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1 ONTENTS AOUT THE AUTHOR INTRODUTION 4 Drumset Notation Key5 Different Notation Methods5 HAPTER ONE: Reading Eercises 6 asic Terminology6 asic Note Values7 Triplet Note Values8 How to Practice the Reading Eercises9 Ties and Dotted Notes 12 Long and Short Notes 1 Siteenth-Note Rhythms 14 Triplet Rhythms 17 HAPTER TWO: Stick ontrol Studies 18 Endurance Eercise 19 Siteenth-Note Stickings 20 Triplet Stickings 2 Si-Stroke Roll Stickings 24 Accent Studies 25 Flam Eercises 26 HAPTER THREE: Eighth-Note Rock eats 27 Getting Started 27 One-Measure Rock eats 28 Two-Measure Rock eats 29 Eighth-Note ass Drum Eercise 0 Eighth-Note Rock eats with Snare Drum Variations 1 losed and Open Hi-Hat eats 2 Hi-Hat Variations Ride ymbal Variations 4 Syncopated Rock eats 5 HAPTER FOUR: Siteenth-Note Rock and Funk eats 6 Siteenth-Note Hi-Hat eats 6 Rock eats with Siteenth Notes 8 Two-Measure Funk eats 40 Two-Handed Hi-Hat eats 41 Funk eats with Ghost Notes 42 Funk eats with Open and losed Hi-Hat 4 Siteenth-Note Hi-Hat Variations 44 Paradiddle Funk eats 45 HAPTER FIVE: Triplet-ased Grooves 47 The lues Shuffle 47 eats 49 Slow lues eats 50 Rock Shuffles 51 Half-Time Shuffles 52 HAPTER SIX: Afro-uban Grooves 54 The lave 54 ascara 55 The Mambo 59 Songo 60 Guaguancó 62 ha-ha-há 6 Merengue 64 Mozambique 65 The Rumba 66 African eats 67 HAPTER SEVEN: ontemporary Drum Styles 68 Reggae 68 New Orleans eats 70 The Train eat 71 Soca 72 Reggaeton 72 Hip-Hop 7 Jungle/Drum n ass 74 o Diddley Grooves 76 Drum eats 77 HAPTER EIGHT: razilian Rhythms 79 ossa Nova 79 Samba 81 aião 8 atucada 84 HAPTER NINE: Jazz 85 The Ride ymbal eat 85 Snare Drum Variations 86 Eighth-Note omping Patterns for Snare 87 Snare and ass Drum Phrases with Eighth Notes 88 Jazz oordination with Triplets 89 Triplets etween the Snare and ass Drum 90 Phrasing Over the arline 91 Jazz in Time 92 Jazz in Time 92 HAPTER TEN: Groove Embellishments 9 Thirty-Second Note Ideas 9 Siteenth-Note Triplets 95 onclusion 95 2 The Drumset Style Resource
2 62 Track 151 Syncopated Rock eats Syncopation is when you take something that is usually played on the beat and play it off of the beat The emphasis is now on an offbeat rather than the onbeat Here s an eample of a rock beat: /4 4 ount:1 & 2 & & 4 & 6 Now we ll syncopate the snare part on the and of beat two /4 4 Track 152 ount:1 & 2 & & 4 & Here are some more syncopated rock beats to give your grooves more variety q = Track 16 / / D / E / F / hapter Three: Eighth-Note Rock eats 5
3 Funk eats with Ghost Notes Many funk beats use what are called ghost notes on the snare drum to propel the music and give it forward motion Ghost notes are strokes that are unaccented and played very softly Sometimes, they are indicated by parentheses; in the following eamples, they are simply all the snare drum hits that are not on beats 2 and 4 You can hear great eamples of this technique in the music of James rown, The Meters, and Tower of Power Remember to keep the accents loud (beats 2 and 4) and the ghost notes very soft 74 Track 25 q = /4 4 > > > > A > / > > > D > / > > > E F / > > > > G H / > > > > I J K / > > L > > M / > > > N > 42 The Drumset Style Resource
4 Guaguancó Guaguancó is an Afro-uban rhythm that originated on percussion instruments The guaguancó is typically played with a :2 rumba clave The left-handed melodic part emulates the conga pattern in a percussion section This melody will go against the clave rather than with it This gives this rhythm a call and response effect asic Hand Pattern 117 Track 521 / X X q = Track 522 Now with bass drum added: / 119 Track 5 The following variations will get you started playing guaguancó on the drumset X / X / D / 62 The Drumset Style Resource
5 Jungle/Drum n ass Jungle Jungle is a fast-paced style of music that started when DJs began to take samples from different R& songs and speed them up An eample of this would be the song The Funky Drummer by James rown with lyde Stubblefield on drums These DJs would take these short groove samples, speed them up and loop them to ambient keyboard sounds and heavy, sub-sonic bass patterns Here s an eample of some ungle grooves The ungle eamples on the D are played four times q = Track 701 / D E / Your siteenth notes will have to be very fast in order to play this style effectively You will want a tight, uptempo feeling on all of these beats Remember that you are simulating a drum machine gone haywire 15 Track 702 R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L R L > > > > > > R R L R L L R R L R L L R R L R L L > > / > 74 The Drumset Style Resource
6 Phrasing Over the arline One of the distinguishing characteristics of all great azz drummers is the use of phrases that go over the barline This creates phrases and musical statements that do not resolve in predictable ways The most commonly heard way to do this is to play ideas that sound as if they are in time over time This is called a hemiola If you accent every third eighth note in you get a hemiola 186 Track 911 q = /4 4 > X > > X > X > X > > X > X > X X Here are some eamples of this phrasing between the snare and bass Make sure you count as you are doing this so you don t get lost 187 Track 912 X X X X X X X X / X X X X X X X X / X X X X X X X X D / X X X X X X X X E / X X X X X X X X F / X X X X X X X X hapter Nine: Jazz 91
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