Gary Chester The New Breed

RED by Gar Chester edited by R' R'ick ick Mattngly

�Copyright

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M,oden Dumme Pubcains In. neionl o Seued Al R eeed Pned in U.SA 5th

Printng Aprl

1995

Publhed by

MOD R"Plico, Inc. 070 009 ey 07 rsey  v,, Ne w Jrs  Go v e R oa , Ce idg Roa  Br  r idg Old d B 12 Ol HA

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S32t3 2t3 E, WJ WJS3 MILAUE, x 19 19 MILAU Ro PB PB £O ORo £ 7w. 

2

DEICATION

This boo� is deicate o my wife, Janice to my augters Gayle na Amana ad Kaia to my son imoty an o al al o o  my otr "clen: e students wo ave sti wt e over te ars ad wo eped  proe ta my sses wok s book od o a een pse wto te  o Cris Aams wo w o not ony ad exampes  acual ae creaiv ansakngy coe al coe al o te sysems ad nions o e projct

Design ad layout: David H. ram A Ssan ann Wiam  Mllr Phoo rap Rc ti over poto taken at randsam Suos West Orage N Scal ank  Ettleson alp Pace anny  anny  ote Stev Ettleson an ick Marcs (Paiste) ilam F Ldwig Il, lan annizao oe Powers Alan . Do and  Webr

INTRODUC-O

l dummers er o attern, beat ad mehod o eection a they row as muscan wen payig n e do hey come up agai a vay of vasy dffeen msica uatios Duri Durig my may yea  he tdio I deal wh many diferen prodcer ome o wom played a ile i of drm ad some o wom wated tcky ad iqe rm pats. wuld wuld take miue miue ad e e pas hen play em i the udio ad hen tae e par home and hen le em aay accmu accmu ated qite a few o wha I call Bsytems"-thing tat ere' baed on normal1 everyday dm paying Ti oo tae may of hee ytems and  deiged deiged to deop coodiaon muicalitY eadig abliy and confdence. I alo prodes dummers with new ad excig mateia to help e develop individua creativt creativty. ee sysems ae not desgnd o be payed scy as eerces u ued as oos o develop new muscal dea In e sudio sudio you mu be pepared o play an cedle vaiety o muca muca genre-jaz ock Lan o counry ec Te maera coaied whn ee syses c e applie o ay al musca syes Anoer aspec o studo pa s sgh eadin ou sould be ale o ghtread aytig wthout ay probem O oue even  yo are a great reade i yo come cross some trick paerns ou don ave e coordnaion to go wh he ¥ ou eadg ead g  wi wi  tow you th sytems i s book wil promote advanced readn ad coodaion coodaion not oly of singleine dum dum par b mltlie drum pat as wel Te man benei of maeng thee sem) howee howee  he deeopment of eed ipiraio and maeial to coie ther dvidal creaUvty A  A  te thee yem wil own muical grow provde you wt new poibiliie and idea fr coied mcal deeopme The sems wl prepare you or thig yo mig econe in he sdio-edig coodnao ext hey wi alo prepae yo o b par o crre mical trend and o e mic o te fre in ee e e syem o or a� moe ce � . Crent umbe of dmmers mae he sytems ad ca mJle dum mS  s possbe a compoer ad arrager w wre muic wth i approach n mind. i my ope ta y luratg thee yem ca hep dmme ndertad e srumen bee and help hem come emer of he ew beed o rummers who wl tae pa in he s o moden music

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CONEPTS: Par 1 DVLOMNT OF AL LIMB One  the bgest pbems ha may dmmes have s the ac that they do 

ave cmpJete co over al  mbs May rues js racce sae dum xecses and  n coprate the ee By the same token, ummes who do ncpae he ee e have ue eadng with the et hn  ey ae gt-hande) May dummers come  me an say 'My ght had e  my e i-hat. My a is teble." Is he sae hig wh he eetg bass b ehods  sig these sysems coe al aspecs of usg al ou mbs  a . acca Sse.

GHT- AN LFT   -HA  L A Al  he systems coaed  ths oo Wl ivve ladg wh he e hand as el s with he ight. Ths w deelop bee r ve  the sume ad

eae the iea f a wea had" Most mes id tha by pacticg hese execses wh eihe had ledg he weake sde becomes he eve sde: ce th sde s o raned  s ease o  to grov  ead/ghhnd lead i espealy eecive whe sd wh tw o s a thre h-has ccep  ",eital ig    yu by, han fcsg o yo h o ef

MY APPROCH T O DRUM SET  "TERRIORAL RGHS  y dum seup  se h hs-wo   he radna psn an e  he sde above he lo m  ao se a secd lo m o he et  he adonal h hat  nd ha hs es emeous ely ad  ecmend sig a smia sep when pactcg hese ysems

y sng thee hihas yo are opeg u a whe ew wd of possbies Yu cn ad wh e rght had  the csed gh hha ad pay paens beats n cent n he dums cymals o othe hha  create a aey of eels and na cs u ca aso lead with he let and have rghthad feby I cal ths apac pe a r ms " : ghthad ead on the rght h�hat; ehad ead  the e hiha Grssg oer he sa drum to py te h�hat seem unaua  e s bgs s  the seod foo tom and he dea f tertoa ghts  se e econd oor tom (o he let side or may snd pssbites.  d i easy 

P:

siae two bass rums y uning e o  o he same pic as he ass dru.  is also ve useu wen leadin wi he ef and "Terrioria ihs efers o payi e insuens on he ef'side wi the lef and and playin he insumes on te igh ide wih e ig an

As yo can see ro he oo e small o1 hiha cyas sae and age o (on te et) are ost naray ayed y he et hand wle he snae smal om  are om hihat and cyas on te rig are layed by the igh and t s sime and logica f you pu a ouryea-old child end  se of ds e child woud not css ove o pay te iha found ha one o he iges polems I ha n he sudo (a ar as echnica execuon) was enn a fi on e gh side an the ein ac to e hia By using hee iats wo floo oms, and left an iht-and leads ts is no lone a pobem e sue ha ou se e sae se wen you lay hat ou use wen ou pacice

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BASS DRUM EHUE Many rummes wonde weer te shoul lay he ass rum wi e hee own o u fee ha or odays music you need to be ae o pay boh ways  personaly lay wh e ee down and my owe comes o e nee down not o the hi Duin y years in he studio we vey rarely laed ey loud and eninees wee ae o adjus my sound to waeer volume was neeed However odas sudO playin as a ule is much ouder Wih e nventon of den recoin insrumens suc as ies and e success of eavy oc bands you ae ofen calle upon o ay vey oudly Sdio engnees oday call he ass drum a kick d and many imes ha is wha yo dokic it! fid at playin wit he heel u gives you a sor staccao soun an payin wi te eel n ives o a moe onded sund You wll need to e abe o play a all ynamic leves, so you sou pacce bot etods I however ecomend moe concentraed eo on e heel�own appoac for cono.

J

PSUE

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7-

6

I  fim elievr in siin proerly wen you acce ay in the studo o efo live Good osue wll hl you kee yo saina and enance, an pevent pssie ack inry n e suio wold soees or o 20ou ays In I sufered a

s lpped dsc'inury and as ou of wo or s mohs Although I et tha  posue s o beig oe aware o specifcs  his area might ave eped o preen i ijy oer beei o sting corecy relaes o hearing the stmen Sitng wih corec posure alows you to hear he ete se as opposed to when you ae leang over e i-a or snare drm 1 aso eaes you o pla wt a ve natual alance o so ewee each par  8uget usig a miro when you pracice You can che yo posue and even yr faca exprssions Soe sudets e er ps o sti heir ogue ou Tha js dissipates yor eer gy

I e os mporan hig o a dummer s ndetdg ie Ti ocus wih periece ad dedcated pracice Tere are hree basic tme feel: on op in the de  ben Yo ae to d ot which me feel works in a pacuar atio Ths ype o feel geeraes he os energy ad ecemen" ut there s s a dange of rsng In paying on o o e beat you pay wih a eel slighly i o o he cener o he bea Mhs ype of me feel is exacy hat in te midde o te ea Bs feeJ places the gooe slghy behd he ceter o he bea Playig i Con ase equires playing ehid playing good me wh a hytm secton the bass paye ad drumme mus o weU ogeter s gea  you ca id  bass playe who y e coorabl hoe who eels ime i he same pace a you do. The he wo of yo ca ie ot e ype of eel rered for a gien sesso I pacicing te sysems, yo shoud pracce wit a click rac, becase in the stdio o ms be able o wok wi . eope say ha a meonome doest swig does  wht yo put wi i wi swing Pracicig te ysems wh a clc wl hep develop a good sense o me and wil elp develop the feel o wokig wh   ractice he sysems g al hree ypes o ime feels

n n   



GOVE AD

,



  o mae hese syses cook s o now he inside ou When eadng a ct o he firs ime ust abo an drumer even one of he greas wil sQund ecaical u by he hrd or oh time hogh1i should goove� he same idea pplies to hese sysems he rs me ou pay i is o gon o swing hese are coodag eecises ad he are hard hey wl e ,fo he mos pat) unamila to yo and othig amiiar is goig o coo rig awa er you udesad each syste sng eah line and hear ad undersn all the lnes and pars hen o ca o on specics aout he grooe e yo ca play eac sysem easonably wel ape yorse Liste or spacg sod, acces dyamics ad musica appoach C icize yourse o he  degee Grooving in he studio or wi a rhyhm section is not a oeperso hig ou can pracice groovig a hoe and play great Howee yo g ge wih  t secio i wich he ass payer plays somehing a oadcts wha you ae payg  he gooe w be goe Tee are many aspecs o playing a gooe ss g s and keyoards a mst groove ogete Tereoe t is mporan o paice so ha wat yo pl  ees good o o bt i is also impa o get epeience wh oter muscias and ork on grooves ogeer.

E IORAE OF SI s cocep represets oe of e ost mporat and eicial ways of sig he

sstems. As you go rough the systems ou wll fnd that ou hae to s ng aous arts of the eercses. You will end up usng he voce almost like a fth Hmb) and this il elp ou n man was. ome of them are: 1 Aby to hear and feel he quae oe. One of he first thngs you have to sng is e qaer note along wth the metronome as ou sghtread. The quarer note s he dadd of the bar; singing it real helps ou hear exact where the arer s, and  eryhing ou pa reaes o t Thjs wl rsult n bette ime fee and better eecuon 2 Sig-eadg ab s ou adance hrough the sstems ou w nd yoursel aying with all four imbs and singing a dierent part each me you pla through an eercse s o ghread you will sig he uarer note then the snre drum par, hen he ne ou are sgh-reading and in some cases the upbeat an the h�-hat o cya art Practcing in ts manner hes ou to sightread without haing to sing e melod I' ine all the ime and enables ou to recognize fgures and eecute them snctel. 3 Undesang o  ndvda pa Wen plang compited figurs with a/ ur lmbs you must be aware of each indivdua pat tha maes up he igure In the sudio you may somemes be asked to pa the bass drum oude or thesnare drum soter ou may find tha b changing us one par of the fgure that ou ae paing u as smplfng the snare drum or aing a part on te hhat insead of the nare" you can creae a special eect or pease a roducer B prcicng hese sysems e sngng a sefic par you wi ecome acue aare o each par nd hus e be o hae moe conro oer damcs and moe leibility when you re aing 4 Alevae mcancal eadng Many drummers sghtread el ut they are no realy hearing and feeng hat hey are plan because hey are playing ehancaly y aserng the systems and beng abe to sin each art sght reading ll becoe less echanca and o usica You l be so falar wth fgues that coordinaton and execuion wi no be a probem; you l be f ree o creae a eel n the music you are sgh-reading. 5

waees o ph and be Wen singing each indiiua art you shoud

sing in a tone ery close o he part tha you are ocusing on he snare drum voca art should sound smehat ike a snare bass drum ike a bass drum etc. Many drumers are n aare of tones and itches. Most can hea a snae drum part bu hen ased o play the same fgure between tomtoms or on the bass drum they are ost When praccng he sstems you ill find melodic ines shiting around among erent nsrumens. ngng hese diferent parts enables you to understand full ac tone COI 6.

Awarenes of spacing. Snging heps you to be aware of he placemen of each

eat and the spaces beteen each noe A comon poblem s rushing fills hen eed. Singing wil help you deeop an acuate awarenes· of spacing an9 precse eeuon Soe of my sudents ae maserng he sngng of each par sing he rests he payng the exercise 7. Eneg ingng can create a certain excemn and energy when you are ractcing plaing n an isolaon booth n he studo or paying in a ve eormance suaton. When ou ing wih energ, you pla ith energ. 8 Bhng Another benefi t tha results from ngng eercises is awareness of orec eathing. ry to sing a drum ill whe brating in. t is incredibl akward e  ows naural when ou reease he air f eel tha f yo breathe normall r aing  o norma A concep hat hes man studens is the dea  beating n he same manner tat a hor payer breathes ometmes I have studens wrie breath arks n each eercse o promote natura breathing he concep of sngng wll become moe nderstandable as you go through he systes opefu you will find that hs is a very enoable and benefcial part of ur ractice roune

Th olowng pge ontin 39 si pttens alled'syses," pges of reading materl, wi re to be ued as he elodies fo eah sse Sa y emorizing the ye being aefu o a he oret insument wih the ore n or oo Yo w no be playjng te eody ye but be ure  o noce whee yo are eenualy o y . Play e em many ti vng o k  fee a goo a oibe Whe you are ayng he yem sng the li us quarter not) Ae ou ae emze a yem un to the fist wo Reain e (14 d 5) and lay hem a te Meody of e sse on the iumen ha i specfied w ea yem. e you cn ay boh ge ro beinnng to ed roeed o he seond se of eie an ate hem e e wa � tha n of is no pocee n eved tol me until you hae an  wt eah ste o id ou awaenes ou houl learn o sing eah  a you e layng in aditon o singng he clic ulse In ohe wods wile pang he ote e wih Meody sing  h ci ulse 2) e elod (3) e ar dm line  he cyb ne 5) he h-hat lne ec hen snging t hel 10 sng a soud ha resebles he particula suent ad o sng i as hhill as possible ou loud Fo example he s ru a mig oun ke boom hie ou mgh sig the hihat  wt  "chk oun he folog abbeviaion ae use n hs boo: 

Bl

: 

hha ybaJ ell

elod H L F.

 

Re e cymba (o addional se  BD bass u FI. to lo tom 



eding eercie pges

=

RH RF

Le ad e oo

Examples: R.HRide

=

H.FI tom

= 

Rig n ig oot

Rgt ad on rde cymbal (o osed h-at) . =

Le hand on floor o

R.F/BDMed ght f n bas dum pay medy /H Let t n h-ha =

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RACT ICE T I PS FOR SYST EMS et pactcing each ba at ea  tme,  a many time a  tke t et a d ndetandn  what y ae paying Stat lwy and elax The tedency i t r thh each meae an d get ght t he end hat i nt he pOint o the e ece ahh y i be abe t d that afte y ave mateed ea ch indivdal easure Ate y eme amla ith the technicacdnan apect f each ytemJ then y can  n ee ve dynamic ad aplcatin f a vaiety  mical stuaions. For example you could pretend that the lne yo ar ight-redin on the bass dru is a horn meody ine, and play everything with the hands dynamicaly as I

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You wi find  ha masering  h e s y stems requi res a lot o conce ntato. You  are nging oe pa ad s i ght-eadi ng aother  It is hard, but you wi  l nd it eas ie as you go hog h the sysems ou w i l ind tha it is also vey hepfu l n deveo p i  g concenatio fo pecison  h e studio o  in peomace Oe sude i describ ng a les s on wh me oce sad "When  I go f or a lesso wth you, Gary th e d o g s c ome i and ou t y o u r w  fe comes in  h e  phone ri n gs   hee sudent s are i the e h agig a ro ud for h ei  essos - al i the same oom   h ie I m havi g my  esson. Do you expet me o cocentrate tho u g h  a l l o that?" My an swer wa s , Aolu e;' You  shoul d h ave conidence i youself and e abe t o cocentae o wha you ae doing no mate who is watching o l isteng  o w hat's  g ong on aroud yo u It's h ard, but is o rh workig towads t h i s g oa l .

NFN Afte you maste these ssems, you wil feel a cetain saisfaction in knoing that you can p a some very comp cated and exci ting t hi gs A p oble m however is rememberin g ha many ti mes you wi  e equ ired to p ay si mp ly Th is becomes a pobem because you have so m uch  ha you ae able to pay� bu t someh g simp e s wha woks Someimes t you ay i ;w ha maes somethig musica sometmes its what you don  pl ay e conde nce coes i n kow in g that you ca cover any musica stuaon rom somehng sim e o somehi g compl e.

NG F  U  Studo equ ipmen and tec n que s ae cosany chag ig ad im povi g  hey have come a ong way rom he o d two- three and ouac ecodi ng s o he 1 960s. When I was acivey invoved  n studi o playin g each studi had a deret sound  each i soatio booth was di feent  woud b ring m y wn dums a d tune specay fo each stud io. ou s l eed to u e you r dums o each sud io siu aion bu t w h todays advanced sudio echnoogy a mao acto is the egiee My advce s to get as much ayin g eperence n the studio as possi ble an ear as muc h aout moden ecordin g echni ques as you can Become fami  a wh m copho nes p acement and euaizaion A so li sen o the du m soud in he booh dur ing paybacks As uestions and dicuss he dum soun wh the engi ee. I  hi s maer you wi  amil are ouse  wih te ype o drum sou nd ha you need  n p aying these systems ue he drus so they sound great o you and are enjoyabe o pay. ou must ee comortabe wih he soun d of he in strument. I've been ecomm ed ng that my studets ge sma  portae P A sysems and mcrophones for the i dums fo sma c ub use ad pacice. In large concets of couse th is i s ot needed as he A systems usu aly cove drum a mpl ificaio  ad monioing However odays moden plag demads welldefined dum souds an d a sma p orta b  PA fi s the  need perfecly. Tha way  you do no hve o srai n to

in crease you vou me You can hear every ote you pl ay no mater how ou d the rest of the bad is and you a enjoy a fu   ou ded du m sou nd Aso, you can add eecs suc h as deay and eveb o eesti ng so unds  Thereore ou can keep he balace en ergy ec, th a you wored so had to ge Rem emer i t doesn  have to be loud o hve energy

 AD n  e stud o you find a large vari ey  n the types o d um pars You can gt a lea eet wch conssts of cords and meody" and tha is te same pat or all embers o e rhythm secton ou may get a drum part w mnimal gures and ces on i o you may get a complicated fully witen ou drum par  s imporant to become aware o a these parts represent  and  en deveop sk ills at in te rpreti ng hee chats to play muscally and creativey Arrangers wo know you and ow how wel you read mght wte out eacty what they want you o pay. By t e same token t  ey  g not r ite anythin g for you  because tey kn ow that you wll come up wh a g roove or feeng tha i s bette r han anyhng tey can wrie s approach allows te nnovatve alent of the drummer to surace Wr i ng a smpe d r u part by knowng a partcu lar  rummers slJs makes an arrange s job a lot easie  e e is anoher type of arange r who wr ies a very complicated d rum par o you , fiung tha if i doesn work, parts can be elminaed Howeve ve found from eper en ce  at wth a complced part  it nomally akes a lot long er to g e a g ood oove. Usually wa you must do in a stuaton like this is use you ears ad your musi cal and techni cal abi  ity o fi g  re ou  w at woks for what the arange r eally ans. Mos o he time you can d someng ha you ae comorable wt and that also works for the aran e   steri ng t ese sysems w ill i ncrease you r vocabulay of poss b li t i es Very ew recording aangers really know wat a dmme can do so hey usually wrt e pats  at tend to be simp isti c o poect temseves and the sesson. Experience sensvity confidence and proper attiue are e most imporant aspects o dealng wi h stud o sit uatons

LIT uccesfu stu d io mus cans don ' lock no one type o mus ic They are awae of a l ypesja usion rock counry pop R&Band can play them al authentcally_ Learnng about tese syles comes rom lstening extensvely to all types of musc and knowng what  called or A problem n playing along wh records s the act tat since the drum pa and tme ee are already establs e, you are folowng along  Bu  that can aso be beneficial om an analycal pint of ve ou can learn wha e great drummers do n a partcula usical suaton earn rom  and apply it to your own playng

VLO RTVITY You must fg u re out o you sel how ar you want to go Te re are no ru es,  ust endless possbilties or musical development One person wll prqcce ust a itle; ot ers w ill praci ce e i gh hou rs a day Some w i l be professonal mus ici ans and muscal innovators others will play or un on weekends s all up o you to ae it to whaever level you d esi re All o your de Ci enc es wil su ace d u rin g pra ce sessons) but hat is what practicin is for Some peope et bored when tey pracice  eel hat boredom comes rom not beng ale o concentrate, fo whateve reason Some don like ard things others are lazy wile or ohers beng a proessonal muscan is not he right thig I's all up o you No two d rummes approac musi c  e same ay No wo d rummers wi l play and appy ese sysems n the same way Wat d o ope t ou g   is that these systems wl provde you wth some resh deas to develop your own creaivity so ta you can take part i n forg in g n ew d i rectons  n music , maki ng you an impotant part of the  ew Breed



CDMPSIT The possibl es for reang new systems s end less. One way s o selec a ymbal, snare dru m and h -ha paen from one of he g ven sysems and hen o s ele a bas d rm paen rom one of he read n exeses For exampe  ake he ymbal snare an hha pa  fom sysem  and p y he rs mea re of read ng I I IA on he bass drm 

e yo an p ay hs sysem omorably pae read n  he me lod es on h e snare dm  Us n  he sysem ven above nd ead ng I  I wh   he  rs fou r measures wod be pl ayed as folows:

You shou ld p rae a l of he readn  paes wh ha same ymbal s nae rm and hha paern ne yo are omoable w h ha use he seond measu re o  II  s h e bss d aern and repea he pess Here's how ha sysm wol d l ook wh he rs fou r bars o ead  I B

s yo go hrouh he va ros readn  pages n hs manner yo w l d  sove paerns ha yo par arly l ke as we l as some ha yo do n Go bak o he ones yo l e and ue h em  lso d on b e aad o  nje yor own deas an exra noe or wo ope n h  ha efes o wh aeve Thas how you dvelo p you  own re avy and your own  s a pesoal y The olowng pages ona n severa ombn aon s o sysems and read n  xerses o ve you an dea of wha s possbe Ceran ly yo sho l d spend  me workng o n he eamples ha are ven b  don sop here  am only gvng yo four measures a a  me  e sre o go bak o he aual ead n pages an d deveop h e abl y o read he en re page wh e p ayng  he sysem  lso be se o on n e o deveop yor own sysems based on he poedure shown n hs haper I yo only play he pes g ven n h e book yo l l j s be a Gay heser lone and ranly he wold doen  need any of hose Be yor own peson by devel op n yo  own deas

COM PDS ITE

TE 1 Reading  esure 

System 2 .H'!SD

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

opose sse 1

C'ose sse 1 with frs f eues o edn g I-A on sne du.

C PSI  SVST Sse 4

2 edg 8, ese 1

Oe sse  w  h s fo esues f edn 8 n sne d

Reading I-A, eaure 12

Composte e 3

Coose e  w h  ou  eu r of re g ! A o  e ru .

C OM PS ITE SYSTE M 4 eg 118 ue

Syse 8

LF/H.H

Comose syste 4

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Composte ye 4 w h  fou  u  of redig 1  - 8 on snae   u  .

9

COMPSITE SYTE 5 System

Readi g I l -A, mesure 



Composite system



Composite system

5

with fi st fo measues of eadn g 1 1 A o sae dum.

COMPSITE TE 6 ysem

1 1 18 measue 29



RHlH

!

omosite sstem

6

Composite sstem

6

wit st ou measues of eadi g 1  1 o sae dum

PE YE 7 0

System  4







Rea di ng IV�A, eaure 1 0

LFlH.H

Cope e 7 w h  fu eau e f ead   -A  l .

o

0



0

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0

 P E YE B

Ce e 

C e e 8 wh s  ea e  ed  B  ae d 

0



OOS SS 9

Cm pst ys

p os  t sys

Cpo s  e

o yt

9 

wth s fu e o adg VA o    .

10 

wt rs    a s  r  o adg V8 o      

44

Obviou s a ot of t e sstems an p attens ue i n t is book ae mo o pact e and eveop men tan te ae fo gooves  at an be p ae in ea sit ua ion s Bu   patin g ose exese ou l gai n te te ni que an onto of te sment n eessa fo o o eate ou own g ooves Te o owin g ae so me gooves at I patu· a  i ke Te ae base on e ni ues a ae eveope  te sstems but e aso  nl ue i ngs  ke aents n open/ ose  j�a ees Yo ma  some o ee gooes; ou ma no ike oes Ta's o impoan Wat is i mpota nt is tat ou go on to eate ou own gooves an paens 

. .

46

The

LICATION

Wy No? It

ol l ow i  g goove ws e   e De Weckl i  e u e HGnsk;' o e Pquo Re lb , eoses  il  l o o he stes esel he se o "eoil g  J 

[LHlS.D lT F J.D 

L /H 



Sp 

oll ow g exe gi b e Wel  i  o he Bi l  Ces u  Ts seio ous ui g he gu  solo o he ue Cookes  shows  il lo o le -ts R . H /    

.S

RF.D.

 .F

i p Of Hrs,

ume o Jo es se ou e  is whe e ed he Bow show  sow hee

R  H iH H L. /O   F IB

L,

48

The drumme whose comm ent ae lie d beo  ae e gea e exponen of my meo . In my opnion, e ae e up�an-oming umm e o oay  Gay Cee

Gy's sysems ve elped m e to ke tremeous i povee i my ie feel cooo , sud o p yg  overll pp roc to  drum se  recome  his book o al serous sudes o te rums�

 Danny e

Tog workng wt  Gy Cesters sysems i coju co w   cl ck rck my t me s  mproved dmc  l l y . I ve become muc moe we o ec o I py my lseg spectrum s opeed wy up  my mbdexey s m prove eeou sly Mos  po  my mes o epresso s bee grel y e ced

 Gay Seigon

Gy Cheses sysems srege  me cocep coo io  metl wreess

 Rob eene

Grs syses e he ul te   coo io d coceo  you c  mg e oe dume soug l e ree o fou umes youe o e  g  trck

 ony uz

Gys tc  g syse s e os cle g g  ve eve see It ocuses o ed g cood o  e eel d coce to lev e l   h sme me

 ave 'Wek

Gys meo o tec g h sow me he t ue meig o cod o  d ow o ccopl sh e sme t gs w my e d   c   d  w    m y   g   

 h Haeni

Fo su y g Gy Cesers sysems y red g s m prve to e p t were I c red ee to ou l  es su leosly  sg t Al so my b l y to e)eue dHcu  ps s iproved o we y g / pl y o ed   wok g s uo seems i cedbly esy

 Roge Po

roug Gys pp roch strume



c expes myse s ever beoe e s gve e  coplee cocep o my

 Jimmy Vaj

roug Gry esters ppoc o e druse I dscovred two dere pesoes  my pyg By ed g w ee he g  o te lef h  c cree wo coplee y ere sou  s s oke very succesful y   y ecod g d peormg w  he Jo Coug  el ecmp 

 Knny Aono

Gys systems  excelle or deveopig he skl ls  co ceps ecessry good uscsp

tOl

goo rumg s we s

  owad one

Gys sysems ve el pe e evelop  c st oge sese o m  wreess i  cou c o w  fow d sesvy Mos mpotly e sysems hve gve e e soges sese o blce  ceer  ve eve epereced bei d  e du ms