7
A Meïh od Book for' the [}ev elopmenï of
omplete lndependen(
, oÍr ïhe
I}RUM
Stï /
6ïAWr 'poïJ?ru II€t$ IalsB' qcnlrl poulroJrad aq u"c seslclexa aseql eclxcBrd luat .uIlBltB o} aïq€ eq pïnoqs raununrp lueïcIJoJd fue odural aql eluesarder pq 'paeds -;1fp qXIA\ 1llnulprcur aql xou s; Euppeur cFuouoJXsul oqJ, 'lsrI} 1e ,t1,no1s aclXcead '.raqurarue11 .1IIol luol ro Iurup er?us eqX al pueq ryt1.r eql tuÉusqc roJ eurll orour AroIï8 ol l?ag qlrnoJ eql uo e?ou reF€nb e Ápo feld urq$qr Jo oxns€eur puocee e{$ uI 'uoÏl€ulprooc clpolour ;o eldurzxe snolÀold eqt uloxJ CI pu€ C ealns?eur pesn a^€q er$ oslcJo(e spll uï eolloN
1U
U
u1'I
u1'I
1UU
'uolluulprooc clpoïeur Jo sarns?eur om1 Áe1d uaql pue '8 1s.rg urqlÁqJ Jo sarnsueur ort\X Áe1dot sI uo1lBu1pJooc clpoleur ecIlc€.rdo1Áern reqlouv
g
1CIË
rldl- 'J"I
rooJ rooJ rqrïU-
Pu"q
'J'U
ual- 'H.'I
pugqrËru-.H.u :peÁe1d
oq plno/tr
g v sorne€aur ll\ot{ q s$[&
:^roIaq eldurgJra oql Jo cI puE c arnsBoru ro g puB v oJns€aur eq pFoc eslcJoxa sIqJ, .Eupl.reur cpuouoJleru pepuoruurocoJ or{X ol dn >1rom Á1pnpe.rt pue Á1no1s 1r":}S 'eJnsBeru XsrIJ aqX q spu"q aql Io allsoddo oql er€ orns€erri puoces oql u1 spu?q oql lnq 'orltBs eql ul"luoJ leoJ orll aclXou 1111r noÁ osTcraxo sFIl u1 'tul1eada.r eroJeq seJns€our oirll ecgceJd 'Z looJ lJaT-'J'T looy 1qE1g-',{'U pu€q $a'I-'H'T pu€q xr{ETE-'H'lI
.H.a,,H..I,pueH $a.I
'1oo-Í 7IeL "H'tI ''H'tI 'puag XqEIU '1oo,t IqEIE paÁe1d sI ornseoru sTtl;,
:aoïoq eldururce aql uIoJJ V eÍns"aur uI sB Á1a1e.redas eJnsealu qcea ac11c?rd
'I
'Eupl.reur cTrrrouorleu pepuauruocer eql q dn paqrom dlpnpe.rE pu€ lsrT} 1u Á1r*o1s pecïloe.rd aq plnotls pu€ eu41 ?/V vl ue lï.Irl\ eI? soslcraxa aseqJ, .auÍIt e 1e peÁe1d tulaq sI looJ ro prmq auo Á1uo X"t{l olscIpul 01 uo$€uTpJooc clpolelu rrrJel aql osn sJol{lrc oqI 'uo$€luTprooc clpolalll qlIA\ SÏ"ep ïooq sTtll Jo uollcos lsrlJ eqJ,
NOTTVNICUOOf SIOOïIru
Melodic Coordination - Exercises in Eighth Notes
1. Practice each measure separately. 2. 'Practice in two-measure phrases. phrase. 3. play two measures of rhythm between each two-measure
'oïos qcea uoarnlaq uqilqJ Jo sarnsearu JnoJ ppv
'Z
'uax1lrlr\ s€ solos Áela
'f
'olos r{c€a uoaaleq urqltqr Jo sorns€aur o^tt ppv 'Z 'uenlr/rr se solos Áe14 'ï
uorlsurproorJ rrpolelt ur solos eroN
qlqtH
I
Eighth Notes - Tlvo-Measure Solos 1. Play solos as written. 2. Play two measures of rhythm between each solo. 3. Combine two solos to form four-measure golos.
'ellsoddo er€ epuar{ :aurBe eql suTsurar loog :G loïd;r; Áq pe,tono; g 1a1d1r; ,f"Id 'g
'sallsoddo lcsJ.o er€ serns?el4l :q 1e1dg.rg, Áq pe,no11oy g teldl.r;. Ás1a 'g
'arres aql spurr{ le11soddo leeg :g 1a1dp; Áq panollog g teldï.r1 Áeïa
'f
'oru€s ot{l spuel{ le11soddo laag :q 1e1dp; Áq panollog y 1a1dg.r; Áe16 'a11soddo
aJ" spuerl :eums aql suleruar XooJ :g 1a1d1.r; Áq panollog y 1e1d1.r; Áe16
'sallsoddo lcsr(a eJB seJnseoru asaqg.
:3
1a1d1.rg, Áq
pernollog
y
1e1d1.r1,
,feïa
6
't
tt :rurod laïd;.rJ, uï uoll€uTprooC oIpoIoI tr Jo STdI^I\D;g 'sasTcJaxa esoql pu€ ocIXce.rd ol sÁe^\ x1s orll Ágge1c ol ropro C C 'g 'V slaldI.rl aql pa.ra$el a^€q elu 'eldurzne eqX uI 's1a1d1.r1 olq Ëuglquroo Jo sÁe,r luaJoJJTp x1s noÁ azrlt ol ropro uI xoqBuI padno.rE e.re s1e1d1rt rnod 's1e1dp1 Eu$e1d;o sÁem elqlssod aqX ïT€ Jo slsTsuoc uo1l€ulprooc clpolaru uI sosïcraxa;o e8ed tu1no11o; aqg,
q
sraldr.ra ur sasrrrexfl -uoJlcurproo3 Jlpolaru
10
rl=160
1
1. 2. 3. 4.
Practice each triplet separately,
Combine two triplets. Combine four triplets, Play one measure of rhythm between each group of four triplets.
n.H
t. ,
el=160 R.H. F.
R.H.
L.F. R.H.
L.F. H
Triplets Solos in Melodic Coordination Practice solos as written. Play two measures of rhythm between eaeh solo.
L 3 3 J
s 3 3-3
2
3 3 _E
3
6rgvg
I
'H'U
t-g
ï
:(sstgnoc No r,oo.r) s;gïdrtilvuvd
.H'U
I
8 puz -t e-. t e No F - :(g,lox r,oo,r) srgïdïtrrvuvd 'H'u
Z
:k;oN tsï No .r,oo.r) srgrdlu,lvuvd
:STtrTdÏU.I fl>IOlIJ,S g'ICNIS
--s
t
€
:sJg'ïdïtrffITou cNo'I 'ase.rqd r{cea uaallqeq uqfq.r Áe16 '8 'sesu.rqd alnseoru-JnoJ uI oc1lc"rd 'Z 'sase.:qd eJnseaïfi-o*q uI
acïlc€Jd 'I
L4
lïrlo Eight-Measure Solos: 1. Practice as written.
2.
Play 8 measures of rhythm between each solo.
HARMONIC COORDINATION
The next section
is wrltten Ín harmonic coordination. Harmonic
meanÊ playing more than one hand
or foot at a time.
coordination
At first we will be concerned only with 2-PART harmonic coordination. This means we will play one pattern with the hands whlle the feet play the 6ame or a dif-
ferent pattern.
The exercises aregrouped as they rrere inthe melodic coordination section. At the beginning of each set of e:rerclses wehave lndÍcated which notes of each four-note group have identical coordination (Right hand with right foot - or - left hand with left foot); andwhich notes in the group have opposite coordination (Right hand with left foot - or - left handwith right foot). This knowledge will help your coordination until you begin to get the feel of these exerciseg.
6TgVH
't'È
(e11soddo
sï atou ?sT) G pu€ g (pc11uap1 s! alou
(e lsoddo or€ lao; pue spuerl) C pue
g
(1ec11uapt
lsI)
C pue V
ore loal pu" spu€q) C pue V
'ase.rqd qceo uae^qaq urq$q.r Áe16 'n 'aserqd arns€aru-orq € ruJo; ol solns€aur V/? orq lte16 'g 'arnsearu ?/V e urrol o1 sdno.rt onX fe16 'Z 'Á1a1e.redas dno.r8 qceo acllceJd 'ï :seloN Jnog;o sdnorg
seloN rllqtlg ur sesrf,Jrxï - uon?urPJoo] JruotrlruH lJBd-o/sI
16
Group of Four Notes: 1. Practice each group separately, 2. Practice hro gr,oups to form a 4/4 measure. 3. Practice two 4/4 measures to form a two-measure phrase. A and c (2nd note is identical) B and D (2nd note is opposite)
à=I20
rd note is identical
B and D (3rd note is
é = L20 A rnd c_(4th note is identical) B and D (4th note is opposite) L.H.
R.F.
L.F. R.H
6rgvl
H'u (e11soddo
or€ solou prg pu" puA) C pue
(e11soddo
g
are salou puz pu€ fsf) C pu"
(pc11uap1 ar€ se?ou prg pu" puZ) C pue V
g
(1uc11uep1
OZI=?
are salou puz pu" fst) C pu€ V
'H'U
'c"l 'J'U
.H
n
A and C (lst and 3rd notes are identical) B and D (Lst and 3rd notes are opposite)
Eighth Note Solos in two-part Harmonic Coordination 1. Practice hands alone. 2. Practiee feet alone. 3. Play solos as written but without accents. 4. Play two measures of rhythm between each solo. 5. Add accents to solos.
L.F. R.H.
t
I
I
:
6TgVH
_g_u_
.H''I
'olos qc€o uao/$laq uqilqJ Jo saJns?aur JnoJ f€Id '? 'ualllr]lt s€ solos Á"Id 'g 'auoï" laal acllcsrd 'z 'ouol? spuBr{ ecllcBrd 'ï saloN qfqftA
-
solog arns?atr4l-rnoJ
20
Twopart Harmonic Coordination - Exercises in Triplets Triplets:
1. 2. 3. 4.
Practice each triplet separately.
Combine two triplets. Combine four triplets. Play one measure of rhythm between each group of four trÍplets.
A and C ldentical; B and D OPPosite: 3 .l=1ó0 t
L.H. R.F.
ts
D
E
D
ts'
ó
A and C (lst Note^Identical); B and D (1st Note Opposite): 3 L.H.
R. F.
L.F. R.H.
A and C (2nd Note Identicatl B and D (2nd Note
3
R.H.
L.H. R.F.
L.H. R.F.
A and C (3rd Note ldentical); B and D (3rd Note L.H
R.F.
L.H. R. F.
site):
'll"I r .Í.
'H'u
L
.J''I 'J'U .H''I
'd
"l
'1{
"I
'J'U
'H'u
I
:STgTdItI.IVUVd
fl(r
-
09I= It
ÍI
:srgldnrr Taou cNo'I
soroc aJnSEeI/tI-JnO.jt
DUS
Notice the next six e)rercises are ín8/4 time:
33
Triplets Solos in Two-part Harmonic Coordination
L.F. >
3
n.s.
: 1l t.H. R.F.
L.F. ;
4
R.H.
t-3--
-3L.F.
H
r-3
-,
f-3-'
,-3-
r-3-r
,- 3_, ,-3-,
r- 3-r
.
r-c-r
|.€J
:eu4l v/s w ar" seslcraxa rnol ?xeu atn acpoN
I
'oïos qc€o uaoalaq urqlÁqr Jo salnssaru JnoI Á"Ïd 'ualllrll\ sE solos ocgo"rd
'?,
'I
solos orns€aIAI-JnoJ
solos ur sreldlrl puu saloN qrqElg tururquo3
FOUR.STAY COORDINATION In order to gain complete independence, it is necessary to develop the ear to hear more than one rhythm at the same time. The rest of this book deals with playing four rhythms at the same time: one for each hand; one for each foot. As far as the technique of playing four independent rhythms is concerned, the drummer must feel relaxed and natural whether he is playing with one or two hands oq feet or with both hands or feet. To help you feel right regardless of how many limbs are playing, practice the following exercises. In each exercise we star"t with one hand or foot and end with both hands and both feet being played.
5
*
J =L2A R.H.
Hlltrt, l. ll
rt
))a
ili
/ t
a
/
a
a
a
/
a
a
a
I
a
a
I
The next few pages combine all the coordination we have developed so far.
a
a
6rgrruI
D
I
I
Tal
.7 T
'peJ gxïrl\ 1q3no.rq1 y su.ralpd ecllc€rd 'z 'spu?q
uer--
aqx qxl.r$
F*^F :slqEIU o4l :sfa1 =; 'Ï
y qEnolql y
orr,rtL
su.re11zd
??l=?
scBc€rd
'suJalX€d treldI.rJ. elog qlqErg
'ocloqc ui$o JnoÀ Jo suonsuTqruoc acllc€.rd
:uoll€u1pJooc Áein-7 urro; ol N pu€ O euTqtuo3 :aldurexa u€ sV
?
?i
ï=l
o
'loo} eql qllil\ 1 q8norql c ecllc?rd
'?,
:sllorl oarq;, :s1qt1g aerql 'spu€r{ sr{l q11ln 1 q8no.rql C oc1lc"rd 'ï
Eil
:uolleulprooc Áem-p ruroJ ol g pu€
\í
'r''
eulqruoC
?tre4
;8, M 'leo}
ogx
ttlpl{ g pu€
v ecÏlc?rd 'z
'spuBq oql qlÏ/I\
g pu" v oc}lccrd 'T
'suretrxed e1o;1 qlqE;g
lq8$ ?: 00ï=P
26
Three Rights; Three Lefts: é =L2A
:4 I
Right
G
339g
rrr lIlF
3
1
3
Left
This is a combination of ï with the hands and E with the feet:
333
G with the hands, B with the feet:
33
33
J with the hands, A with the feet:
33
33
Practice other combinations. 1. Practice A through N with the hands.
)=L2O
E
Three Rights; TWo Lefts:
3_ 3-
3
3 E
2. Practice A through N with the feet.
3
Right
Three Lefts; TVo Rights:
?-?33
Three Rights; TVo Lefts:
Three Lefts; Tlvo Rights:
Combinations:
Many other combinations may be formed.
30
3
