DRUMMERS COLLECTIVE SERIES
UNDERSTANDINO RHYTHTN A GUIDE IO READING
TNUSIC
By Michoel Louren
Alfred Publishing Co., lnc. 16320 Roscoe Blvd., Suite 100 P.O. Box 10003
Van Nuys, CA 91410-0003
alfred.com
PUBLISHED BY ALFRED PUBLISHING CO,, INC. O 1991 MANHATTAN MUSIC, INC, ALL RIGHTS CONTROLLED AND ADMINISTERED BY ALFRED PUBLISHING CO., INC. ALL RIGHTS RESERVED" PRINTED IN USA. ISBN 10: 0-7692-2022-3
The oim of this book is to ocquoint non-reoders with the fundomentols of reoding rhythmic nototion. Although no book bv itself con teoch you to moster the obility to reod, l-believe this táxt will put you on the right rood to underitonding ond performing written music. I strongly suggest professionol instruction since o teocher
con be on involuoble guide. Proctice slowly, go for occurocy,
To
count out loud, use o metronome, ond of course plov the rl-r*iin time. Also moke it o point to supplement this'búk *iti ol ovoiloble moteriol. Check with your'teocher o, lo.ol rnrri. í for suggestions on other.books. Íhe rore music yo;;";Jfll;; the better reoder you will become.
fhe memory of Annette qnd Frqnk Berlin.
Thonks: Rob Wollis ond Poul,siegel; John Costellono ond Everyone ot the Drummers Collective; Dqn Thress, Jock Woltrip ond Bob sherwin; Michoel Joos ond The Lóng lslond Drum ond Guitor óenter, Medford, t;;k.-
ú;
Speciol thonks: Kothleen
I
All exercises ore written only for the honds, ond oll lessons should be ployed-ogoi.nst.o constoni quorter-note pulse. You con _ use your right,.left, or both feet to top the quorter-noie pulse. 2 Work on one line ot o time. 3 Repeot eoch line until it is ployed correctly. 4 Teochers should feel free to present the m'oteriol in the order thot they feel most comfortoble with. 5 Aliernoting or right hond leod sticking con be used.
ó 7 8 9
l0
See oppendices for subdivisions. Rests ore counted the some wqy os notes. Ploy ot o voriety of dynomic levels. Ploy ot o voriety of tempos.
Drummers who wont to leorn to reod on the drumset should work on the recommended independence exercis{
so.you ore oble to perform the,norored. rhphms correcrly. Counting is mod 1-"^'f:,"^:lf:Ï'Ln^: liolll-"r.i:ole,o leference,point uP or o serles ot verbol sounds. Eoch sound corresponds to the type of note or rest ond its ploce in the meosure.
EXAMPtES:
I
Eighth-nores Fírst portiol, (+)= Second portiol
(l ) =
2 Sixteenth-notes {l ) = First portiol, (e) = Second porÌiol, (+) = ïhird portiol, (o*) = Forth portiol, (*o = uh or duh)
3
Eighth-note triplets (l ) = First portiol, (+ or trip) = Second portiol, (o or
let) =
ïhird portiol
DrummeÍs Collertive Tnr Wonn's PRrntrR DRUM Sctoor Drummers Collective, situoted in the heort of New York City, wos estoblished in lgTT os 1he firsf music school dedicoted exclusively fo the sfudy of drumset ploying. The foculry ot Drummers Collective feofures some of the most prominent drummers on the contemporory s(ene. Course offerings vory from individuol privofe lessons to on intensive fen *""i progrom. For more informotion coll l2l2l741-0091 or write to: Drummers Colleciive 541 Avenue of the Americos
New York, NY
l00l
Âilqntian. Fìiraai^'
I
FOREWERD HELPFUL HINTS FUNDAMENTAT$ QF ETUSIC NOïE VATUE €HART
2 2
4 $
TESSON
ONE
é
lntroducing whole-notes, holf-notes, quorter-notes ond rests
rE$soN
Two
I
lntroducing eighth-notes
TF$SON
TFIREE
12
lntroducing eighth-note rests
FouR rEssoN FrvE rEssoN I
I tt
ntroduci ng sixteenth-notes
I&
Sixteenth ond eighth-nole combinotions
tEssoN grx
2l
lntroducing dotted notes
tEssQN
$tvEN
,,4
lntroducing sixteenth-note rests ond dotted eighth-note rests
LES$ON
EIçHT
2T
lntroducing ties
NINE 30 lntroducing eighth-note triplets TESSQN TEN 33 IES$EN
Eighth-note triplet ond eighth-note combinotions
TESSQN
EIEVEN
3ó
More triplet combinotions including dotted notes
rEssoN
TWEwE
39
lntroducing sixteenth-note triplets
THIRTËEN
I-HS$ON 42 More sixteenth-note triplet combinotions
TESSON
FOURTEEN 46
lntroducing subdivided eighth-note triplets l*9 LES$ON FIFTEEN lntroducing quorter-note ond holf-note triplets
g2
tEgSON SIXTEEN
lniroducing thirty second-notes
IE$SON SEVENTEEN 59 lntroducing syncopotion
INDEFENDGNCE EXERCI$ES FOR
APPENDIX I APPENDIX II ENHÂRI$ONIE
DRUIfi$ET
62 ÓS
RHYTHf*g
ó5 óô
Itlusic nototion
is o writfen system thot represents sound ond silence.
Music is written on
o stqÍf.
The stoff is o group of porollel lines upon ond between which notes or rests ore writfen. It r
oily used.
A noÍe
is o written symbol indicoting sound. The type of note
determines the length of the sound.
Note
vslue
is o written symbol indicoting silence. All rests hove the some nomes os their corresponding note-volues.
Bar línes ore verticol
stems of vorious
--JI
two bor lines. Mecrsures ore used to divide the music into groups of beots.
notes moy go up or down. The direction of the stem does not offect the volue of the nofe.
pulse.
Eoch unit of pulse is colled The
---?- _ C
lines drown through the stoff to indicote meosures.
A measure is the sPoce between
Rhythm is
ll ---t--+-
is the relotion one note hos to onother.
A ngsf
The
ïhe five line stoff is gener-
o beat.
time signature
is o sign ot the beginning. of o composition. The top number indicotes how mony beots ore in eoch meosure. The bottom number indicotes the kind oinote thot is equol to one beot.
ïhe dot ploced ofter o note or rest increoses the volue o[ thot note or resf by holf of its originol volue.
lrtr
-T'
=
-------- +---J---
The tie is on orching line connecting two successive notes indicoting thqt fhe second note should nof be ployed. This pertoins to drummers only. (See exomple on ties.) 3
The hiplet is o group of three notes of equol volue recognized by the numerql ,3, ploced over or under the cenfer note.
A single measure repeat sígn
4
indicotes to repeot the precedíno meosure.
I
-l--l-+ --i--
4
1+2+3+4+
1e+a2e+a3e+a4e+a
1e+a2e+a3e+a4e+a)
2
trip
let
3
3
NOTES Whole RESTS
Hol{
Quorter
Eishth ----d-
C
-----ï---'
Sixteenth ----a-* ----d----1----
Thirty-second -----d-
---r--
)
tEesoN r
lllllltttrrr
llttrr
llllllttrr
llrr
lllllr
7
COffiBTNATION STUDY
I
I
rEsgoN 2 l*
*See Appendix
I
9
GEMB.INATTO}I STUDY 2
11
tEssoil 3
*See Appendix
12
I
t3
CCffiB.I}IA?ICN STUDY ç
t4
rE$$oN
* 1*
*See Appendix
I
r5
CQTTTBINATION STUDY í*
17
IESSON F
*See Appendix 1.8
I
rg
ccffiBfiiIATtON Sr$nY s
20
EES$ON é
*See Appendix
I
21
CCMBI}IATION $TT'DY é
)
ffisseN
T
*See
Appendix
I
r\
,.,
r..*
l.
t
t-r
^
r*
-\\\\FTiriïil
llual.)
==:-:r
Fi ---------#
.r
\
ll
.t
\
\
\
-
-
|rlri-ì-r
Fl-l-l-r
rr\rFr
--
-I
-
\
\
-
-\^\",ilFFìlt .rGnfi"fin
----#
-
-
-
I ttt
tttttt
-
-
I -
I tlttrlt
tttt
r
r I
-
-
25
CCffiBTNAT'ION STUBY
26
r
LESSOìü
*See Appendix
I
I
)'
CEffiBINAÍTEN STUDY 8
29
EF$SEN 3333
3333
ç l*
333
333
*See Appendix
30
I
33
33
33 I
t
33
33
3t
CÇffiBINAflON S?$NY 9 333
333
3333
32
tEssoN r e
333
333
*See Appendix
333
333
I
3:
333
333
333
333
333
34
333
333
333
GOffiBINAÍlO]l STttDY ll O
333
333
33
i
35
LFS.SON
II
*See Appendix
36
I
I
37
CEfrIBINAÍION STUDY Ii T
38
LE$geN
l2
33
33
33
33
33
3333
33
3333
3333
*See Appendix I
39
40
333333
I I
i
I
41
3333
42
COüBINATIOITI SIUDY
tn
43
[ESteN I s
*See Appendix I
44
45
33
46
33
3333
47
eefrfiBl]*AfroN sTt DY I I
333
333
3333s3
4s
3333
333
333
49
EESSON t r*
l''1
-
I
I
*See Appendix
50
I
COIilBINAÍION STUDY T I*
52
EESSeN I
r
3 r-3-:,
3 r- 3
3 r-3---
3 r-3--
r-- 3 ---r
3 r- 3
------t
r- 3 ___r
-----t
----t
-- 3 ---
r- 3 --r
r-3-r
r-
3 -- 3
3 --r
r- 3 ___r
r_ 3
____
r-3-r
r- 3 ___r
r- 3
____r
r- 3 -___r
r- 3 ___r r_ 3 _-_r
*5€e Appendix
r_
3
____r
r_ 3 --__r
r- 3 --r r- 3 ---
r- 3 ---r t- 3 ____t
r- 3 ---r r- 3 ----r
r- 3 ___r r_ 3 _-__r
r- 3 --__r
r_ 3 __r
I
53
-
3
-----r
r-3-r
r- 3 ---r
r-3--r
r_
-3----
3 -_-r
r- 3 ----r
r3
-r r- 3 ----r
3
r-3------t r3-
r-3----r
--r
-3--t
3
-_r
r-3----r r3-r
r-3------t -3-
r- 3 _-r r-
3
-______
r- 3
------t
r-- 3 _______
*See Appendix
54
I
EOMBINArIQN SrUNY Ï f, 3 r-J--t
3 r- J
r- 3 ___r r_ 3 ___r
r-
r3-r
r-3----r
r3_r
r-
3
3
-----
r-
3 ---r
3
-__r
-
--r
r- 3 -r
J
------t
r* 3 -----r
r- 3 ----r -- 3 __,t
3 -- 3 -----
r_ 3 __r r_ 3
______r
r- 3
______t
))
tEssoN I ó
*See Appendix
56
I
)/
COftTBINATTON STì'DY
58
I6
tEgEON
*See Appendix
I
ffi ffi _ \l
W
W
tttt
60
\l
\
\l
\l
\
I I
I
I
I
I
comBlllAT:Olll ST$nY lf
6
INDFFF]ìIDFIICF FX;RCI$E$ FOn
I Snore drum: Ploy the rhythms from eoch lesson drum:
Ploy constont quorter-notes
2 R.ide cymbol: Snqrc drum:
Ploy constont quorter-notes
drum:
Ploy constont quorter-notes
3 Snqre drum: Ride cymbol:
Ploy constont quorter-notes
drum:
Ploy constont quorter-notes
4 Ride cymbol: Snqre drum: Bqss drum:
Ploy constont quorter-notes
Bqss
Bqss
Bqss
5q R.ide cymbol: Snqle drum: Boss
drum:
ób Ride cymbol: Snqrc drum: Boss drum:
Sixteenth-notes Ploy on beots 2 & 4 Ploy the rhythms from eoch lesson Repeot exercises
Ploy the rhythms from eoch lesson
2,3, A,5 ond ó
while ploying the hi-hot on beots 2 ond 4 (with your foot) Repeot exercises 2,3, 4,5 ond ó Hi-hot Ploy constont quorter-
Ploy the rhyïhms from eoch lesson
:
notes (with your foot)
2&4 Ploy the rhythms from eoch lesson
PloY on beots
9 Ride cymbol: Snqrc drum:
Bosic iozz ride pottern Ploy the rhythms from eqch lesson
Bqss drum: Ploy constont quorter-notes Hi.hor: Ploy on beots 2 & 4
Eighth-notes Ploy the rhythms from eoch lesson Ploy constont quorter-notes
5b Ride cymbol: Eighth-notes Snqrc drum: Ploy on beots 2 & 4 Bqss drum: Ploy the rhythms from eoch
óo Ride cymbol: Sixteenth-notes Snqre drum: Ploy the rhythms from eoch Btlss drum: Ploy constont quorïer-notes
62
Dn$mg;Í
lesson
cymbol: Snqrc drum: Bqss drum: Hi-hql:
I O R.ide
tl
Bosic iozz ride pottern Ploy on beots 2 & 4 Ploy the rhythms from eoch lesson Ploy on beots
2&4
Repeot exercises 9 ond l0 Hi-hot : Ploy constont quorternotes (with your foot)
lesson
;''#hms con be counted different woys, but the results should olwoys be the some. I hove listed some of the olter
-:'ive counting systems below.
::ge 9-ì
Poge I 2-1
)cge
Poge
15-1
le+aZe+a
3e+a
1e+42e+a3e+a4e+a + 3e+a4 1e+a2
4e+a
)oge I B-l
+
Poge 1B-2 e+a e+
Poge
'15-2
2e+a3e+a4 2+3+4
e +a e+
L e+ 1+
2 e+ a 3 e+ a 4 2+3+4+
^
e+ a
Poge 21-2
2l -'l
1e+a2e+a3e+a4e+a 1+2+3+4+
1 e + a 2e+ a 3 e + a 4e+
a
Poge 24'2
?oge 24-1
e e
)oge 24-3
+ +
a2
e+a
2
+
Poge 24-4
1e
+ aZ e+
a
2e+a
6
Poge27-2
Poge 27-1
Poge 33-'l
Poge 30-1
1 triplet
ltrip let 2 triP let 3 rrip let 4 trip let
33
3
+
Poge 39-1
Poge 3ó-'l
+ 1 trip let 2 1 triP let 2 triPlet +tliPlet
1e+uh2 + ltriplet 4e+ulì
3 3
+ tlip let 4 + triPlt't + tliPlet let trip
333
333
3
Poge 50-1
Poge 4A-1
3+ 4+ 1+ 2+ 1+ 2 triplet + 3+ 4 triplet +
i trip let
Poge
Poge 53-'l
1 trip let 2 trip let 3 trip let
g
3
4
54-l t-
Poge 59-'l
!s+JZe 1.e+a2
let
3
1 trip 1et 2 trip lct 3 tlip Ìet 'i trip let
trip let
r-S----t
Poge 5ó-1
2 trip
3
3
3
64
2 + 3 + 4
3
Poge 59-2
+iì +
1+2+3
3 +1++
ore unoble to control the length of o note (with the exception of dompening), they must mprooch dots ond ties differently thon other musicions. Below ore some exomples of how this';rks. &ecouse drummers
As ployed by drummers
Íies As ployed by drummers
65
The some rhythm con be written more thon one woy.
+
:
= --r-r
----T--------- : -----t--T
-
II
r
I
I
: -------u----------------
_________ ______-_ ---=r-
------
r3-t lll
r-3-r
r-3-rrJr
llr
=.:w
---#
r*3--
J--r-L n
------------=----------o------
b
--
tll .z---------J-------2
66
r ?:'r 3
=
r3-t
-t
692-2022-3
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