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V.~F FEI\.~VSSIO.

STVI>IO

TE~H.I"VE

WOI\.KmOOK

:IlY

lfE:IlO;f8A ZIVKOVI~

MI~HAEL :Il"M:P

;fOHlf :PARKS

lfORMAlf WEIlf:llERG

I:H&:B..I..E8 .FI88&Il&

0..,,& WOI..F

HII:H&EI.. KIlI&&lI

UNCP Basics Sequence Checklist


This sequence is to ensure the grounding of every student in the fundamentals of percussion
performance. Every UNCP student must complete all of the materials on the checklist before
moving on to solo repertoire.
Snare Drum
Vic Firth Web-Rhythms (100 bpm) (available at
http://www.vicfirth.com/education/features/webrhythmS/intro.html)
9

16_17__ 18__ 19_20*


Pratt/NARD

Solo~_

13

10
l\1ultiPatB

14

CTA

DLA_SC

Parks Warm-up Sequence_ _ _

Rudiments (performed Slow-fast-slow or open close open from memory)

Buzz RolI___ Open RolI_ 5 Stroke RolI__ Flam__ Flam Accent ___

Double Drag

Flam-A-Cue__ Flam Paradiddle_ Drag __ Single Drag Tap


Paradiddle
Double Paradiddle.__ Paradiddle-diddle_

Lesson 25
Single Ratamacue__ Triple Ratamacue__

Keyboards

Kite "Reading Keyboard Percussion" (90 bpm)

Bb

Eb

Ab

Major Scale Sequence_ __

Db

Gb- B-

Minor Scale Sequence ___ ~

12 Bar Blues Progression (I-IV-I-I-IV-IV-I-I-V-V-I-IL___

4 Mallet Warm-Up Sequence _ _


Zeltsman "Four Mallet Marimba Playing"
6

10

12

34

Ford "Marimba: Technique Through Music"

Fry__ Oakland_Manhattan__White Hollow~~_ Kain__Wcllington_


Orchestral Percussion
Cymbals _ _ _ Tambourine _____ Trianglc _ _ Bass Drum._ _
Drumset - Each groove must be held for 16 bars
Sinnett Roll Exercises __ (75 bpm). Rock __ ( 110 bpm). Swing_ (140 bpm).
Bossa__ (120bpm) Shuffle _

(120 bpm) Samba_( 110 bpm) brushes __(60 bpm)

Hand Drums
Tar - Maqsuum__ Baladi __ Conga - Tumbao
Timpani - Beck "Concepts for Timpani"
p. 26_p. 3

Timpani Scales F_ Bb_ g minor__ Eb __

Samba

UNCP Percussion Studio Warm-up Sequence


This should be done everyday (even on days when you have little
practice time - play through this!).
5 Minute Snare Warm-up

Use the middle section to work parts from excerpts, rudiments etc.

5 Minute Two Mallet Warm-up


Vary the scales you use each day
4 Mallet Warm-up
5 Minute Timpani Warm-up
Auxiliary Etudes

Set- a rotation for these instruments like: M\"'F tambourine/cymbals; T-TR

BfYTriangle

I would recommend using the etudes that you do tor the basics sequence!

Hand Dn.illi Basks

~ 'L.".t. :;:!!

" >,

:1

'"i

L.t: ';.,.

.. t ; :

.;;.

'"'!" !

~:; !.;; ;" ~

7.

~;:

'"

;#!

;:

::;; !.!.u.

i if ~'!o .;.

W. Lee Vmson
4/07

5 Minute Warm-up
Single Strokes

J J

ill J j
R

0:10

J J J 1/

-=--

IIJ
R

Double Strokes

J JJ JJ J41
R

====~-

ppp
1:30

" r-?F7 7 ; 7
.111 -=---

-=====-

mf
2:00

.111
1 :20

1:10

,
2-

0:55

,7

mf
1:00

0:30

0:20

1:55

./ /

z, /

z'

ppp

Improvise simple patterns based on practice needs. Examples include single strokes, four stroke ruffs, and rolls.

11/

>

777

///;7/LML/

L-=z

>

71>

mf
ca. 3:00

II

Flam Accents

J J J J J J J &tP4J J j,Jl Jj\J IJ J J,J Jm;J Jttrz77


>

>

>

>

>

>

>

>

ca. 3:30
>

etc.

//

>

etc .

Flam Paradiddles

>

>

>

>

>

>

.. J J J J J J J J IJnJ J J J J I),J 4 J JJIJ J 4__ J IJ1J J J i~ J J 17 L


RLRRLRLL

The Three Camps

>

os. 4:10
>

II?
R

1.

iii

J
L

iii

RLRRLRLL

>

J 1 I- J J
L

>

iii

- - -

- -

>

J -1 J

J.

ril. - - - - -

RLRRLRLL

>

t-

J.

iii

- - - - - - - molto ril. -

J ad
~

?:

RLRRLRLL

- - - -

- - -

J.

etc.

I,
z

- - - - - - - - - - .

.111

-,
L

5 Minute 2 Mallet Warm-Up


continue up and down scale

Xylophone

XyL

~ j 333d3$51 j aaad aa1j j j j j j j j 1


run all major scales (add minors a' w

- j]

run all major arps (add minors as

II)

~a~~~~~~~~~~ffi~~~~~

19

Xyl.

~ iJSQiPi gjJdDa l1J4PjijjijPli BJUnID


I

33

Xyl.

~ ,i ij#~. qO 1 3# ij JAF"?#~. i j Iii i~#J. qO -J,

3#". ij

39

Xyl.

J,)Jm 3nJjU#JI J#JOj#dUj#JiJJ#Mdd#MI#p -@II

J#d#J#d.Jj n

Four Mallet Warm-Up Sequence


C. Pisarra

y4 1~4 4
.. 4 4 4 4 4 4
3i 3 3 3 3 3 3 3 3 \

Efff .

I~ I '00

2 2 2 2
I

2
I

22:!2222~

22222~22

1 1 I

1 I

1 I

4 4 4
333

4 4 444 4 4

2 2

::

::

::

1 I

:: :: :: ::
I

-~.~--~.~.

4 3 4 3

2 I 2 I

2 I

::

I 2 I ::

1 2 I

::

1 ::

::

::

-I 3

.i

343

343'

343

I 2

I 2 I 2

1-+.

34343434

1\

I~

~=- -~TI?Eff~

343434

I 2 I 2 I 2 I

2 2 2 2 2 2 2

:34343434134343434

2 I

::

itjiJ ili JgjljiJ JJis JJi

3 4 3 4 3 4

4 4 4 4 444 4
3
333333

3333333

.
L

!..J

!..J

1 2

I 2

L.-J

::

......

I '

II

. .

4 3

, - -..

--

vw

4 3

I>~

3 4

'*:;

'II
3 -I

1"...0

......

I 2

1 2

......

~ ~

I:-J,

~I

.1\

1>-.'
3

4~ ~

~,

~,

4-r!<i' . .--.r-. .

-l

.....
2

::

::

I...,J

I...,J

"""-I

:: 1

:: I

1
I

.. ..

v"

3
-ll'

~.'

- -

1"...0

-I

.
4

-I

4 3

VW

'*3 -I

4 3

\,;

5 Minute Timpani Warm-up

legato

legato

ffJ5F. r

Timpani
8

Timp.

f)=

legato

f r r F :11 j j j rj rErI rj rErr j Fit t t t t t t t 11:2 CECcr' I

13

Timp.

2: CUfr'

I CfUJ. I CfUJ. FJJJJJJJJr I JJJJJJJJr

:1

18

Timp_

2: II: CjjjjCr'

I jjjjjEr-

22
Timp.

9:

I jjjjjEjjjjjEr . I CjjjjrjjjjjCr

6
6

JJJJJJJJJJJJr

6
6

6
6

I JJJJJJJJJJJJr

I Cjjjjcjjjjjrjjjjrrr I
666

25
Timp.

:r jjjjjCjCjjjCjCjjjCf qcrcrrcrjrrrrCCrr . I rrrrrrrCcrrcrrrcf4


:111:

666

28

Timp_

2:

j555J55Jrrrcrrrrr

I JJJJJ5JJrrrcrrrrr

. . :frrrcrrrrJ55JJ55JJ g

31

35

39

nmp.

2:
47

58

HJHJIHJHJIHJSli-'tQl@flIEUCUlr JIM

Hand Drumming Basic Rhythms for Daily Practice


Arabic
magsuum 4/4
1-+-2 + 3 +
D-T-_T-D- T
D-T-kkT-D-kkT-kk
D-S-tkS-D-tkS-tk

baladii 4/4
1-+-2-+-3-+-4-+-1
D-D-_T-D- __T- __ I basic form
D-D-tkT-D-tkT-tkl filled
D-D-t-S-D-t-S-tkl"Egyptian Classical"

walking maqsuum 4/4


1-+-2-+-3-+-4-+ I
D-T-k-T-D-k-T---I 1
D-T-k-T-D-k-T-tkl with the bridge

sayyidii 4/4
1-+-2-+-3-+-4-+-1
D-T-_D-D-__T- __ I
D-T-tkD-D-tkT-tk!
T-T-tkD-D-tkT-tk! after 1st measure
D-tk-kD-D-tkT-tkl syncopated at the beginning
DkS-kkDDD-tkS-tkl syncopated with 3 DUMs
sombati 4/4
1-+-2-+-3-+-4-+
D-_T-T-D-_T
D-_kTkT-D-kkT-tk

falaahii 2/4
1-+-2-+-1
Dk-kD-k-i
DtktDktk/
DgkgDkgkl

ayyuub 2/4

1-+-2-+-1
D--kD-T-1

D-kkD-S-1
DktkDtktl

bayou 2/4
1-+-2 +-1
D--DD-T-I
D-kDD-s-1
rumbaa/rhumba 2/4
1-+-2-+-3-+-4-+
D---_.__T---D--
D-tkt-K-T-K-D-k
Afro-Cuban

RI Ii hard

Left h<lnd

s
h

Truchorto@

Basic tumbao pattern

Ih

It

rs

Ii

Ih

It

II:t n B B

ra

It

f] I

Ih

It

rs

It

Ih

It

ro

ro

nB B n

:11

Basic 6/8 tumbao pattern

Ih

I.

rs

It

ro

ro

II:; J J J J JJ

Ih

It

rs

It

ro

ro

J J J J J J

:11

Tumbao "a caballo"

rs

11:2

It

rt

Ih

It

rs

ro

Ih

rs

It

rt

Ih

It

rs

ro

Ih

n n n n Inn n n

Samba pattern

Ih

rs

10

ro

ro

10 ro

10 ro

Ih

ri

Ii

ro

Ii

IQ

ro

ro

10 ro

Rumba guaguanco pattern

rs

Is

r1

Ii

ro

ro

Ii

roo

Is

IQ ro

:11

Bass Drum

Etude for Solo Bass Drum


I

Moderato (from afar)


_n_4~
~,
~
.~.
~
Bass Drum
;1T4~~~~~ i ~ . i ~. "1
II
(normal
mallet)
ppp
crescendo poco a poco
I

----+-------s7~(-- -1-------7/.---t-----.;,.y-;-.
. f
I

I
I
I
.
I
I

~ ~ l.J~~ - ....
"'-rBJ---<ds>-
I
o.Jritardando
poco a pocb .......... .

II

Siwe

f.-\

--

. !

' ------<1.11'-

>

II
II
II
II

>

mp

!I

JJ I

crescendo poco a poco

(leeel. . . . . . . . . .

---.cj

Allcgro.J.!:ls.
normal mallet).

-
n

>

0D ~.~_----. -----+-!........

:---l-D--.Lr:-J IJ IJJ J~

24

I Ii n
If.
"
I

:-i n
.--.J-.
.I

sempre staccato

(normal)

(shaft on rim)

lJ
IJ-tD---*:J--O~
07np dim...............
p

33

-----.-.)(---..--.~
din1. ............. .

/iloilO ril

)(:-]

I!.

. L. V.

fb.; Media Press, Inc.

(72)

~~-----i-I'-

137

Percussion: A Course of Study for the Future Band and Orchestra Director

Etude for Tan1bourine


~,

Tambourine

-Slow and Stately


>
>
> > >

> >

Siwe

o~ II: j -i---1J-1-1-1--1jJJ JJ j

>

>

>

tDJJ-l--ti-l-1

ff
6>

> > >

oj

> > >

> > >

> > > -

(
,

n J 1 tD l~n 1---1-. J A)J--+--fJ--:aU~:nUI


,

>

:f
>

,-,~'

~'

l 1,'1

>

Allegro.
'~,. / ' >

mf

lD

.'

Om J ill J ~jJlI:n~r]! .mlfflImJ ~lJ==--====J.. .J. I


m
J J!'-'I""'J

~-==--=:::-=-===--

mf

rit.

Moderato
14

rnrnrn 1:]\ DJ

pp

JJ~ +JjJ-J)) ~51-JjJ


__ ' 'f

18

~j JmnIJJJJnJJtJ!D~lj

t li 1

jJ'

-f}

n j ~-,. .J. ._J'----H:


> >

>

> > >


JII'---JfII-'

> >

l.r:mJ
>

>

>

ff

(133)

>

i j .J-4-i

I;

DJ.--1L-,--L---tl-- ____
J--I-J
I

>

J]j J

>

Media Press, Inc.

162

Tempol'rimo
><:

23> > >

>

c
a

accel. poco a poco

}~I

I:

It
G

I
I

Percussion: A Course of Study for the Future Band and Orchestra Director

Embellishments

with metronome

O!II:J

Base

Side/Base

. I

.t ~-+~-~-L..J---~jJr':~-----JLJ-1

IJ

)rj

"1

Iv

a
c

~
I

['.

r:
c
t:

~-nJ-+--J
B
B/S/B
( } ) with metronome

>

-8-I1:J-.-m~ j
Base

S-B-S

Base

:11

3>

>

Jr---m~! j

>

>

mj~',-m~1

Jjj~.
I,

$-B-S

I:

r:
E
~

-=

I:

Etude for Triangle

I;
I;

oJIJ

>

JIJ tID):] \j:nJ:1jl-;--rJ---~--'f-.tl-I~J:-j)ftj)J 1


ifz

mp

oj
f

J;

J J~

~---=

>

V----llntl~~-}-j
.. " .'f

~ ____ ~

Media Press. Inc.


156

(1

"1

:11

II;

It

Percussion: A Course of Study for the future Band and Orchestra Director

Siwe

Etude for Solo Cymbals


Slow Waltz Tempo

-;0.

scrape
~

scrape

normal

I~

:~

I
I

~I
~.

mp
(dampen on rests)

normal

10

til

normal

normal

I
I
I
I
IJ

m
I;

secco

21

iJ J~,

'1

I;:

-f!.

31

-a-lJ-J--1~--~ IJr:'

+....
--+J. c='

----====-...;.~

--

142

Media Press, Inc


(87)

normal

Crash Cymbals

Cym bal Routine

W. Lee Vinson
2/06

Play 5 rcpitions of this pa~c III ditlcrcnt points

c. 112

(d

pp

the di.1Y

Exercise 1
c.56)

mp

.IT

[hroll~hollt

mf

Exercise 2

.IT

mf

pp

Scale Exercises

II \'~J J ji~~lJ ~ j
iii

tJ j ] fa ~ 0 ttJ nitoJ
41

etc.

I
~mm~~~am~~~ml
4 Repetitions 0-2-3)

Stickings

L R R or L L R or Alternate

).

I' W}3JWWI t:ffcU ttrttrItUaftUtU t:6eUeUr- I I


l

I' trEf!ctFctFl Jl]Jl]J)JJ)J1 ;QJJlfflffll ffllDJJJlDl


R L L or R R L or Alternate

""'"

I' JJJ;WDJ;WI ~ J)JJJJJijJjj i~2 Repetitions

I
I
I~ I
I

I' eta J i=a 9 IfJ 3 fJ:J ItS J fJ 9 I;J] ;J 3 I


simile

I' 3 J f JJ I(Fj

( F;1 1Gb r Gj r

Ir: r;1 r-

II ).

I~ eo r- (r--" IiJ ~ i 39 IfJ ~ fJ ~ Iill 3 f3 ~ I I

-:t

-:t

I' ~ 3j J 3j IfJ 1 fJ 11 J 11 J 1j Iil11

II~ I

I,~ ta J I tJ:J Ina I j]] ID J I[u IGji I r

I
I I

I' eo tr Ii3 J IfJ a Inn IJ Jj Ifj 11 J 1111

II I

1 Repetition

simile

Use same stickings with Triad (1-3-5)

I~ 1

J
42

Ii

J J

t
II \,

Inversions

: 16 i [J Jj 11 fa iJ j1 Dn166 rl 56 r1 ariel Ell

I 16 b[~tfctCH!a&1 JjnJjJ]!JJQlJijl&
I

3
: ) 1* {J Ja D3~ 66 rJ ~J WI f bsf ~ bbf JJ J lOa Ii

Sevenths

1*
!
t
j
j

Ma.7

I,

Dom.7

I~,

mi.7

=I

A rpeggiation;..

I~~'

half dim.7

('-

~ t.

I~i

full dim.7

added 6

'"

6f:J j;; n JJI i1 jJ ~r at Ik L 5J n S111 J

Inversions

16 IS j ) J 016 [ hJ ~ t r:f Ib r ri (8
:) 16 EACE Cf r t IGr Fl bEE; Ifa JJ$
t

II

43

II

II

Interval Exercises
,...

4 Repetitions

If)

-4P.. 4-4-4

....

,....

P-"

,.... ,....

-.:
I.a

--

I~ Bf Sf UUIg; g Ef Ef Ii

...J

io-

...... ..

----.

... ...

io-

--

III

i31311 fl :] i3ii~ II

2 Repetitions

II

u6' Ifi fl fil jl II

I~ 13 fl fl fi IUUUUIUU
Single Attacks

n u U 10 0 A fill

l~i9
I~

Chromatic

..

hl:j oj IWig f!f~@C lit' b9 IE mI: I:

Intervals

I~ i J Ii
P5

P4

Ma.3

d Iq 14 lid

Ma.6

Variations

mi.3

1 d I i , II.

mi.6 Octave Tritone Ma.2 mi.2

MfJ etc"IWWm

I~ , . etc" I
I~
,...
If)

etc

Ma.7

mi.7

IB_ etcil

Exercise 1

nij nij Inn nUl aUaUIEf f1 Ii ijll i


Exercise 2

3
.........

3
'i

..
3

II

TI
.:;;'

44

,.

,.

TI=

Roll Exercises

',- )

Roll & Connect All Notes

I; iii

11 #1 11 i I) ~b fit ~ It! I1,1 II'c,;

Roll & Connect All Notes

Roll & Connect All Notes

etc.

!) l,eilfl/lIF! I;: I~; Iff I~, If?1


.. I' r
~

f I~

~ I~ ~ I~ ~ I~ ~ I~ ~ I ~ ~. I*rl

Smooth & Connected

I;' 1 It

I': f

1
t

t
1

II
Ii
t

1.:::::
::;;.

:::::

I ii
e-

1\

Smooth & Connected

.. 1'1 I 15 i
(

I~ i

II
II

45

If I II

II

Velocity & Motion

/I

j ;

Velocity & Motion

f~)

JJllJiU ItljiJjjll tJH In] In Jh J JJ

fj JJ ~ j JJib r j1 br t! I bert ; [ell (r rr Sf rt

. 1'# !

,#

II
II

similar stickings

luuur

cont.

I~ J~~)Jj1JJjl1 JJ#1IJ'- I~JDJj_J Ilaa J I

similar stickings

cont.

II

similar stickinss

47

Neighbor & Grace Notes

'ftl!illSJjlSnJ'HrJl ar[;ng1Zl~lHlll!

fm JllB n 1i!J:l [r;h3 nlit DD,rE nIdU J3,!J1 n

II
II

t,

1,

l~,tn nlla Ef ~B Bla alitEr Etta Ef I~tr g r * I

'~qJ W a:J j Ir-n aJtj JJJIt; an~J JJJ1P3 aJt;8 J) I :

I~t'Jj Elf! U ltel Btr bit

15 uf FEr lu bit r * '"

nfJ a I ~ nnto ~ 1M nn Ef a I
I~mn at ~ Ira J@ a odllrlct g ij F 1>1 a 5# tr n

I'~1ii

n~)J

11&0

-II

tt a F ~ lpil E! J) F j Iftn' Crt B rF1mU & r FI J


I,EU B r rI~U& r r{flUtE rf t?ftcr f I J

I,,.,

50

Rag Studies

- ~)

If! niipi

II
..

(G.H. Green)

Ifl 1a'p-3 In'fiflJ Inilw! I'J

If fj J ~ 13 j InJS In In 11 fj it In JiF d j ,
IfAJjrsJ I1JRJJ~ ItJijpj I{JAn,
l~iJn~J

IfJapo

11J~fl~

48

Ij

,I

11#

II

I
t
t

Rag Studies

(G.H. Green)

3)

I,e J.#jfl#l~I.D#;Pt!rtIF #i i IUi tJr'c~

I~ nle~Jalzl)ij3.~jjhjhJl---31 ; ; !ait
j

t~ J ~J. #0 J. ~ ii 1V j in @ r :1 t Ii i t ~

a r rt Ir trE1~azt= )v ~J. ~a ~S-.i;: ~

I~j
t

drm Jl

~ iii JiiWJ,iai Jjll;J Ir ~.


4)

11#'#

I'#I~
~

:H ~ -

cattljtttJttfrinf g A Ii

I
3

.. I~il~ LtUG}CJ411u ca InaClC8~E1~tJl

: 1,-11 E fC g!C =j t!t" Jf6rCUI#f g f f


II

# .0..
I~ II :

..

ul '

II I"
iii

I(:If l(ar 11 (;;f llU COf I


3

.t:frj2

f!:13

roDa uuCt~ j mnc:J LUUd ~ II


49

Basic Blues and Jazz Info


Blues Progressions (play 4 beats to each measure)

1) I I I I IV IV I I V IV I I

2) I IV I I IV IV I I V IV I V

Modes
Ionian -- Major Scale
Dorian - b3 and b 7
Phrygian b2, b3, b6, b7
Lydian- bS
Mixolydian - b7
Aeolian - b3, b6, b7
Locrian - b2, b3, bS, b6, b7

Piano Scales Chart


Chart excerpted from Basic t'v1usicianship
From the Root of C

SCALES
Chromatic

C Db D Eb E F Gb G Ab A Bb B C
R b2

b3

Spanish 8 Tone

R b2

Flamenco

R b2

b
3
b
3

Symmetrical

R b"'...)

b3

Dimhushed

Whole Tone

Augmented
3 semitone
4 semitone

SCALES

'"

4
3

b
S

b
3
b
3

4 bS
4 bS

b6
b
6
b
6

Os

bS

b7

7
7

b7

8
8

6
b6

6
b
6

b
S

b7

C Db D Eb E F Gb G Ab A Bb B C

Ultra Locrian

bS

Super Locrian

b3

.,

Indian

R b2

b
3

Locrian

R b2

b6
b
6

4 bS

6
b7

b6

b7

b6

b3
b3

Phrygian

R b2

Neapolitan Minor

R b2

Javanese

R b2

Neapolitan Major

R b2

b)
b3

Todi (Indian)

R b2

b3

Persian

R b2

4
4

6 b7

hS

"

,)

Phrygian Major

3 4

Double Harmonic

R b2

3 4

Marva (Indian)
Enigmatic

SCALES

2
b
R 2
R

7 8
6

bS

7
b7

7 8

7 8
b7

b6
S b6
S b6

b3

Natural Minor

Harmonic Minor

Dorian
Melodic Minor (Ase)

bS

bS

b3

Hungarian Minor

2 b3

Romanian

b)

S
S

7 8

b7
b7

7 8
b7

b6
S b6

7 8
b7

7 8
6 b7

C Db D Eb E F Gb G Ab A Db D C

Locrian Major

3 4

Hindu

3 4

Ethiopian

,)

'"

Mixolydian

Major

,)

b6
S b6
S b6

" 4

3 4

Harmonic Major

3 4

Lydian Minor

bS

Lydian Dominant

bS

Lydian

')
"'-

bS

bS

b7
b7

b6

6 b7
6
b7
6 b7
6

b6

8
8

7 8
6 b7

b6
b6

Mixolydian Augmented

Lydian Augmented

7 8

S b6
S b6

bS

7 8

b6

2 b3
2 b)
b",
2 ,)
2 b)

SCALES

7 8

b6

C Db D Eb E F Gb G Ab A Bb B C

Locrian Natural 2nd

Hungarian Gypsy

b
3 4 S

Oriental

b7

b6
S b6
5

6 b7

7 8
8

7 8
8
8

7 8
8

Leading Whole Tone

Rock 'n Roll

Hungarian Major

2
b3
b3

SCALES

bS

b3
b3

Iwato (Japanese)

R b2

Japanese

R b2

Hirajoshi (Japanese)

Pentatonic Major

Egyptian

7 8

6 b7
6 b7

S
S

Ab A Db D C
8

b7
b7

bS

8
8

b7
b7

6
b6

b6

bS

b3

b7

b3

Chinese

Db D Eb E F Gb G

Pelog (Balinese)

Pentatonic Minor

3 4

R b2
R b2

Balinese

b6

8
8

7 8

Chart of Jazz Chords


Chart excerpted from Basic MusicianshiQ
From the Root of C
Major

Abr

C Db D Eb E

Gb G Ab

6th

6th add 9th

6add 9

6th flatS add 9th

6(_5) add 9

7th

7th flat 5th

7(-5)

7th flat 9th

7(-9)

7th flat 5th flat 9th

7(-S-9)

R b9
R b9

9th

11 th

11

13th

13

Maj 7th

M7

Maj 9th

M9

bS

"

Db D

6
S

b7
b7

b7
b7

3 11

b7
b7

11

13 ~

bS
b5

Maj 11th

MIl

11

Maj 13th

M13

11

13

C Db D Eb E

Gb G Ab

Db B

Abr

Minor

b3

m7(-5)

b".J

min 9th

m9

b3

min 11th

mll

b3

min 13th

m13

minMaj 7th

m(+7)

min Maj 9th

m9(+7)

min 6th

m6

min 6th add 9th

m6 add 9

min 7th

m7

min 7th flat 5th

Augmented

Abr

b
7

7
5

b7

11

b7

tl

13

b"j

b
3

C Db D Eb E

Gb G G#
#5

Db D

aug

7th aug

7+

#
5

7th aug flat 9th

7+(-9)

R b9

#5

7
b
7

9th aug

9+

#5

b7

Diminished

Abr

C Db D Eb E
b3

half dim

dim

C Db D Eb E

6th sus 4th

Abr
6 sus 4

6th sus 4th add 9th

6sus4add9

7th sus 4th

7sus 4

9th sus 4th

sus
9 4

Suspended

Maj 7th sus 4th


Maj 9th sus 4th

sus

M7 4
M9sus 4

Gb G Ab

Bb D
b7

Gb G Ab

Db B

Bass Clef Instruments

Improvisation
The Blues in F (concert pitch)

Vandermeer
---SP"-f'69l6--

Overview:

The blues is one of the most common forms in jazz, along with the 32-bar song fonn. It is a simple
and malleable form upon the framework of which infinite formal and harmonic vatiations can be
conceived. For educators, It provides an extremely approachable platform to learn improvisation,
even for very young students that are just learnmg to play their instrument. It is also an excellent
tool for teaching composition. The key of 'F' is the most common in the idiom of jazz.

Lesson 1: The Chords


The blues is unique in that its tonality is based upon a dominant harmony rather than a major or

minor modes that we are accustomed to. The most simple blues progression since its codification

in the standart 12-measure form is made up of only three chords: I, IV, and V. The chords in the

ninth and tenth measures of the blues occur regularly in several different configurations, either:

V - V, V - IV, or IV - V, so pick \vhichever you like, For our purposes, we will use V for both.

Below are the basic chord changes (harmonic progression) to the blues in F. In the corresponding

measures, I have place both the chord tones and the scale from which it is derived (mixolydian).

F7

B~7

9: 110

ItU

F7

1b

B~7

9: fU

F7

Itu

C7

,: n
~

1110
F7

IO

1110

Lesson 2: The Scales


a) Horizontal Scales: Minor Pentatonic, The Blues, Tonic Dorian
b) Vertical Scales: Mixolydian, Dominant Bebop, and many more ad\'anced scales for substitution
HORIZONTAL SCALES are scales that can be played over the entire form of the blues, the notes

of which remain unchanged even when the harmonies change. These scales are a great way to get

students to improvise for the first time and have them sound good. Belo\\' are three scales that are

horizontal over the standard 12-bar blues progression:

11

Minor Pentatonic

Blues

Dorian

~: J .j d J Or E IJ ~j d ~J J I'm E IJ J oj ~J J F br E I

Bass Clef Instruments

Blues in F

VERTI CAL SCALES are scales that correspond to a particular harmony, and therefore must
be changed when the chord changes. The mixolydian scale (5th mode of major) IS the basic
seale-from which the dominant Goord IS den ved. Remember that in the basic bLues, all . . . u,.J1.u,,~____~~_
are of dominant quality. Below is the mixolydian scale that corresponds to the three chords
of the blues.

F Mixolydian (played on 8)

2: J J J d J F~r

Bb Mi\.olydian (Bb7)

C Mi\.olydian (C7)

rid J Ff'r r ror r IJ F r r r For r I ~


I

Lesson 3: Tunes
"Sonnymoon for Two", by the prolific tenor saxophonist Sonny Rollins, is made up of a single
repeated riff. The melody is a descending minor pentatonic scale (hOlizontal). Typically this
melody (or "head" in jazz terms) is played twice, then followed by the solo section, and completed
with the melody, again, twice through.

Bh

F7

9:, F Izr J I~J 11 3

C7

F7

Lesson 4: Practice Tips


1. Keep it SIMPLE! Limit students to only the usc of the minor pentatonic scale at first.
These barriers ,\ill ensure that they understand the sound of the 5 notes they are playing.
Giving a student too many options for pitches to play will not allow them to develop
a plan of attack or a cohesi\'eness in their playing.

2. Use Play-alongs. I recommend Jamey Aebersold's "Nothing But The Blues".


3. Listen, Listen, Listen. Jazz is a different language from the European-based language
of the concert band and orchestra. This is analogous to a to how a person from the '-'
Southern US will sound dilTerent from a British person, who will sound still different
from an Indian or Ne\v Zealandcr despite that thc\' are all speaking English.

Four Mallet Warm-Up Sequence

c. Plsarra

)=KXL200

2 2
I I

4 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3

4 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3

4 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3

2
I

4 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3

4 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3

2 2 2
I I I

I 2 I 2 I 2 I 2
II

-.I

I 2

4343434

121212121212

. . . . . . . .

V.

3 4 3 4 343 4

3 4 3 4 3 434

4 4 4 4 4 4 4 4
3 3 3 3 3 3 3 3

343434341

~~

~~

I 2 I 2 I 2 I 2

I 2 I 2 1 2 I 2

p! 4!

! 2

L.J

I..,.J

! 2

4 3

..

--.

3 4 3

'. -.-

343

L,..l
I 2

. .

t!

4 3

V"

4 3

"~

...
t!

-,{

II

3 4

I--'

......

.....

I...J

I 2

I 2

~ "'t

-.
3

43

I 2

I 2

--.

4 3

......

3 4

II

lin

..,;

II II
4

2 I

.
3

43

43

'

3 4

....
443

I...J

I...J

2 I

2 I

2 I

..

I 2

.
3

-
2

v.

..
4

......
I
I

I.~

I 2

P!'

.. ..

L
I--'

4 3 4 3 4

4 3

43

..

2 I 2 I 2 ! 2

L,..l
I 2

I 2

-'. .

4 4

...

I 2

2 I 2 I 2 I 2

.. ..

1'

4343434

I
L.J

! 4!

! 4!

4343434

"
~ 4!

--""""I

t!

2
I

2 2 2
I I I

34343434

2
I

2
1 I

2
1

2 I

General Principles of Mallet-Technique


Movement, Shifting, Accuracy & Power Strokes
By Nebojsa Jovan Zivkovic

WHYa/l this?
In recent years, the demands on keyboard percussion instrument player in the wind band has
increased enormously. Not only in a solo literature, but also in a band. Often, players are required to
perform parts with 4 mallets, usually it is a mixture of chords and melodic passages. As a result, we
have a situation nowadays where even a younger mallet player in band's percussion section is
expected to master 4-mallet-grip and be accurate in chords changes and melodic lines. To achieve
this, it is important to have a powerful and controlled stroke which enable us to come "trough" the band
well and at the same time to hit the right notes. Several aspects are to be observed in order to reach
that goal. Since this flyer offer relatively limited space I will try to go straight to the pOint. I have tried to
select exercises so that they give you a sense of the whole power-control-accuracy IDEA, but please
keep in mind those are only just a few from over 50 exercises which deals with different performing
problems like those mentioned.

Instrument height, movement and mallets choice


Do take a moment to really determinate WHAT is your most comfortable playing height. Since players
often change during the rehearsals most of us simply leave the instrument at its given height and play.
My "recipe" for determining a proper height is: take one mallet in each hand. When angle upper-arm &
elbow is slightly OVER 90, when your hand wrist (hand back) is EVEN with a forearm, and the mallet
you are holding is straight PROLONGA TION of the forearm, THAN the "white" keyboard should be
about 2 inches below the mallet head. (if this sounds crazy, read once more, it is actually VERY precise
description @ .) So make sure to use blocks, or simply adjust a height of the instrument before you
start playing.
MOVEMENT is another important issue: do not move more than necessary, neither your body, nor arms
and do not even think of ''walking left & right" behind the marimba. Yes, you should be relaxed, yes,
you should be smOoth and like a "cat", but all this with minimum motion necessary. Arm and upper
torso movement, with eventually some body shifting (where needed) are in generally enough to cover
most of the keyboard. Steps (walking) are of course necessary, but this subject needs a separate
sheet to be discussed properly, since it is very important issue in a solo performance on a large
instruments.
MALLET CHOICE is another very important issue. Do not mix the sound idea of solo performance with
the sound needed when playing in a wind band or orchestra... Be aware that not only a hardness of
the head but also a WEIGHT of the mallet head does influence the projection of your sound (and its
fundamental tone) through the whole band into the audience. In order to really get a full sound and
required dynamic level from your instrument you must have a bit heavier mallets. I would say around
38-46 grams per mallet. Go for a slightly bigger and harder heads than you normally would take. This
will also help you to remain relaxed while performing, since you will not necessarily try to compensate a
softness of the mallet by beating harder the keyboard. Also in piano passages you will easier get sound
"out" of the instrument.

Accuracyand Power Strokes


Controlling a way of each SINGLE stroke, while HOLDING 4 mallets can be a difficult task. Especially a
fast "switching" between chords and sudden SINGLE lines requires also some mental exercise, which
should result in ability to easily switch on and off the mallets you currently use or not use. RULE:

unused mallet should not move much, but "hang loose" (note: hang loose does not mean fly
uncontrolled all over the keyboard). Some fundamental exercises for that problem are listed below.
Ability to hit strongly without going too high with your arm is another very useful technique. You should
practice this what I call "power-kicks" using only your WRIST, in many different ways they may appear.
(single lines only, changes between chords and melodic lines, double vertical strokes in one and both
hands, and all that also in connection with changing intervals) In generally POWER-KICK could be
described as sudden strong TWISTING of the wrist while mallet shaft is hold tight so that even the
smallest motion of the hand is distributed straight to the mallet HEAD without being "softened" at the
connection point mallet shaft & fingers. Hands are low over the keyboard and anns are almost not
moving. It is like knocking at the door VERY strongly by holding a hand max. 2 inches away and NOT
moving foreann. You get it?? Keep knocking until someone open the door !!
I have selected several exercises from my mallets technique book, which I hope you will find useful for
improving the tasks mentioned above. Of course, along with these, you should also pick up some
pieces for Marimba, Vibes or Xylophone which concretely deals with one or more of the problems we
are speaking about. My students had a big USEFULL fun, with all of the solo pieces from the "FUNNY
MALLETS SERIES". Make sure to check those books and pick up the best pieces that fit your needs
along with technical stuff you do, otherwise you may not experience the direct application of the things
you practice. I recommend strongly my European bestseller book "Funny Marimba 1" or "Funny
Vibraphone1" each containing 10 solo pieces for 4 mallets beginner to intennediate level.

EXERCISES
The following exercises will help you to get a fine preCision movement under control. They all practice
only ONE mallet at the time, you should however, hold 4 mallets when playing them. Transpose all
exercises in all 12 keys. The mallets are numbered 1-2 3-4 from left to right. Exercises #1 to #3 are
developing control of the mallets 2 (inside left hand) and 4 (outside right hand). Make sure to start slow,
than speed up with controlled motion. Think of "Kicks" and let unused mallet hang freely while the
perfonning mallet is tight, strong and accurate. Note that you are practicing 3 different motions of the
mallet: #1 is jumping zigzag, #2 is smoothly curved line and #3 is triple stroke in up and down motion.
You will also notice how tricky it is to switch unused mallets on and of f only for ONE single stroke on
the beginning of each exercise. REMEMBER: L.H. PLAY ALWAYS ava LOWER!!

Ex. 1 Start at J 80 Good tempo is J 148

".;"

-- - I

~
j

c1

ill

r.h.3
I,h. 1

I"'"

....

....-

I"'"

- -

Ex. 2

'J
r.h.3
l.h.1

J J
J E F f r [ [ [ r F E f r f r II

4
2

4 4 4

2 2 2

4 etc.
2 etc.

Ex. 3 Start at J = 80 Good tempo is


~

.I

...

..,.j

J ~

4l>4
r.h.3

-4 4

4
2

I.h. 1

r.

2 2 2

J = 120
_

.
r-

.......

Iiiiiii:::L

. - - ::r:
-.

,.,

~t~.
et~.

Now we have a similar exercises but this time working on mallets 1 (I. h. outside)

and 3 (r. h. inside). Transpose them in all 12 keys, and keep the strong and controlled "kick".

Ex. 4 Start at J 80 Good tempo is .,j

,! ~
3
1

r.h.4
I.h.2

=148

3 J J

3
1

J J J f 3

II

3 etc.
1 etc.

Ex. 5

r.h.4
I.h.2

3 3 3 3 3
11111

3
1

Ex. 6 Start at J

'f
r.h. 4
I.h. 2

]
3
1

=80

Good tempo is

3 etc.
1 etc.

J =120

J~O

J Jj

J eJ J

3 3
1 1

3
1

3 etc.

3 3
1 1

ill

II

1 etc.

Make sure to hit all notes correctly, and to really start feeling that every single mallet is under control.
Do not underestimate those exercises, they do have very useful application in a real performance
situation.

Exercise that follows is "NJZ-ALL-IN" exercise which is one of my favorites. It COMBINES single
independent, alternating, and double vertical strokes! Practice each hand separately and transpose it in
all 12 keys. Keep it in FORTE so you practice endurance and power at the same time. Start slow and
speed up, to MAXIMUM ~ 108-112. Good luck with this one.

Ex. #7 "NJZ-ALL-IN"
r.n.

r.h. 4 3 4 3 4 3 4 3

4 3 3 3 4 3 3 3

I.h. 21 1 "

Ih 2 1 2 1 2 1 2 1

1 11

. .

~1jJtnilcwJrr;Crbfbf4J]'fJw&rr

rn
~dffe_alrfdflw ffllWWmfflg I

3,

r- 3 ::l

L j:-J L j-.l

Let us stay for a moment with each hand separately, but use double vertical strokes and changing
intervals. In ex. below it is 5 to 3 change. You should also practice it by replacing the fifth with the
OCTAVE and than, also by replacing a third with an octave. The rhythm is chosen to always allow you
one 16th break before changing the interval. Play L.H. an octave lower. Start slow and be clean in
notes and Rhythm. Speed up to J 120 m.m

Ex.S

When you became familiar with this pattern, you may want to go a step further and combine it in both
hands. Sudden cross-switch of rhythm after 2nd measure is good brain exercises too. In this one, you
also may try to replace the fifth with the octave.

Ex.9

I hope, after a couple of weeks of daily practice, you will feel how helpful those short but tricky
exercises are for your chops and your ability to control each of your 4 mallets. They will provide you
with necessary sensitivity but also with controlled power when needed. They are mostly targeting two
or more technical problems at once. Some are also very suitable for the concert artist when only a
limited time is available to warm up. And at the end, - do not forget: pieces, exercises, what ever, - you
should have pleasure when dOing it.

Expansion Exercises
Hands separiltely, then together.

Vilry speed ilnd number of repetitions.

1) Inside Mallets: Uniform Technique, Contrary Motion

~
~

tJ

W
2)
~

........ ffi

.. ~ .... 1Ir-1I ... ""II

- - - ...
~

I"'-

I- it

..

"..,..

..

".

..

"..,..

"..".

- -

....

.-

etc...

I"'-

...

1-.. ,.. ,.. ". ".

. - -

::. ::.

- ... -.... - - - -- - - -

Outside Mallets: Uniform Technique, Contrary Motion

...

-- -- ... ... ... -- ,...-- - --

tJ

.-

..

"..,..,..

........... . ...
etc...

.. "..

"."..
~

3) Inside Mallets: Opposite Technique, Parallel Motion

4)
~

"

tJ

.............. 4

1'~

- -

Outside Mallets: Opposite Technique, ParalIel Motion

- .... -- ...

I"'-'

4 .... 4 .. 4 ......

- ..

....

- ... - -

....

.. 4 .... ..........

- .. ...

"
~

.. .. .. 14 .."
...
~

......
etc...

-------

oA

- - - -

Right Hand Lead

Practiced all
exercises in an
interlocked fashion
at roll speed.

...

............ 4

- - J

... ..
... . . ..

Left Hand Lead

....

"II

"II

...

52

11

...

.Motion
,.,"Claw"
-

II
II

II

'.-.-

II

Expansion Exercises
- hnnds septlr<lklv. first
,....
.-~

----

.....

--

...-~

'\: cJ

~
I

,... nJ1
....
~~

. ...
...
--,...

'f5"

;;
..;J

;1

..

jIi,~-

,..

J nn~ f
.~

'

"

"C a t erpl'11"
ar M
fA
o lOn
- t fIrst, p Iay one han d at a time t hen toge! her, ~ oct:ve

I"'"'"

~".."..

--

-- --

!l"-

41'" 41'" . . . .

...

" "" "

......

tr rru iCJ

L..J

(continue descending) .

Hands seperate at first - then together, one octave apart.

lilliflRjllPJl'-'IMIIaI M~!I
1$ tmMI &mool-mOOIIJlOOIIJOOltlgaO;:1

I''';piJII fIJI Snl aa ~al pal_I


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l$n"lJJ?1 ,:e-I ~jJ_l_nl ~~I-?!91

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1m_IJffltmlmJmoi tl#J~lj:l

53

Cymbal Crash Rudiments

(alIa Chris Lamb)

1.0

t.

;1

';',

Ir

Dn
4

10

", 8

10

f'

12

Ir

10

~~

If
' 13

Ir

f'

16

LJ-f'

10

20

TD'f f
17

Ir::r~ f

Ir r -

lr

21

ILf f

18

~'1-

15

I LJ~r -

Itr ~ -

Itr r

11

1~p'1-

22

r-

I~
18

~ 7 ~

Ir

14

\0 ~

I~
7

10

Ir

19

23

Itr~-

tr "
Ie r r r r ID'fD'ID'ID'II'Ir r r DI'ID'fD'ID'IDI
24

25

28

29

26

27

30

31

trr trr ILfD'ItrD'IltrLftrtrlr F r

18

32

33

34

Perform at various tempi & dynamics.

Muffle on rests.

65

".'

35

f I

J~ fiR
!H(

...J

dLlc

~
I

..[i "'J er

.' =l.t"

'-"17

""-d~~C"

7,..

J;:

13tl

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tfL .fl/If4,yt"rJ

J! j J I) j J J i ./J.JJ :11

n I JJJ
JTI jlj JJ n (n j

i JJ J .J J/,8 JJJ / Jn J
f'~

,...,h

f ; J -',I ;

(j)

,...,Jl

1/

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i
"

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fI(iJ;

JJJ JJ I .I]) J] I ill JTI I J]) J II

~t

--=:::::

J.:t S"~ @J JJ J .1/ ,I 7"} J I IJ j J Jl J J I


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R LRL

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Snare Drum

Soft Ruff Exercises

W. Lee Vinson

These exercises are somewhat improvisatory with the exception of the lastlinc. The first pattern on each line is used more as a point of

departure for the specified amount of time. Practice with a stopwatch and a metronome. This routine will take 20 minutes to complete.

J= 120
(2 minutes)

Ilill:B

B 1m l n B

;mIlA ImA 1m:1I

RLRLRLRRLL

pp

RLLR

(2 minutes)
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II

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R I.RL RI.R I.RI.RRI.I.

RI.I.R

(The Three Camps)

(4 minutes)

11111: JWJWJWJJJJJJ I1 JWJJJJJJJWJJJffl I JWJmJW:J!91


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RRI.L

(2 minutes)

.I

lIill;n n

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JmJmJmJm:11

.J

mila FWn .r:iW:11

RLRLRLRRLI.R

(J = J.)
II

(2 minutes)

.I

WII; IJJ IJJ IJJ J Jno/1m J Jnom J Jm:1I


RLRRLRRLRRLRLL R

J J

(2 minutes)

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R L R L R L R LRLL

(2 minutes)

II

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ill: JW JW JIE JW IJW JIE JIE JW :11


R L L R etc.

R L L R etc.

-=::::::::::-=::::::::::-.:::::::::::-=::::::::::::::::::=-::::::::=-::::::::=-:::=

(2 minutes)

(J=J.)
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R L R L L etc.

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d =J)

1IIIIi mJ
p

(I minute)

(30 seconds)

(30 seconds)

ImJ

:11111: mJ

ImJ

* :11111: mJ *

ImJ

;11

EX E~c !5ES TO 'DfVE"LOP THE FOuR-STRoKE RUF="F

Soft Roll DlZ.udopmen-t

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WebRhythms Exercise # 1

) III J

I,

1 J

IJ

II

J J

IJ

IJ I

IJ

*
J

J
I

IJ

IJ

J J

:.J J J
9

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III

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25

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J J

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J J J II J J J IJ 1 J

J IJ J
J

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J J J

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11

J J

1*

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J J

J J

JI

IJ I

IJ

J J J

IJ

IJ

IJ I

J
*

J J

IJ

IJ I

J J J

* 1*

Norman Weinberg

* *
J IJ I J J

J J

IJ I I

Copyright 2002 by Vic Firth Inc. Download a FREE copy at http://,,,,,'v;.VicFirth.com All rights reserved

II

WebRhythms Exercise #2

Norman Weinberg

"Ind d d IJ 3J J IJ J nJ IJ J J HI

:.HnJ J InJ nJ InJ J nlJ nnJ


:.J nd nlJ d 3nl3nnd Innd 3 1

13

21

29

37

Copyright 2002 by Vic Firth Inc . Download a FREE copy at http://\\-ww.VicFirth.com All rights reserved

WebRhythms Exercise #3 A

:.fJ, Jl, J
~J J J
13

III

~I

Ij.~

IJ fJ 'l JlJ IJ ,JlJ

'i

Norman Weinberg

Jlln Jl* J I

OJ

IJ J * J l'l JlJ 'l JfJ l'l Jl'l Jl 1 J I

I
I

I~

iI

.~*

I,rl ,r* 1*

.. I

17

25

;;J , JlJ J IJ *

'1

::nn'iJlnlnJl,J

JlJ IJ fJJ * IJ J J
J IJ Jl'lJ nlJ

n*

Copyright 2002 by Vic Firth Inc. Download a FREE copy at http://www.VicFirth.com All rights reserved

R,

WebRhythms Exercise #3 B

Norman Weinberg

~: .lJ llJ I ~ mlml.a~1

~JJJJ,ok~JJJJ IJJJJa'tilnIJ 1 nJiJlan,JlJJJJI

21

25

29

Copyright 2002 by Vic Firth Inc . Download a FREE copy at http://www.VicFirth.com All rights reserved

WebRhythms Exercise #3 C

Norman Weinberg

:.mmnnlmnmnlwnnmlnmm!3.

;mJ m ,pI ,pm mJ IJ


'1

OJ

'1

,pJ JIll J 'l)lm fj I

Copyright 2002 by Vic Firth Inc . Download a FREE copy at http://v.'\\iw.VicFirth.com All rights reserved

WebRhythms Exercise #3 D

Norman Weinberg

.. i Jlll l nIn Jlln nInn anInn nWI

~wannlananlannalnawB:1

:, n15n 151nnwsl s15sn Iwsn WI

;mlsmllmmmlm~mmlsmnJ I

~;an,JlJ Isn,JJ lanan lMnJ3J I

;,Jlmnm"nfflmnlnmnwlwJ ,JJ

;SwiJ\lI1515,JJ I15Dlf,nl15JJJJmJ I

;. mmJl~!i JlI mm!! JlJ Imm, JlmlJJJJJ3mJ I

=Jla~!iJlml mJ3J!JJIlJ!,Jlml Jll ~1

; J3maJllI,J!!Jmml alJJJJl1 mmDdB

Copyright 2002 by Vic Firth Inc . Download a FREE copy at http://www.VicFirth.com All rights reserved

WebRhythms Exercise #6

41

Iii J

r:J am r:J IJ

r:J

Norman Weinberg

am r:J Iaaar:J r:J I

Copyright 2002 by Vic Firth Inc.' Do\'<nload a FREE copy at http://www.VicFirth.comAll rights reserved

50

II

fJOfJOfJOJ!J JIJ IJIJ

mJIJ JJ JIJ ImJ] mJ] mI

Web Rhythms Exercise #4

Norman Weinberg

Copyright 2002 by Vic Firth Inc, Download a FREE copy at http://www.Vicfirth.com All rights reserved

WebRhythms Exercise #5

25

II

J.

Norman Weinberg

J I' ~Jl Ell

29

II

J.

Copyright 2002 by Vic Firth Inc.' Download a FREE copy at http://www.VicFirth.com All rights reserved

WebRhythms Exercise #7

~I gJ J

J IJ )

IJ

J J IJ.

Norman Weinberg

IJ J J IJ ) ,!OJ J ,J.

47

Copyright 2002 by Vic Firth Inc . Download a FREE ropy at http://www.VicFirth.com All rights reserved

WebRhythms Exercise #8

~J

nJ

mlJ

nJ

mlJ J

Norman Weinberg

n J ImmJ

Copyright 2002 by Vic Firth Inc . Download a FREE copy at http://www.VicFirth.comAIl rights reserved

WebRhythms Exercise #9
r--

Norman Weinberg

3 ----,

. - - 3----,

t n n J] n Inn n n Inn ~ J J IJ J oJ

r - 3 ----.

r-

3 ----.

r-

3 ----.

r-

n 2g

3----.

IIIl Jl J J J ,J J J Il 3 ,J J J Il Il ,J J J Il Il j
9

..-- 3 ----.

r - 3 ----.

r-3

----.

r - 3----.

IIIl J J J Il III J J J Il III f3 Il JJ IJ J J J J J !

13 r - - 3 ----.

II

r-

3 ----.

,....-- 3 ----.

-:-- 3---.

J J J J J J III f3 Il Il ,J J J Il Il III Il

17

,....-- 3 ----.

r-3

----.

. - - 3 ----.

JJI

. - - 3----.

IIIl Il J J J III Il J J J IJ J J Il Il IJ J J Il Il I

21 ...-- 3 ----.

r - 3 ----.

. - - 3 ----.

r - - 3 ----.

. - - 3----.

IIJ J J J J J ,J J J IlIl,IlJJJ J J IJ J J f3IlI

25 .--- 3 ---.

.--- 3 ----.

.--- 3 ----.

.--- 3 ----.

uJ J J J J J III J J J iIll3 J ~ J iIllf3 3 B B I

29

.--3---,

.--3---,

.--3---,

IIIIJIIJIIJIIJIJ J J J J J IBJ J J IIJ BB3JlI

33

3 . - - - 3----.

u mmJ
37

,....-- 3 ---,

r-3

----,

. - - 3----,

J J IJ J J IIJIIJIB B mB 13 n J J J I
3

.--- 3 ----.

.--- 3 ----.

. - - 3----.

. - - 3--,

.. Il J J J iIl IiIl Jl ill f3 IJ J J J J J IJ J J J J J II

Copyright 2002 by Vic Firth Inc . DO\mload a FREE copy at http://v.wwVicFirth.com All rights reserved

WebRhythms Exercise #10

Norman Weinberg

:J ,).J ,Jlil.ommlJ

i)n.

:#3-.1il. an In. [)~n~n. IJ

J laB=J3.9d

,Jd ,;)l'ln lJ. J

Copyright 2002 by Vic Firth Inc . Download a FREE copy at http://www.VicFirth.com All rights reserved

II

Web Rhythms Exercise #11

33

Norman Weinberg

33

IIJi!J mJIJJ ImJIJJ JJIJ ImmJ mJIJJ l;m ImJJ, )\

33

; J mm~ mJ I imimBJ I JmJ

mmJ

l;m ImIJ J II

Copyright 2002 by Vic Firth Inc . Download a FREE copy at http://www.VicFirth.comAII rights reserved

YO

WebRhythms Exercise #12

Norman Weinberg

;;J-J-,-JJ, JJ" r;;JJ, JJ,JJ, JJJ, J r;;JIJJ


,

21

. - - 3 ---,

. - - 3 ---,

IIJJ,JJ IJI,J,JJ J J IJ J J JJ,J1,JJJJ JIJI

2.5 )

::r:J

2.9 )

:: r:J

i"i
I
* H,JJJJJJJJ,;J

Ii

I;J

Copyright 2002 by Vic Firth Inc . Download a FREE copy at http://www.VicFirth.com All rights reserved

WebRhythms Exercise #13

Norman Weinberg

Ht 8J JJ!J , ) J IOJ 8JmJ Id 8,Ll nJJ ~

J.J 1.3 I .J

;. J~ 0JJ

;:83 ~ ) JttlJ

; JJjljJ J

JJlll) ~

83 , ).3

)1

IJ JJ!J

.J

8J , )an

m n JJjjjJ J 1J.) J

Copyright 2002 by Vic Firth Inc . Download a FREE copy at http://www.VicFinh.com All rights reserved

IJ3J JJn

WebRhythms Exercise #14


J

Norman Weinberg
J

He mJ J mJ J I~ mJ ~ J J IJ J J J mJ IJ mJ J.

II

II

II

I~

J J

It

J J JJJJ J JJJ,mJ J ) J

,mJ J JJJJ J

J --,

JJJJ JJJJ JJJJ IJ J J J.

25 .--- J --,

II

J!J J J03J J IJ33mJ J JJJJ IJ mJ ~ JJJJ IJJJJ3JJ3JJ J 3

13

21

,..-- J--,

,J J J J J J ,JJJJ JJJJ ,

.--- J --,

J J J J J J J J IJ J J J J J IJ J J .

IJ J J J.

mmJ
J

33

J .

Hm3 3J J mlfflJ J J J ffllJJJmJJJffllmmmJ J ml

Copyright 2002 by Vic Firth Inc. Download a FREE copy at hup://www.VicFirth.com All rights reserved

;'

I
\,

WebRhythms Exercise #15

liS J.

IJJJJJ JI J JjJ fOJ I

IIJ J !O J J J IJ J J J iJ.
2

J J J J ,!OJ J .nJ J IJ JjJ J.

; J J. ~ J )\ IJ J.

25

1.

37

13

Norman Weinberg

J J. j IJ

J. B IJ

J. JJ

IJ. j

J J j J IJ J J J J

Copyright 2002 by Vic Firth Inc . Download a FREE copy at http://www.VicFirth.com All rights reserved

WebRhythms Exercise #16A

nfl

IIja.PJ .paJ IiJ


~i Q'p J .P nJ II: J

Norman Weinberg

.pm"

IIB.PJ

II' J .P JHJJ3il1l

11J.'jj.PJ 'pJ!Jli.PJ .P.,J .pm I

~4lrnmom lima., mJ

~A A J nll.P J .P

IEEm I

J nil J J J J J

~o,mJ ;HIm !BII,J JUJ .u1!ll,ll!llJ II

27

30

Hi JJJawJ J II m:l , mll.P J .P Jm


Copyright 2002 by Vic Firth Inc . Download a FREE copy at http://www.VicFirth.com All rights reserved

m II

WebRhythms Exercise #17

. Norman Weinberg
3

HI rn;ll~ ;ll~ Ig J lJ InJJJ II ~JJUJilm mig

, ---,

, - - - , ----,

;fEJ nJ iB 1m m JJJJjlt~ ~ J IE E,

27

Copyright 2002 by Vic Firth Inc.' Download a FREE copy at http://www.VicFirth.com All rights reserved

WebRhythms Exercise #18


J

Norman Weinberg

"I mJ nJ IJJJJJJ JJ333J IJ3SJJJ3J JJJJJJJJ

9,----j

~ J~~~~~S~aJ JJJJJ~~~~J
9

---. ,---- j --.

IJ JJJ J JIJJJ JJJJJJJI JJJJJJJJJJJJJJ I

:. JJJJJJJJJJJJJJJ3JJI JlJmJ JJ3 JI mJJJ JJJml oWJ JJ JJ oWl

; .w.~J)1 ~J~JJJJJJJI JJJJJJJ~J~I ~J ~.wml JmJmRJ:

33

37

.--- 5---.

5--.

Copyright 2002 by Vic Firth Inc . Download a FREE copy at http://www.VicFirth.com All rights reserved

WebRhythms Exercise #19


) III

f]

~m:

Norman Weinberg

n B 1m : m: If] B n a I

m Dim J m: 1m J m: IBBBDI

29

33

HI ~
37

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WebRhythms Exercise #20

Norman Weinberg

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Timpani Interval Tunes (Tricks for Pitch's)

Down
Mi2
M2
Mi3
P4

Tri Tone

P5
Mi6
M6
Mi7
M7
P Oct.

Jaws
Do-Re
Greensleves
Here Comes "the bride"
Maria
Twinkle Twinkle/Star Wars
When Is "rael was (Israel)"
NBC
Somewhere
Bali Hai "south pacific"
Somewhere over the Rainbow

Joy to "the world"

Mary "had a Iii lamb"

Oh-Oh "SSB"

Oh Come All

March Militarie "schubert"

Feelings

Twilights Last gleam "SSB"

Over There

None But "american in paris"

Buba Yuga "pictures in exhibition'

Scherzo "beethoven 9th '

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33 Drum Set Grooves

The 33 grooves are listed under three headings:

1. Eighth-note based
2. Triplet based
3. "Latin" / Brazilian / Ethnic
There are many, many ways to playa samba, waltz, shume, rock pattern, etc. Learn the rhythmic
and textural characteristics that differentiate one groove from another, then find recorded examples
and listen to how the drummer/percussionist interprets a groove that you have just mastered.
Play along. Experiment. Once you're comfortable with a groove, try playing 3 bars of "time"
(the groove) and a l-measure fill in the same style as the groove. Then trade twos and fours
with yourself (2 bars of groove, 2 bars of solo, then 4-bars and 4-bars).
Create your own style. Have fun!

Key:

Eil1hth-Note Grooves
..
1. Rock ~.100, 152
Right hand on ride cymbal
or hi-hat. Left hand - rim-shot.

~~~'"-'

2. Half-Time Rock

~"108. 138

Right hand on ride cymbal or hi-hat.


Accent "3".

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3. Funk ~ .. 100. 126

Syncopated.

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4. Ballad

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~ .. 72 96

Right hand on hi-hat.


Left hand - cross stick rim shot.

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5. Half-Time Ballad

L 80 .104

Right hand on hi-hat.


L.H. - cross stick. Accent "3",

18

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Start to substitute the bass drum patterns from pages 4951. Be sure the substitutions stay within the feel of the groove.
- 52

Drum Set Grooves


Eighth-Note Grooves / cont. '
6. Country/Chattahoocee ~=88 112
Can be played with Blasticks,
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7. Waltz; ~=80 120

Lightly. Vary cymbal timbre.

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8 . .5Li

;.. 108.152

Right hand on hi-hat.


Left hand - cross stick rim shot.

9. Polka

" "Oom-pah". 2-beat feel.

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played lMith same triplet feel

'" . denotes swing feel.


10. Swing (Jazz)" ~= 116250

Bass drum is light and "feathered",

Add left hand independence.

11. Killer Joe"

;.112. 126

. Light bass drum.


Left hand plays cross stick rim shot.

12. Fox Trot... ; .132 - 152

;.120. 152

. ) 14. Half-Time Shuffle"


Accent 31!.
U

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IDe:

Light bass drum.

Use brushes.

13. Shuffle'"

tB !!

L 116.138

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Triplet-Based Grooves (swing, etc... )

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Drum Set Grooves

Triplet-Based Grooves / cant. I

J. 56 . 80

15. 12/8 Ballad


Delicately.

16. Jazz Waltz"

J.182. 200

Often taken "in one".

17. 5/4 ("Take Five")"

L160. 200

Add light left hand "ghost" strokes.


cYmba.l bell

18. 9/8 ("Blue Randa")

II .160 200

Left hand lightly on snare;


heavier on t o m s . "

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Latin/Brazilian/Ethnic Grooves

20. Samba

J. 96 . 120

Snares on.
Open hi-hat where indicated.
Many variations.

21. Cha-Cha-Cha

J.I08. 126

Snares off.
Right hand plays cowbell.
Strong quarter feel.

.,

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22. Naoego J. 108 182


Snares off.
Right hand plays cowbell.
Strong R.H. -light L.H.

23. Mambo

j. 104120

Snares off.
L.H. - cross stick rim shot.

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Drum Set Grooves

Latin/Brazilian/Ethnic Grooves
24. Beguine

J= 104120

Snares off; use soft mallets;


accent is essential.

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25. Merengue
J= 116144
Snares off; use soft mallets.

26. Rhumba
J= 104 126
Snares off; use sticks or mallets;
lightly.

27. Mozambique

L 108.132

Snares off; use assorted toms.

la. Songo

J= 108 132

Left hand cross stick rim-shot;


snares off; B.D. part is essential;
strong cowbell quarters.
29. Cascara
J=108.132
Sticks on side of shell; lightly.

30. "Afro-Blue" 3/4 L 160200


Snares off; light left hand;
("ghost" strokes).

J--.
;
j
J
18 ~
II
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t
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J:9
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31. Reggae'"

J.126. 152

Swing feel; accent "3";


L.H. plays cross stick rim-shot.

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32. Tango
J.108. 132
Snares on; accent "and" of "4".

,,3. 7/8 Greek

J. 108 144

(3-2-2) Play each measure 4 xs.

Sinnett Roll Exercise

J=75
Drum Set

Dr.

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