the unisons between the two voices Audio Example 3c:

1/8th Note Rhythms 1/8th notes are not always played in a constant stream, but are often played as part of a rhythm. This section will look at how to build 1/8th note rhythms, how they are played and how they are constructed. A single beat can be divided into two 1/8th notes and so there are only four different 1/8th note rhythm possibilities in any one beat. To construct 1/8th note rhythms you only need to understand these four different permutations. Below are the four different 1/8th note rhythms inside one beat. Study them and get used to how they look.

These four different patterns are the basis for all 1/8th note rhythms. To create an 1/8th note rhythmic pattern, all you have to do is combine these four different rhythms. With combinations of these four different patterns there are 256 different possible 1/8th notes rhythms in a bar of 4/4. Examples of Combinations of the Four 1/8th Note Rhythms

1/8th Note Rhythm Exercises Below are eight exercises for practising 1/8th note rhythm reading and playing. All the exercises consist of combinations of the four different one-beat 1/8th note rhythms from the previous page. Play through each exercise until you are comfortable with it. Tips Read through each exercise and work out the sticking before playing it Concentrate on grip technique Audio Example 3d:

1/8th Note Rhythm Exercises on Two Voices Below are eight exercises for practising 1/8th note rhythm reading and playing on two voices. All the exercises have keep 1/4 notes on the bass drum with varying 1/8th note rhythm hand patterns. These exercises involve a greater level of coordination between your hands and feet, because your hands are now playing patterns in between the rhythmic subdivisions of the 1/4 note bass drum pattern. When playing these exercises, be sure to keep the unisons between the snare drum and bass drum together, and make sure that any 1/8th notes played on the off-beat are spaced evenly between the beat. Play through each exercise until you are comfortable with it. Audio Example 3e:

1/8th Patterns With Other Notes Rhythms are not always played as just 1/8th notes. They are usually combined with other rhythms too. Here are twenty exercises that incorporate all the previously studied notes, rests and 1/8th-note patterns. Play through each exercise until you are comfortable with it. Tips Read each exercise before playing it Concentrate on note placement and note duration Write the count above the exercise, if you need to Audio Example 3f:

Lesson Four – Hi-Hat Technique and Three-way Coordination Lesson Overview The main objective of lesson four is to introduce the concept of three-way coordination . This is the act of coordinating three of your limbs while playing. The starting point for three-way coordination is to learn how to play the hi-hat. Here we will explore the concept, technique and methods for playing the hi-hat. Once this has been studied, we will look the notation and techniques required for three-way coordination. This will be followed by a series of exercises that will develop your ability to play three-way coordination. Three-way coordination can be a difficult concept, as it requires a lot of dexterity. These exercises are designed to enhance your limb dexterity and allow you to practise control over one limb while the others are playing. This will stand you in good stead for your future three-way coordination playing.

Hi-Hat Technique The hi-hat’s main role is to maintain a rhythmic pattern, usually based around the basic rhythm of a piece of music. The hi-hat is written above the top line of the stave. All cymbals are notated with an X instead of a note head. Since the hihat and ride cymbal are written on the same line, a H.H. or R.C. will be indicated at the beginning of a piece of music (H.H. = Hi-Hat; R.C. = ride cymbal). The hi-hat is always played closed, unless specifically notated to be played open. To keep the hi-hat closed, just apply pressure to the pedal of the hi-hat with the left foot. Stick Position Position 1 The tip of the stick plays on the surface of the hi-hat. This position offers the greatest articulation of sound, the maximum amount of rebound, and the most control. This is the primary hi-hat position. Position 2 The shoulder of the stick plays the surface of the hi-hat. This offers a heavier sound with deeper harmonics. Position 3 The shoulder of the stick plays on the edge of the hi-hat. This offers the loudest dynamics on the hi-hat. It is also the typical position for playing accents on the hi-hat. Hand Position When the right hand is playing the hi-hat and the left-hand is playing the snare, be aware not to block the left stick with the right hand. If the right hand is too far forward, over the snare, it will block the left stick’s movement. However, if the right hand is too far back, it will create an uncomfortable playing position.

Hi-Hat Technique Below are nine exercises for practising the hi-hat. The purpose of these exercises is to get your arms and body used to playing the hi-hat. The exercises are based on 1/4 notes and 1/8th notes. Play each exercise with your right-hand in all three hand positions, keeping the hi-hat closed. Tips Concentrate on your grip Ensure that your hand positions are correct Make sure that your back is straight and your shoulders are parallel with the floor Audio Example 4a:

Multiple Note Notation When playing on two or more voices, sometimes multiple note notation is required. When there are many notes to be played at the same time, there are rules as to how they are notated in order to make the music as clear and simple to read as possible. Stem Sharing Notes that are played with the hands are stemmed upwards and notes that are played with the feet are stemmed downwards. When you have notes that are stemmed the same direction and played at the same time, they must share a stem. This is to make it obvious that the notes are in unison.

Note Values Notes which share a stem must be of the same value. Notes of different values cannot share a stem, because the anatomy of each note would become ambiguous (for example, if a 1/4 note and a 1/8th note shared a stem, the ownership of the flag would become unclear).

Beaming Because the notes that share a stem are of the same value, beaming works in the same way.

Two-way Coordination Two-way coordination is the act of coordinating two of your limbs while playing. Below are sixteen exercises for practising this. Exercises 1-8 are for practising coordinating between the snare drum and the hi-hat, and exercises 916 are for practising coordinating between the bass drum and the hi-hat. Play each exercise until you are comfortable with it. Tips Concentrate on hi-hat technique Ensure the unisons between the notes are together Say the count out loud while playing Concentrate on grip technique Pay attention to body and shoulder position Audio Example 4b:

Three-way Coordination Three-way coordination is the act of coordinating three of your limbs while playing. Below are 34 exercises to practise this. These exercises have three voices: snare drum, bass drum and hi-hat. Two voices are playing a constant 1/4 note rhythm; the third voice plays 1/4 note-based patterns. The role of each voice changes with each group of exercises. These exercises are for practising control over one limb, while the others are playing a constant rhythm. Play through each exercise until you are comfortable with it. Tips Concentrate on hi-hat technique, grip technique and body position Ensure the unisons between the notes are together Say the count out loud while playing Snare Drum Patterns With Constant 1/4 Notes on Hi-Hat and Bass Drum Audio Example 4c:

Bass Drum Patterns With Constant 1/4 Notes on Hi-Hat and Snare Audio Example 4d:

Hi-Hat Patterns With Constant 1/4 Notes on Snare and Bass Drum Audio Example 4e:

Three-way Coordination 1/8th Note Hi-Hat Pattern Exercises Now that you have begun to gain control over your limbs, it’s time to start playing in a more natural way. 1/8th note hi-hats are very common in drum playing and are the basis of many grooves. Below are sixteen exercises for practising three-way coordination with 1/8th note hi-hats. The hi-hats are playing constant 1/8th notes and the snare drum and bass drum are playing rhythms based around 1/4 and 1/8th notes. Play each exercise until you are comfortable with it. Tips Concentrate on hi-hat technique and grip technique Say the count out loud while playing Ensure the unisons between the notes are together Audio Example 4f:

Lesson Five – Repeat Signs, Backbeat, 1/8th Note Bass Drum Grooves Lesson Overview Grooves are one of the most important tools in drumming and this lesson is an introduction to this concept. Here we will look at what grooves are and how they fit into drum playing. We’ll look at the notation and key elements that go along with groove playing, before exploring the beginnings of playing grooves. Grooves are at the heart of drum playing and are used across all aspects of music. They are a tool that you will constantly use throughout your musical life, so let’s begin.

Repeat Signs Repeat signs are used heavily in drum music, so knowing how they are written and how they work is very important. Repeat signs are musical symbols that indicate the repetition of a section of music. They consist of two musical symbols: a start repeat sign and an end repeat sign . Both are positioned on the bar line. Repeat signs simply indicate a repeat of the bar or bars contained within the repeat symbols. If multiple repetitions are required, a number is stipulated at the end repeat sign which indicates the number of repetitions. If there is a single end repeat sign within a piece of music, this indicates to repeat it from the beginning and then continue on. If there is a single end repeat sign at the end a piece of music, this indicates to repeat it from the beginning and then finish.

Example of Single Bar Repetition Repeat signs at beginning and end of a bar indicates to play the bar, then repeat, and then continue.

Example of Multiple Bar Repetition A start repeat sign at beginning of the first bar and an end repeat sign at end of last bar indicates to play the bars, then repeat, and then continue.

Example of Multiple Repetition A start repeat sign at the beginning of the first bar and an end repeat sign at end of last bar, with numbered indicator, indicates to play the bars and then repeat as many times as the number specifies, and then continue.

Here are nine exercises for practising playing repeat signs. The exercises are divided into four sections: single bar repetition, multiple bar repetition, multiple

repetition and combinations of repeat signs. It’s easy to miss the repeat signs when reading a piece of music, so it’s important to work out where they are and to understand what they indicate before playing. Play through each exercise until you are comfortable with it. Tips Read each exercise before playing Work out where the repeat signs are before playing Work out what the repeat signs indicate before playing Single Bar Repetition Audio Example 5a:

Multiple Bar Repetition Audio Example 5b:

Multiple Repetition Audio Example 5c:

Combinations of Repeat Signs Audio Example 5d:

Drum Grooves Drum grooves are a repeated phrase that secures the rhythm, tempo and time. Because of the drum kit’s rhythmic properties, it is perfect for this role. A drum groove achieves this by playing on the rhythmic subdivision of the music and accentuating the time signature and rhythmical accents. Grooves are the backbone of drumming. Without grooves, the line between noise and orchestrated sound becomes ambiguous. Drum grooves secure musicians and lead them musically. Grooves can be simple and unchanging, or continuously developing and never repeating. A groove is a drummer’s most used tool. One of the key parts of a drum groove is the backbeat The Backbeat The term backbeat refers to the accented notes that are typically on the 2nd and 4th beat in a bar. The backbeat can vary, depending on the time signature. However, it is almost universally on the 2nd and 4th beat. These accents are typically played on the snare, but can be played on any part of the kit. The backbeat and the drum kit go hand in hand, as they both came into being around the same time. In the early 1900s the drum kit had started to develop, and by the late 1930s it had become the modern drum kit. At the same time the musical genres of jazz, country and gospel were evolving. Very quickly, these genres started to adopt the drum kit. The drummers who were playing at that time began to mimic the strong rhythmic accents of these genres, emphasising the 2nd and 4th beat (originally hand claps or other percussive instruments). As new styles arose and the drum kit gained popularity, the concept of playing on the 2nd and 4th beat became very widespread. It continued in the 1950s with the birth of Rock ‘n’ Roll. The drum kit was an integral part of this genre, as was the backbeat. From this moment on, the backbeat truly became ingrained into popular music and has only increased in popularity.

Backbeat With 1/8th Note Bass Drum Grooves When approaching groove playing, the best place to begin is to learn how to play 1/8th note bass drum patterns while playing a hi-hat pattern with a backbeat on the snare. To construct and play 1/8th note-based bass drum patterns, you need to understand the sixteen different 1/8th note bass drum rhythms that fit inside two beats. Below you will see these sixteen patterns. These exercises are written in a 2/4 time signature. A 2/4 bar has two beats in a bar and each beat has the duration of a 1/4 note. Simply put, a 2/4 bar is half the length of a 4/4 bar. With these sixteen bars of 2/4 you can create 256 different combinations in a bar of 4/4. These exercises have 1/8th note-based bass drum patterns, constant 1/8th note hi-hats and a backbeat on the snare. Play each exercise until you are comfortable with it . Tips Ensure the note unisons are together Pay attention to the repeat signs Audio Example 5e:

1/8th Note Bass Drum Grooves in 4/ 4 Below are eighteen exercises in 4/4. Each 4/4 bar on this page is a combination of two 2/4 bars from the previous page. For example, exercise 1 on this page is a combination of exercise 1 and 5 from the previous page. Play each exercise until you are comfortable with it. Tips Work out the pattern before playing Say the count out loud while playing Audio Example 5f:

Two Bar Groove s The term two bar groove describes a repeated groove phrase that lasts for two bars and these are very common in drum playing. The nine exercises below are two bar grooves made of combinations of the 2/4 bars we’ve just looked at. Play each exercise until you are comfortable with it. Tips Read and work out each exercise before playing Concentrate on bass drum technique Audio Example 5g:

Lesson Six – 1/16th Notes, 1/16th Note Rhythms Lesson Overview Lesson six is a thorough look at the concept of reading, writing and playing 1/16th notes and their rhythms. In the previous lessons we have studied whole notes, 1/2 notes, 1/4 notes and 1/8th notes. 1/16th notes are just the next subdivision of note. We will explore all aspects of 1/16th notes by looking at the notation and theory needed, playing exercises and playing them in conjunction with previously studied concepts. 1/16th notes are widely used in rhythmic patterns and can create a lot of playing possibilities. Understanding them will expand your drumming vocabulary and give you access to more rhythms, so let’s begin!

1/16th notes Below you will see a 1/16th note, a description of its anatomy and its corresponding rest.

A 1/16th note has the duration of 1/4 of a beat. In a bar of 4/4 there can be sixteen 1/16th notes. 1/16th notes and 1/16th note rests look similar to 1/8th notes and 1/8th note rests. The difference is that a 1/16th note has two flags and its rest has two arms, whereas an 1/8th note has one flag and its rest has one arm. Below is a diagram showing how 1/16th notes correspond with whole notes, 1/2 notes, 1/4 notes and 1/8th notes.

1/16th Note Count

Beaming 1/16th notes can be beamed together in the same way as 1/8th notes. However, since 1/16th have two flags, they require two beams.

1/16th Note Stickings Much like all the other notes that have been studied so far, stickings are required when reading 1/16th notes. The exercises below are for practising playing and reading 1/16th notes. All the exercises have a constant 1/16th note rhythm with different sticking patterns. Play through each exercise on the snare until you are comfortable with it. Play each exercise with the indicated sticking until you are comfortable with it Tips Read through each exercise, before playing it Work out the sticking before playing Say the count out loud while playing Audio Example 6a:

1/16th Notes in Conjunction With Other Notes Below are twenty exercises for practising playing 1/16th notes in conjunction with the previous notes studied. Each exercise has constant 1/4 notes on the bass drum. This is to help you keep time and to help you understand how the different notes coincide with each other. Play each exercise with the indicated sticking until you are comfortable with it. Tips Read through each exercise and work out the rhythm and sticking before playing it Keep the bass drum consistent Count out loud while playing Audio Example 6b:

1/16th Note Rhythm Notation 1/16th note rhythms are normally written as a combination of 1/16th notes and 1/8th notes. This makes them easier to read. Below are five 1/16th note rhythms. In each column, the 1/16th note rhythms are notated differently. The first column shows the rhythm as 1/16th notes with 1/16th note rests. The second column shows every 1/16th note that is followed by 1/16th note rest, replaced with an 1/8th note (to make it clearer to read). The third column shows how these notes are beamed together (to make them easier to read). The third column is the most common form of notating 1/16th note rhythms.

Beaming 1/16th Notes and 1/8th Notes Explained When beaming a 1/16th note rhythm that contains 1/16th notes and 1/8th notes, you must be aware of how many beams are on each note. Remember that the beam is a replacement for the flag of the note. A 1/16th note has two flags, so it has to have two beams. An 1/8th note has one flag, so it has one beam. When beaming 1/16th notes to 1/8th notes, the second beam on the 1/16th note cannot connect with the 1/8th note.

Playing 1/16th Note Rhythms Now that you understand the concept of 1/16th notes and 1/16th note rhythms, it is time to start playing them. Below are five exercises for practising playing 1/16th notes rhythms. Each exercise has a constant 1/4 note bass drum to help with the accuracy of the 1/16th notes rhythms. Play each exercise with the indicated sticking until you are comfortable with it. Tips Read through each exercise, before playing it Work out the sticking before playing Say the count out loud while playing Make sure note placement is correct Audio Example 6c:

1/16th Note Rhythms in Conjunction With Other Notes 1/16th note rhythms are rarely played just on their own; they are commonly played in combination with other notes. Below are 36 exercises for practising playing 1/16th note rhythms in conjunction with the previous notes studied. Play each exercise with the indicated sticking until you are comfortable with it. Tips Work out the rhythm before playing Concentrate on the placement of the bass drum Concentrate on the sticking rhythms Audio Example 6d:

Combining 1/16th Note Rhythms 1/16th note rhythm combinations are a typical occurrence in drumming. Below are eighteen exercises for practising playing 1/16th note rhythms in conjunction with other 1/16th note rhythms. Play each exercise with the indicated sticking until you are comfortable with it. Audio Example 6e:

Lesson Seven – Fills, Playing on the Toms Lesson Overview The main object of this lesson is to introduce fills and the playing concepts that go with them. Firstly, we will explore what fills are, why they are used, their notation, the instrumentation that is typically used and the body positions needed. Then we will then look at some exercises to get you playing fills, so you can understand the concept of how they are formed. Finally, we’ll look at exercises to get you playing fills in conjunction with grooves, as this is the most natural way of playing them. Fills are where a drummer can convey their own musical expression. They are also a lot of fun, so let’s get started.

Drum Fills Drum fills are a central part of drum playing. A fill is simply a rhythmic or playing embellishment that a drummer can use at their discretion. In its original form, the drum fill was a short rhythmic segment which was used to fill the space in the transitions between sections in a piece of music. Today, drum fills have many uses and purposes within drum playing.

A fill can be used as a cue to lead the other musicians and listeners into the next section of a song. It can be used to accentuate rhythmic patterns within a piece of music. It can be used at the beginning of a song to set the tempo and rhythm for that piece of music. It can also just be used for the drummer’s own musical expression. There are no set rules for fills. They can be any length and for any purpose. They can have a very complicated rhythmic pattern, or they can be very simple. A fill can also follow the rhythm of another instrument or it can have its own rhythm. Fills are typically played on the snare drum and the toms. However, they can also be played on any voice on the drum kit, whether it’s a solo voice or a combination of voices. Drum Fill Notation Drum fills are very rarely notated in full, or in part, outside of an educational environment, because they can be very complicated to notate, or because the composer may not know that much about drums. Usually in a chart (a piece of written music) the composer will not write a specific fill, but simply note fill , with a marker to indicate length. If a specific rhythmic pattern is needed, the composer will write the basic rhythmic pattern with fill written above it, to show that the drummer can embellish the rhythmic pattern.

Playing on Toms Playing on the toms is an integral part of fill playing, as the majority of fills are played on the toms. Below you will see the technique, body position and notation needed for playing on each tom. Top Tom Keep your body straight and do not lean forward. Leaning too far forward will put excess strain on your shoulders and lower back. Hit the centre of the skin. Keep the correct grip technique and hand position and keep your elbows in.

Floor Tom Keep your body straight and do not twist too much or lean towards the floor tom. If you twist too much you will put extra tension on your lower back and can cause damage to your body. Hit the centre of skin. Keep the correct grip technique and hand position. Keep your elbows in.

Moving Between Drum s When moving between the drums, your body position should only change minimally. Your movement should be as fluid as possible, expending the least amount of effort. Striking the drums should be solid and accurate. If your body position changes too much when moving from drum to drum, you will waste energy and lose power and speed.

Top Tom Playing Below are eighteen exercises for practising and getting used to reading and playing on the top tom. Play each exercise until you are comfortable with it. Tips Work out the rhythms before playing Concentrate on body position and arm placement Do not lean forward Audio Example 7a:

Floor Tom Playing Below are eighteen exercises for practising and getting used to reading and playing on the floor tom. Play each exercise until you are comfortable with it. Tips Work out the rhythms before playing Concentrate on body position and arm placement Do not lean sideways or over-twist the back Audio Example 7b:

Moving Around the Kit The term moving around the kit refers to playing on one voice, then moving to another voice in a fluid manner. Being able to move around the drum kit is an important part of fill playing, as it will allow you to creatively express yourself in any way you want to. When moving around the kit you should be comfortable, but your body position should not change too much. If you are over-stretching or over-twisting to move around the kit, you are wasting energy and potentially putting yourself in a negative playing position. Below are thirty-eight exercises for practising moving from the snare, to the top tom, to the floor tom. Play each exercise until you are comfortable with it. Tips Work out the voicing and sticking before playing Say the count out loud while playing Concentrate on body position Audio Example 7c:

Playing Groove and Fills Drum fills are seldom played on their own – they typically precede and are followed by grooves. Below are eighteen exercises comprising one bar of groove and a one bar fill. These exercises are designed to help you transition from groove playing to fill playing. Play each exercise until you are comfortable with it. Tips Work out the voicing before playing Say the count out loud while playing Concentrate on the transitions between the groove and the fill; do not rush Audio Example 7d:

Lesson Eight – Simile Marks, Fills of Different Lengths, Four-bar Phrasing Lesson Overview In the previous lesson, we explored the idea of fills. However, fills are not always the same length. This lesson will explore the idea of fills of different lengths and how to play them in a more natural context. We will look at the notation required for this and have an in-depth look at fills of different lengths though playing exercises. Finally, we will look at playing grooves and fills in a more natural way, by studying the concept of four-bar phrasing. We will learn why this concept is important, before studying a variety of playing exercises to cement this idea.

Simile Marks Simile marks (Pronounced sim-ee-lee ) are used throughout drumming notation and it is imperative that you understand what they are. Simile marks are repetition symbols that indicate the repetition of the previous bar or bars. Simile marks can be used on their own or in conjunction with repeat signs. Single Simile Mark A single simile mark is made up of one diagonal line with two dots. It means to repeat the previous bar and is positioned in the middle of the bar. Double Simile Mark A double simile mark is made up of two diagonal lines with two dots. It means to repeat the two previous bars and is positioned in the middle bar line of the two-bars.

Example of Single Simile Mark

Example of Multiple Single Simile Mark

Example of Double Simile Mark

Example of Multiple Double Simile Mark

Playing Simile Marks Now it is time to start reading and playing simile marks. Below are six exercises for practising reading single and double simile marks. Play each exercise until you are comfortable with it. Tips Read each exercise before playing Work out where the simile marks are before playing Work out what the simile marks indicate before playing Audio Example 8a:

Playing Fills of Different Lengths In the previous lesson we studied fills that lasted for four beats, but even when playing in 4/4, fills can be played over any number of beats.

This section will examine fills that last for one, two, and three beats. When playing a fill that is shorter than a bar, you play the groove until the fill starts.

One-, Two-, and Three-Beat Fills In some pieces of music, a four-beat fill could overpower the music, whereas in some pieces of music a one-beat fill would be too sparse and leave the music sounding empty. It’s therefore important to know fills of different lengths, so you can choose an appropriate fill for a piece of music. Below are 58 exercises for practising fills that last one, two and three beats. Play each exercise with a bar of groove in front of it. (Use the example groove below for each exercise).

Tips Work out the voicing and rhythms before playing Use the stickings you have learnt previously and say the count out loud while playing Audio Example 8b: One-Beat Fills

Audio Example 8c: Two-Beat Fills

Three-Beat Fills Audio Example 8d:

Four-bar Phrasing Concept Four-bar phrasing is a natural and well-used tool in drumming. It consists of four bars, with the first three being groove based and the fourth bar being a fill. This idea can be used in many ways. There can be three bars of groove followed by a bar of drum fill, as stated. There can be three bars of one groove followed by one bar of a different groove. There can be three bars of quiet playing followed by one bar of loud playing etc. However, the most common form of four-bar phrasing is three bars of groove followed by a bar of drum fill.

Variants of Four-bar Phrasing are : Eight-bar phrasing Sixteen-bar phrasing Thirty-two-bar phrasing



The lengths of these variants are different, but the concept of the embellishment occurring in the final bar is the same. The following section will look at four-bar phrasing and its possibilities.

Four-bar Phrasing Below are eight exercises for practising four-bar phrasing. Each exercise has three bars of groove and one bar of fill. The fills range from four-beat to singlebeat fills. There is also simile notation in each exercise. Play each exercise until you are comfortable with it. Tips Work out the voicing and rhythms before playing Say the count out loud while playing Concentrate on body position and arm placement Use the stickings you have learnt previously Audio Example 8e:

Four-bar Phrasing Concept Playing

Below are four exercises for practising the four-bar phrasing concept. Each exercise has three bars of groove and one bar of fill. However, the fills in these exercises are not set. In the exercises replace the fill with any that have been previously studied. Play at least five different fills for each exercise. Tips Look through the previously studied fills Concentrate between the transitions between fills and grooves Write down the exercises Audio Example 8f:

Lesson Nine – Ride Technique, Playing the Hi-Hat With the Foot, Four-way Coordination Lesson Overview The main objective of this lesson is to develop four-way coordination . This is the technique of playing using all four limbs simultaneously. However, before tackling this concept, a few more techniques need to be studied: ride technique and playing the hi-hat with the foot. We will have an in-depth look at all the techniques required for four-way coordination, by studying their concepts, their notation and though playing a series of exercises that will cement these concepts. Once you are comfortable with these concepts, we will tie them all together and start using four-way coordination. Four-way coordination is one of the most challenging elements of drum playing. However, it is also one of the most musically rewarding. Being able to coordinate all four of your limbs allows you to create interesting, rhythmically diverse grooves. Having this control will allow you to truly express yourself creatively on the drum kit.

Ride Technique The ride is a large cymbal that is played with the right hand. It has a similar role to the hi-hat, which is to maintain a rhythmic pattern, usually based around the basic rhythm of a piece of music. The ride and hi-hat are notated on the same line of the stave. What differentiates them are the symbols R.C. or H.H. (R.C. = ride cymbal and H.H. = hi-hat). These will be written at the beginning of a section to indicate which one is to be played. Stick Position Position 1 The tip of the stick plays on the surface of the ride. This offers the greatest articulation of sound, the maximum amount of rebound and the most control. This is the primary position used on the ride. Position 2 The shoulder or tip of the stick plays on the bell of the ride. This offers a high pitched, cutting sound, generally used for accents. Position 3 The shoulder of the stick plays on the edge of the ride. This offers the loudest dynamics on the ride. Hand Positio n When the right-hand is playing the ride, the grip technique and hand position should be the same as when playing the snare or toms.

Playing on the Ride Below are nine exercises for practising playing on the ride. The purpose of these exercises is to get your arms and body used to playing the ride. The exercises are based on 1/4 notes and 1/8th notes. Play each exercise with your right-hand in all three hand positions. Tips Concentrate on your grip Ensure that your hand positions are correct and that your back is straight and you are not leaning. Audio Example 9a:

Two-Way Coordination Ride Playing Below are sixteen exercises for practising two-way coordination while playing the ride. Exercises 1-8 are for practising coordinating between the snare drum and the ride, and exercises 9-16 are for practising coordinating between the bass drum and the ride. Play each exercise until you are comfortable with it. Tips Concentrate on hi-hat technique Ensure the unisons between the notes are together Say the count out loud while playing Write the count above the exercise, if you need to Concentrate on grip technique Audio Example 9b:

Three-way Coordination Ride Playing Below are sixteen exercises for practising three-way coordination while playing the ride. Play each exercise until you are comfortable with it. Tips Concentrate on ride technique Ensure the unisons between the notes are together Concentrate on grip technique Concentrate on arm and hand position Audio Example 9c:

Playing the Hi-Hat With the Foot Below are sixteen exercises for practising playing the hi-hat with the foot. Playing the hi-hat with the foot is notated at the bottom of the stave. Because it is a cymbal, it is notated with an X and is stemmed downwards because it is played with the foot. Play each exercise until you are comfortable with it. The technique for playing the hi-hat with the foot is the same as playing the bass drum. Tips Concentrate on ride technique and foot technique Ensure the unisons between the notes are together Say the count while playing Audio Example 9d:

Four-way Coordination Four-way coordination is term given to playing using all four limbs. It is one of the hardest aspects of playing drums and true mastery of this skill can take a long time. Throughout this chapter, we have looked at all the individual techniques needed for four-way coordination (ride technique, two and three-way coordination while playing the ride, and playing the hi-hat with the foot while playing the ride). The exercises below combine everything from this lesson to give you an introduction to four-way coordination. Play each exercise until you are comfortable with it. Tips Concentrate on ride technique Concentrate on foot technique Ensure the unisons between the notes are together Read each exercise before playing Be aware of where the foot hi-hat is played Audio Example 9e:

Lesson Ten – Bar Line Notation, Crash Technique, Transitioning Between the Hi-Hat and the Rid e Lesson Overview In previous lessons, we have studied playing grooves while playing on the hihat, four-way coordination while playing on the ride, and playing fills. However, we have not yet played these three concepts in conjunction with one another. Here we will explore the concept of transitioning between the hi-hat and the ride with fills. We will take an in-depth look at all the techniques required for this concept by studying the notation needed, the techniques required and through playing a series of exercises that will cement these concepts. Once you are comfortable with these concepts, we will tie them all together to get you transitioning between the hi-hat and the ride.

Bar Lines There are different types of bar lines, each with their own meaning, and it is essential that you understand what they mean. Bar lines are very much like the punctuation in a sentence. They separate bars, they separate different segments of music, and they signify the end of a piece of music. All of this helps you to keep track when reading. To begin with you should know that drum music, as you have seen, is written on a stave . Stave The stave (or staff) is five lines on which all notation is written. The position of notes and symbols on the stave dictates what is to be played.

The range of the stave is increased with ledger lines. Ledger Lines Ledger (or leger) lines are extensions of the stave for notes outside of the stave. In drum notation, this is typically used for cymbals or extra instrumentation.

These are the different types of bar lines. Read though them all and learn their meanings. Single Bar Line s These are used to separate bars and help keep track of arrangement, rhythm and time.

Double Bar Line This is used to separate sections within a piece of music. For example: separating a chorus from a verse. This helps to keep track of an arrangement and

make it clearer to read.

Bold Double Bar Line This is used to represent the end of a piece of music. This also helps to keep track of arrangement and gives a piece of written music a definite end.

Crash Technique Unlike the ride and the hi-hat, the crash is typically not used for maintaining a rhythmic phrase. Its characteristic use is to provide accents in a piece of music, which is why it is often referred to as an accent cymbal . The crash is normally played with the right-hand for two reasons: firstly, it is usually easier and simpler to move the right hand from the ride or hi-hat to the crash; secondly, since the crash is notated with an X above the stave, it is usually written as part of the ride or hi-hat pattern. However, either hand can play the crash. Stick Position Position 1 The shoulder of the stick plays on the edge of the crash. This offers the loudest dynamics and is the primary position used on the crash. Position 2 The tip of the stick plays on the surface of the crash. This offers a lower dynamic, but with the greatest articulation of sound, the maximum amount of rebound and the most control. Position 3 The shoulder or tip of the stick plays on the bell of the crash. This offers a highpitched, cutting sound. Hand Position The hand position is the same as playing the ride or hi-hat.

Crash Playing The crash has two forms of notation, both of which are widely used. This book series will be focusing on crash notation variation 1.

Below are sixteen exercises that will help you get used to playing the crash in conjunction with the hi-hat, snare and bass. Play each exercise in all three positions until you feel comfortable. Tips Concentrate on crash technique, grip technique and arm and hand position Pay attention to where the crash is written and ensure the unisons between the notes are together Audio Example 10a:

Groove Playing With The Crash Now that you are used to playing the crash, it is time to put it into some grooves. Below are exercises for playing the crash in a groove context. Play each exercise until you are comfortable with it. Play each exercise in crash position 1. Tips Concentrate on crash technique Ensure the tempo is not affected by playing the crash Play each exercise slowly at first until you are comfortable Audio Example 10b:

Crashes are rarely played on every bar. They are normally played only for accents or in the transition between segments in a piece of music. Below are exercises for practising playing the crash in a two-bar context and a four-bar context, both of which are more natural ways of playing. Two-bar Exercises Play each exercise from above in a two-bar format, with a crash only on the first bar.

Four-bar Exercises Play each exercise from above in a four-bar format, with a crash only on the first bar.

Ride Playing With The Crash So far you have played the crash in conjunction with the hi-hat only. Now it’s time to start playing the crash in conjunction with the ride. This requires more dexterity because playing on the ride typically entails four-way coordination. So, when you combine four-way coordination with moving the right hand from the ride to the crash, it requires an extra level of adroitness. Below are exercises for playing the crash in four-way coordination grooves. Play each exercise until you are comfortable with it and use crash position 1. Tips Concentrate on crash technique Ensure the tempo is not affected by playing the crash Ensure the unisons between the notes are together Audio Example 10c:

Two-bar Exercises Play each exercise from above in a two-bar format, with a crash only on the first bar.

Four-bar Exercises Play each exercise from above in a four-bar format, with a crash only on the first bar.

Four-way Coordination With Crash and Fills One of the most natural and effective ways of playing a crash is after a fill. This is because a crash hit gives a definite end to the fill and a strong start to the groove that follows. Below are two-bar exercises for practising four-way coordination grooves with fills, and with a crash on the first beat of the groove. Play each exercise until you are comfortable with it. Tips Read the grooves and the fills before playing them Ensure the hi-hat on the foot stays constant Pay attention to the crash notation Keep your speed constant; do not speed up or slow down Audio Example 10d:

Four-way Coordination, Fills and Crash Concept Playing Below are four exercises for practising four-way coordination with fills and crash. In these exercises, replace the fill with any that have been previously studied. Play at least five different fills for each exercise. Tips Look through the previously studied fills Concentrate on the transitions between fills and grooves Keep the hi-hat constant Audio Example 10e:

Transitioning Between the Ride and the Hi-Hat Four-bar Phrasing With Fills of Different Length s Transitioning between the hi-hat and the ride is a very common part of drum playing. This is normally used when switching to another section in a piece of music, or switching between loud and quiet sections. The most challenging part of moving between the hi-hat and the ride is the transition from three-way coordination to four-way coordination. The move between the ride and the hi-hat is typically transitioned with a fill. Here are some exercises for practising moving between the ride and the hi-hat with fills of different lengths. Play each exercise until you are comfortable with it. Tips Read the grooves and the fills before playing them Understand the structure before playing Work out where the repeat symbols are and what they mean before playing Ensure the hi-hat on the foot stay constant Pay attention to the symbols R.C. and H.H. Audio Example 10f:

Audio Example 10g:

Audio Example 10h:

Audio Example 10i:

Audio Example 10j:

Audio Example 10k:

Audio Example 10l:

Audio Example 10m:

Audio Example 10n:

Audio Example 10o:

Audio Example 10p:

Audio Example 10q:

This concept does not stop with these exercises. You can continue your exploration of this idea by creating your own transition exercises, using any hihat groove, with any four-way coordination ride groove, and with any fill. Don’t let the end of this book be the end of your practising. The lessons continue in the next volume, Drum Kit Fundamental Studies – Book 2. Keep practising and become the drummer you want to be!

About the Autho r Daryl Ingleton began his musical life at a young age, starting with the trumpet at age 8. He studied this instrument for many years, until he wanted to expand his musical knowledge. He then switched instruments for many years until he found drums and percussion at the age of 15. Since then he has studied with published authors, internationally touring musicians and industry greats. In 2006 he was accepted into the London College of Music where he studied with some of the UK’s best session players and tutors. He later graduated with a Bachelors of Music with Honours degree. From then on, he became involved with shows, bands and projects throughout London, in various different styles and situations. During this time, he also continued his independent training, always striving to learn more, which led him to travel to different continents to further his studies and pursue different avenues of the music industry. Throughout his music life Daryl has always been eager to share his musical knowledge. Because of this he has developed an understanding of how to communicate this knowledge in a way that is easily understandable. Daryl wants every drummer to have the best understanding of their instrument possible, and these books are his effort to share the techniques and knowledge he has hone d over a decade of learning and practising. Please enjoy and take all the knowledge you can from this book series. Thank You! This book series has been a passion project of mine for many years. From the initial concept, to the first draft, and then to the completed article, it has taken a lot of my concentration and dedication. Throughout my musical life, and through the creation of this series, I have received a lot of support from many people. I would like the thank my family (Peter Ingleton, Diana Ingleton, John Sellars, Joyce Sellars, Katrina Harling and Lauretta Hunt) who encouraged my musical education by helping find tutors and schools, and for allowing me to play for hours on end without complaint. Thanks to my first drum tutor (Dave Zubraski), who got me hooked on drums and percussion.

To all of my tutors who showed me new ideas and concepts (Erik Stams, Darryn Farrugia, drumTech and the London College of Music). To all my musical friends and peers (the Babilondon Crew, the Radstock Crew, the Just Like Little People Crew), who shared and grew their music with me. To everyone who helped with the creation of this series (Luke Hollingworth and Fundamental Changes Ltd). And to my partner (Lucie Fournaison) who always encouraged my playing and writing. Finally, I would like to thank you, the reader, for purchasing this book and series. The information here is meant for you, and I am personally very happy that you have taken the step to further your musical education.