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Design And Layout By ·Joe King
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Copyright 2001 Modern Drummer Publieations, Ine. International Copyright Seeured Printed In The USA unauthorized duplieation ,..n·ni'an1ts, .• ~.".u",,,v """'1".",,,,,, of .....
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CONTENTS INTRODUCTION ................................3 PART 1: TRIPLETS "1
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One Group Of Triplets .t• • • • • • • • • • • • • • • • • • • • • • • • • • • • .4 Two Groups Of Triplets ·..........•..................5 Three Groups Of Triplets ............................9 Four Groups Of Triplets •............................ 12 Two-Bar Patterns . .' .. :.t' ... ; ....................... 16 Triplet Fills .......... ';' .......................... 17
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PART 2: 16TH NOTES One Group Of 16th Notes ........................... 18 Two Groups Of 16th Notes ..........................20 Three Groups Of 16th Notes ........................24 Four Groups Of 16th Notes .........................29 Two-Bar Patterns .................................34 16th-Note FiIIs .......... ~ ........................35
PART 3: 16TH-NOTE TRIPLETS One Group Of 16th-Note Triplets .....................36 Two Groups Of 16th-Note Triplets ....................39 Three Groups Of 16th-Note Triplets .................. .43 Four Groups Of 16th-Note Triplets ................... .46 Two-Bar Patterns .................................50 16th-Note-Triplet FiIIs .............. '.' .............. 51 . ~!:, I
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PART 4: 32ND NOTES One Group Of 32nd Notes ..........................52 Two Groups Of 32nd Notes .........................58 Three Groups Of 32nd Notes ........................64 Four Groups Of 32nd Notes .........................70 Two-Bar Patterns .................................76 32nd-Note FiIIs ..................................78
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INTRODUCTION The ability to move swiftly around the drumset with speed, control, and accuracy is an extremely important asset for today' s drummer. Drumset Control offers a progressive series of exercises designed to help you attain a substantial level of technical facility on the kit. The format for Drumset Control is simple and direct. The book begins with basic triplet patterns around the drums, followed by 16th notes, 16th-note triplets, and 32nd notes. Each section is further divided into groupings, beginning with one grouping of each note value and progressing to tour consecutive groupings. A selection of sticking patterns is applied, and these offer a wealth of possibilities for moving around the drumkit. Examples of two-bar patterns and fill-ins are also included.
lo AchieveThe Best Results ...
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1) Be sure· to play each exercise precisely as written, with careful focus on stickings. 2) Make certain you're comfortable with the stickings that appear above each series of patterns before attempting to ·play the exercises. 3) Practice each pattern slowly at first, until movement from drum to drum is smooth and flowing. 4) Repeat each exercise at least ten times before moving on. Do not move to the next pattern until the previous one has been mastered. 5) Make an effort to get your eyes out ot the book as soon as possible. Focus on the movement around the drums and the teel of each pattern. 6) Eventually work all exercises up to top speed. Use a metronome or drum machine to gauge your progress. 7) Play the bass drum on 1, 2, 3, and 4 of every measure. 8) Play the hi-hat: a) on 2 and 4, b) using quarter notes, c) using 8th notes. 9) Be sure tomaster the one-bar exercises before attempting the two-bar patterns and fill-ins.
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For an additional challenge ... 10) Play through an entire page without stopping, working each pattern four times, then twice, then once. Start slowly and increase the tempo as your faCility improves. 11) Certain patterns in this book lend themselves well to bass drum development. Try the following: a) substitute the bass drum for all snare drum notes, b) substitute the bass drum for al! tom-tom notes. Maintain the specified stickings when using bass drum substitutions. The following abbreviations are used throughout: SD = Snare Drum RRT = Right Rack Tom LRT = Left Rack Tom LTT= Large Tom Tom HH= Hi-Hat RC= Ride Cymbal SD = Bass Drum
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3
4
I
3
3
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R R L L R RI L
RRLLRRL
:11
I
Sticking: RLRRLL-R 3
1
11
3
3
w-S1J~
(~ W-S1JJ RLRRLLR
1
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,~ :,
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,.:i!\.:'!(.,,'
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--11
e
3
RLRRLLR
3
mffij R L R R L L, R
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4
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mmj
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3
,
3
RLRRLLR !
6
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RL
RR
I
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e mm~ I
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mmj
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,RLRRLLR ,
RLRRLLR
3
RLRRLLR
I
lIe
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I
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mpgJ 3
2
RLRRLLR
mm~ 3
5
3
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Two Groups Of 16th-Note Triplets Sticking: RLRLRL-RLRLRL-R
mmmmJ 333
3
~WRRT13EC________ _ LTT
*-:11
R L R L R LR L R L R L, R
R L R L R L R L R L R L, R
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3
3
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~----~"
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Sticking: RRLLRR-LLRRLL-R 3
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I
Sticking: RLRRLL-RLRRLL-R 3
3
1
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mmmfflJ
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Sticking: RRLLRL-RRLLRL-R
mmmJJJJ 3
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3
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33
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,
Sticking: RLRLRR-LRLRLL-R 3
333
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3
3
3
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lIe
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R R L R R LJI R R L R R L R
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333
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mmmWJ
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3
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e I
. Sticking: LLRLLR-LLRLLR-L 3
1
11
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3
3
3
WmWm~
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2
J
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r
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mmJ1JmJ LLRL LR LLR LLRL
~
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1
3
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6
:11
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3
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L L R L L R L L R L L R, L
5
3
3
3
L
:11
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3
mmmmJ
:11
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~_ _ _ _~"
1
I
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Three Groups Of 16th-Note Triplets Sticking: RLRLRL-RLRLRL-RLRLRL-R 33333
3
§~T~~::i:tj\ .==t1J~.~tlJ~'.==t1J~.~tlJ~m~m~J41:11 (Ij=:'
3
lIe
RLRLRLRLRLRLRLRLRLR
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3
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3
3
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:11
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4
RLRLRLRLRLRLRLRLRLR "
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3
3
3
3
3
3
3
3
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3
3
I
3
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RLRLRLRLRLRLRLRLRLR
3
3
:11
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It
3
3
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RLRLRLRLRLRLRLRLRLR
' - -_ _- - - - - ' I t
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RLRLRLRLRLRLRLRLRLR "
3
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' -_ _- - - - ' "
mmmmmmJ: ' -_ _- - - - ' I t
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I
3
3
11
RLRLRLRLRLRLRLRLRLR
I
3
I
mmmmmmJ: 3
8
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' - -_ _- - - - - ' I t
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mmrnmjJjmJ 3
9
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7
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RLRLRLRLRLRLRLRLRLR
I
3
'3
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mmm mm mJ:ff':""":I' 3
5
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j
3
RLRLRLRLRLRLRLRLRLR
I
mmrnmmm~
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rnmrnmrnm~ :~I
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10 11
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RLRLRLRLRLRLRLRLRLR " " ,
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I
43
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Sticking: RRLLRR-LLRRLL-RRLLRR-L :
333
3
3
33
~~T~~mmmmmmJ·:11
3
3
3
3
3
mmmmmmJ:11
2
3Fe
RRLLRRLLRRLLRRLLRRL
lR R L L R R'IL L R R L L"R R L L R R, L .
L - -_ _- - l I
I
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I
i 33
3
3
33
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m;tJJfflJñjJ:JJjjJ
3
:11
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I RRL LRRL LRRL LRRL LRRL
L - -_ _ _"
3
3
3
3
3
3
3
3
3
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11
' - - -_ _ - - J
.
3
mmmmmJjjJ :1
4
!
"
!
3
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RRLLRRLLRRLLRRLLRRL
,
I
"
"
!
Sticking: RRLLRL-RRLLRL-RRLLRL-R 3
111 (;
3
3
3
3
3
mmrnmmmJ :1
2
IIB
RRLLRLRRLLRLRRLLRLR l' ,
RRLLRLRRLLRLRRLLRLR I ,
L - -_ _- - l "
L - -_ _---l"
'
4
IIB RRLLRLRRLLRLRRLLRLR I
L--_~--ll
I
11
R R L L R L R R L L R L" R RL L R L R
L - -_ _----..l"
'1
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t
3
3
3
3
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L - -_ _ _"
RRLLRLRRLLRLRRLLRLR 'I
L - -_ _---l"
I
:11
Sticking: RLRLRR-LRLRLL-RLRLRR-L 2
lIe RLRLRRLRLRLLRLRLRRL
' - -_ _- - - - ' "
3
3
I!
3
3
RLRLRRLRLRLLRLRLRRL
,
3
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3
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,
mrnmm . f1J~¡¡~tñJ 3
6
R L R LR R L R L R L L R L R L R R L
,
3
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3
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,
3
3
,
=¡:¡: : ¡~I(~,J~GE:JIt:j.ut1J~·~QJnm~dm~m~J=ti:I:1111i\'IIII" ',:
RLRLRRLRLRLLRLRLRRL
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J J) J JJ J J J J J J JJ J J J J J J J J J J J J J J J J J J :11 R R L L R R L L R R L L R R L L R R L L R R L L R R L L R R L L ~--------------~
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J ,) ,) J J .l .l lIe
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2
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3
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R R L R L L R L R R L R L L R L R R L R L L R L R R L R L L R L >-
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79 ' I I
\ \
1\1
\
I
t· i
From Today's
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. .. To The
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.1
on Spagnardi began drumming at the age of eight and was,performing professionalIy by fourteen. Following his music studies at Montclair State University and Berklee College of Music, along with private studies with Alan Dawson, Sonny Igoe, and Ed Shaughnessy, among others, Ron embarked on a twenty-year professional drumming career. His extensive drumming background has included club dates, big band drumming, touring and recording with small groups and lounge acts, show work, and private teaching in the New York area. In 1977, Ron founded Modern DruOlmer Publications, where he continues as PresidenVPublisher and Editor of Modern Drummer magazine, the world' s first and most respected magazine dedicated to the art of drumming ..
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HL06620061