Buddy Rich's Modern Interpretation of Snare Drum Rudiments

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Buddy R ich 'sModern In te rp re ta tio n O f

Snare D rumRudimentsWritte n In C olla bo ra tio n W ith

HENRY ADLER

Edited B y F . H en ri K lic km an n

I SB N: 0 -8 25 6- 10 03 -6

©Copyright 1942

_.:.-_. i.~, .:. ;.,.



HENRY ADL ER

Henry Adler, born and educated inNewYorkCity, stud-

ied the various percussion instruments with some of the

most noted teachers in America. He has had extensive

training in every branch of his profession.

Adler has been connected with such prominent band

leaders as: Larry Clinton, Red Norvo, Charley Barnet,

VicSchoen, LouisPrima, HugoMariani, Wingy Manone,

JoeMarsala, Georgie Auld,JoseMoran and Frank Marti.

He was also, formerly, the staff drummer of the RCA

Victor and Decca Record companies.

Henry Adler entered the teaching profession only after

carefully considering the qualifications of a successful

instructor. He was cognizant of the fact that he had the

ability, knowledge and patience to teach others and,

within a short period oftime, became one of the foremost

instructors in the country. He is considered equally pro-

ficient in both the American and Spanish styles ofdrum-

ming. His list of pupils, past and present, reads like a

"Who's Who" in the drum world.



CONTENTS

Page

Henry Adler ,.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Foreword 4

Introduction 5

Selecting the Drum Sticks 6

The Practice Pad .,. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Holding the Drum Sticks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Hand. Wrist and Arm Action .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Elementary Principles of Music 9

Development of the Hands, Lesson 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 17

Alternate Single Strokes. Lesson 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 17

Accents. Lesson 3 . . . . . . . . . . . . . . . . . . . . . . . . . .. . . .. .. 18

The Three Stroke Ruff, Lessons 4, 5, 6, 7 , .. , ., , .. ,. 20

The Four Stroke Ruff, Lessons 8. 9, 10, 11 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 22

The Five Stroke Ruff. Lessons 12. 13. 14 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 24

The Five Stroke Roll. Lessons 15.16,17.18 .. '" , 26

The Seven Stroke Ruff, Lessons 19,20.21 " . . . . 27

The Seven Stroke Roll. Lessons 22, 23. 24, 25 " 29

The Nine Stroke Ruff, Lessons 26, 27, 28 '" 31

The Nine Stroke Roll, Lessons 29,30. 31, 32 , , .. " 32

The Double Stroke Roll, Lesson 33 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . .. 34

The Singl~ Stroke Roll. Lesson 34 36

The Press Roll, Lesson 35 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 37

TheSingle. Double and Triple Paradiddles. Lessons 36. 37. 38. 39, 40. 41. 42 ..... . . . . . . . . . . .. 37

The Flam. Lesson 43 .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . .. 40The Single. Double and Triple Flam Paradiddles. Lessons 44. 45. 46 , .. , .. , .. 40

The Flam Tap. Lesson 47 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 41

The Flam Accent. Lesson 48. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 41

The Flamacue, Lesson 49 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 42

The Half Drag. Lessons 50. 51. 52. 53 .. . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 42

The Single. Full and Double Drags, Lessons 54. 55. 56. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 44

TheSingle. Double and Triple Drag Paradiddles. Lessons 57. 58. 59. 60 .. . . . . . .. 46

The Three Stroke Ruff Single. Double and Triple Paradiddles, Lessons 61. 62. 63, 64 ... ... .. 48

The Four Stroke Ruff Single, Double and Triple Paradiddles, Lessons 65. 66, 67. 68 . . . . . . . .. 50

The Single, Double and Triple Ratamacues, Lessons 69. '70. 71. 72. 73. 74, 75. 76. 77 . . . . . . . . . .. 52TheCompound Strokes, Lessons 78,79.80.81.82. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 56

Exercises in Triplets. Lesson 83 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 58

Reading Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 61

Explanatory Remarks Concerning Exercises Employing Rudiments................ 82

Exercises Employing Rudiments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . .. 83

Buddy Rich in Action . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 93

Advanced Rhythmic Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 94

Musical Terms 100



4

FOREWORD

The circumstances surrounding the conception and publication of Buddy Rich's Modern In-

terpretation Of Snare Drum Rudiments were quite unusual. The thought of writing a drum

book had never occurred to Mr. Rich, until he was suddenly inspired to do so through the vast

number of inquiries he received from drum students and teachers from all parts of the country. He

soon discovered, however, that his duties with the Tommy Dorsey organization would not allow

him sufficient time to devote to writing a drum method, especially, if the book called for early pub-

lication. Therefore, he immediately contacted his instructor and friend, Henry Adler - the well-

known authority on percussion instruments - who agreed to collaborate with him in the compila-

tion and preparation of such a work.

The result of the combined efforts of the Rich-Adler partnership is a book with all the funda-

mental material needed for an instructive drum method. In addition to the elementary principles

of music, there are eighty-three lessons of exercises and rudiments, twenty-one reading exercises.

ten exercises employing rudiments, forty-six advanced rhythmic studies and a list of the most

frequently used musical terms. All of the material has been carefully graded as to difficulty.

Buddy Rich's Modern Interpretation of Snare Drum Rudiments not only differs from all other

drum books. in that it contains a systematic course for the beginner. but it is also of great value to the

teacher and professional who wishes to increase his knowledge of the rudiments.

When Mr. Rich approached us in reference to the publication of this work. we accepted itwith

a complete knowledge of his ability and genius in the drum world. We had perfect confidence that

the book would prove to be an outstanding contribution to drum literature.

THE PUBLISHERS



5

INTRODUCTION

by Tommy Dorsey

It is the opinion of the general public, especially of those who do not understand the importance

and qualifications of a drummer, that he does not necessarily have to be a musician to play in a

band or orchestra. They think that it is not necessary for a drummer to read music, that he is en-

gaged merely tomaintain tempi, and to beat a variety of rhythmical strokes as loudly as possible.

This is false reasoning in regard to a successful drummer.

In order to attain the height of his profession. a drummer must be as good a musician as any

member of a band or orchestra. Not only is it important that he read music, but he must also have

a solid background in the art of drumming; that is to say, he must be well versed in all of the rudi-

ments. However, it might be well for me to state here that a drummer is often called upon to impro-

vise a suitable part. because of the many faulty parts written by arrangers. Mostof the drumparts,

especially a great number of those in dance arrangements, are written as "guide" parts, leavingit entirely to the ingenuity of the player to use his own judgment.

It is true that a drummer can make more noise than any other member in the band, but an

intelligent, capable drummer never goes to extremes in this respect: he carefully follows the dy-

namics, accents, etc., of the arrangement and style of the composition in bringing out the various

necessary effects. At no time can a drummer do as he pleases, when it comes to playing louder

than the music calls for;but his finesse in interpolating the various rudiments isalways appreciated.

Most important of all, of course, is for a drummer to maintain a strict tempo. Nothing irritates

a conductor more than for the drummer to play an irregular tempo-a tempo that constantly variesfrom fast to slow and vice versa.

The drummer who cannot read music, sooner or later. will be put through a test where he will

be asked to read his part exactly as it is written or seek employment elsewhere. This is especially

true of the drummer who plays in theatre, concert, school or symphony orchestras, or in concert

bands.

Buddy Rich, the drummer supreme. has been with me for some time; and whether he is read-

ing his drum part or creating one of his own. his handling of the drums and various traps shows

the work of a genius.

Buddy Rich. even with his natural ability and talent, knew that, in order to become eminently

successful, itwould be necessary for him to gain the appropriate training. He had the foresight to

engage a competent teacher, so that he would not, later on, have to overcome or undo any faulty

habits.

In selecting Henry Adler to instruct him, Buddy Rich showed good judgment, for Mr. Adler

has had great success in developing young drum students. In this connection, I also wish to say

that Buddy Rich was extremely fortunate in securing Mr. Adler's assistance in the preparation

of this drum method-a method which I feel sure will become a standard work in this field ofinstruction.



6

SELECTING THE DRUM STICKS

When selecting the proper drum sticks, four extremely important features must be taken intoconsideration - size, weight, levelness and balance.

The size of the sticks is judged by the size of the student's hands; if his hands are large, he will,nsturally, need a larger pair of sticks than if his hands are small.

The weight of the sticks is determined by placing a stick in each hand and turning the wristsfromside toside. several times.Then, if the sticksdo not feel perfectly comfortable, as tothe weight,other sticks should be tested. until the proper pair is found. It is also necessary that the sticksweigh the same; therefore. each stick should be weighed separately.

The levelness of the sticks is best tested by rolling them on the glass counter in the store. If,during this test, the sticks do not roll evenly, or have a tendency towobble. they should be refused.

The center of balance should be a distance of about two-thirds from the knob (tip) of the stick,at the exact spot where it is held with the thumb and first finger. A good way to determine thecenter of balance is to hold the sticks in the correct manner and agitate the wrists with a motionsimilar to that used in executing the "bounce." (See Lesson 33,p. 34.)

Various well-seasoned woods are used in the manufacture of drum sticks, but it is concededby experts that hickory is the most satisfactory wood because of its durability and tone. The hard-ness of the wood denotes the tone. Naturally, a hard stick will have a sharper, crisper tone than asoft stick.A good hard stick has a twofold purpose: first, it is easier to handle and second, it gives afirmer stroke.

Drum sticks also come in a variety of stains, and with different shaped knobs (tips)and tapers,the choosing ofwhich is a purely personal matter. None of these points, however, are as importantas the size, the weight, the levelness and the balance.

After the proper pair ofstickshas been selected, it is suggested that each stick be given a finaltest so as to insure a perfect match.

THE PRACTICE PAD

The best means of acquiring drum technique is to practice with the aid of a pad known as apractice pad. (See illustration below.)

The practice pad is a small wooden contraption on top of which is cemented a rubber disk, ormat, forming the striking surface. In selecting the pad, particular attention should be paid to thequality of the rubber used for the disk which can be tested by tapping it with the drum sticks to

see that the rubber has the proper resiliency (bounce). If the rubber is soft or spongy, the stickswill not rebound quickly.

The purpose of a practice pad is threefold. First, the strokes are more pronounced than theyare on a drum - every tap being clear and distinct. Second, it eliminates noise - the strokes beingbarely audible. Third, it is not as cumbersome as a drum.

The practice pad is manufactured in two different models: the table model and the standmodel.

After learning the rudiments on a practice pad, the student may then apply them to the snaredrum. He will. at first, discover a slight difference in the technique required for "plucking" thevarious strokes off the drum but. with a little practice, this difference can shortly be remedied.

In the following pages no further reference is made to the pad, because it is understood thatthe student will substitute the pad for the drum, at least, until he has gained perfect control of thesticks through accurate action of the hands, wrists and arms.

Practice Pad



:.-- ~.,

7

HOLDING THE DRUM STICKS

Tothe novice, itwould seem to be a comparatively easy matter to pick up a pair of drum sticksand mark time or beat out a simple rhythm. However, if the student aspires tobecome a proficientdrummer, and reach the pinacle of success in this line of endeavor, itwill be necessary for him tostart at the beginning and learn to hold and manipulate the sticks correctly.

The correct manner of holding the sticks isexplained in the following instructions.

How To Hold The Right Hand Stick

(See Ill. 1)

Grasp the stick with the thumb and first finger of the right hand, at about two-thirds of thedistance from the knob (tip)of the stick (the center of balance). The second, third and fourth fingersact in an auxiliary capacity as they aid in controlling the various movements of the stick. The palmof the hand is turned downward, upon striking the drum.

How To Hold The LeftHand Stick

(See 1 1 1 . 2 )

The left hand stick is held at about two-thirds of the distance from the knob (tip) of the stick(the center of balance) in the crotch formed by the thumb and first finger. The second fingeracting as a guide, is placed on top of the stick. The third and fourth fingers, placed under the stickact in an auxiliary capacity, while controlling the "swing" of the stick. The palm of the hand isturned toward the body, upon striking the drum.

Illustration I Illustration 2



8

HAND, WRIST AND ARM ACTION

After the student has learned to hold the sticks correctly, the next important procedure is tolearn the correct movements of the hands, wrists and arms during actual playing.

Before striking the drum, the sticks are held with the points upward, as shown inillustrations3and 4.Itwill be noticed that the sticks are held in relative positions, with the hands raised slightlyhigher than the elbows. The wrists are not bent, and the arms, from the elbows to the hands, arestraight. The elbows are close to the body, while the hands and forearms are away from the body.

In starting the exercises and rudiments, the position of the stick varies; sometimes the stick isheld up and, at other times it is held down. In any case, the movements of the hands, wrists andarms are always the same.

Taking each hand separately, the following instructions are given the student, in order toacquaint himwith the correct method of manipulating the sticks.

The Right Hand

Start with the stick held as shown in illustration 3. Turn the wrist, while gradually bringingthe forearm toward the drum. Upon striking the drum, see that the elbow is away from the bodyand that the hand is the same height as that of the elbow. (See Ill. 5, p. 9.)After striking the drum,return the hand immediately to its original position.

The Left HandStart with the stick held as shown in illustration 3. Turn the wrist, while gradually bringing

the forearm toward the drum. Upon striking the drum, see that the elbow is away from the bodyand that the hand is the same height as that of the elbow. (See lll. 6, p. 9.JAfter striking the drum,return the hand immediately to its original position.

All of the exercises and rudiments in this book call for the same hand, wrist and arm move-ments; the only variation is in.the position of the stick when starting and ending an exercise orrudiment.

Illustration 3 Illustration 4



9

Illustration 5 Illustration 6

ELEMENTARY PR INCIPLES OF MUSIC

NOTE:-In the following definitions and explanations of the various signs, symbols and characters

used in music, there are a few which do not necessarily concern the snare drummer. They are in

cluded here, however, in the event the student might wish to increase his knowledge of music and

perhaps, later on, take up the study of bells, xylophone, timpani, etc.

Music is the effect produced by the combination of time and sound; or, in other words, of dura-

tion and pitch.

Music is written on a ladder-like arrangement called a staff. This staff consists of a series of five

parallel horizontal lines, with their spaces.

Short auxiliary lines. called leger lines, may be added either above or below the staff, in orderto extend its compass. The spaces between the leger lines are called leger spaces.

4 Lege r lines

3 - 3 and spa e e s2-2

Li n--s. 1 - 1 above the staff. Spaces.

5 --------~------------------------ __

The staff. ~ ~2 21 1

1 _ 1

2_2

3 - 34

Lejre r line s

and spaces

he low the ~bff.

Copyrlgh.19.Z by EMBASSY MUSIC CO~PO~ATlON, New York, N. V.I .. t .rnotionol Copyright Secured

All Rights Rel.rved, Including the Right of Public Performance for ProfitMade in U. S. A.



10

Avertical line drawn through the staff is called a bar. The strong or down beat always falls on

the note immediately following a bar.

The space between two bars iscalled a measure.

The completion of a musical phrase or sentence is indicated by a double bar - two light verti-

cal lines. The end of a composition is indicated by a double bar. consisting of one light line and one

heavy line. Dotted double bars, called repeat metks, indicate that the strain between two such

marks is to be repeated.

Example

Ba r,

IRar.

Double

bar.

Double

I I I I

___ Repeat _____

It:' marks. ~

I I : : I Ibar.

. .:....• _•Measure ...•••.. :

End End of

composition.f strain.

At the end of a strain, there sometimes occurs one or more endings. as follows:-

(H,t ending)

2(2"_d e nd ing)

: 1 1 I I I

1

The above endings might contain any number of measures. After repeating the strain. the

second ending is to be substituted for the first ending.

The duration of rhythmical sound is represented by the shape of characters called notes. There

are six kinds of notes in common use. as follows:~

NotesWhole. Half. Quarter.

J

Eigbtb.

}.

Sixteenth. Tb ir ty _ sec 0nd ,

~

(The stems of the various notes may be turned upward or downward.)

Each note has its equivalent rest which represents silence, as follows:-

RestsWhol." Half. Quarter. Eighth. Sixteenth. Thirtyc second .

..-. I i ~ ¥. . . .



11

Chart illustrating the relative value of notes.

A whole noteis equal to

"",

"

2~. .

"

",

quarter notes

. . . . . _

. . . . .

half notes

4:. . . . . . . . . . .

. . . ." . . . . . .

' rr " j

32

j\ ...

.. ... .

r r ~ r r r r t r r r r t t t i

,',,'~~ .~r{, {~ " 't{ ~ ~ \ t~~ \ rr t ~ r~\i~

, ', '

/ . . . . .

. . . . . _ _ k . :

, .. .. '

/ • . • • . . . . . . . .

t r

8 .:: ... .. . .

r r '.: ""

eighth notes

16

sixteenth notes

thirty- second not e s. ------------- --------------

A dot ( . ) placed immediately after a note or rest increases the duration of that note or rest

one-half.

Example

equal to

':

etc •

'. . . . .

J -, r r r

equ<tlto

etc.

Single

dotted rests



12

Two dots ( .. ) placed immediately after a note or rest increases the duration of that note or rest

three-quarters.

Example

Doubledotted notes

. .

r

etc.

equal toI

. .

v." . " .

I r

Dou.bledotted rests . .

" . . . etc.

equal to

The pitch of a tone is represented by a character called a clef, which is placed at the beginning

of the staff. There are several kinds of clefs used in modern notation; however, in drum music, only

two clefs are needed - the treble (~)or G clef and the bass (?:) or Fclef. The treble clef, which estab-

blishes the note Gon the second line, is used for bells, xylophone, marimba, Vibraphone, etc. The

bass clef, which establishes the note F on the fourth line, is used for timpani, snare drum, bassdrum, etc.

The degrees of the staff and the leger lines and spaces represent the pitch of various sounds

which are named after the first seven letters of the alphabet - A, B,C, D, E, F, G. These letters are

repeated as often as necessary.

The note called middle C isplaced on the first leger line below the staff in the treble clef and

on the first leger line above the staff in the bass clef.

Names of notes in the treble clef.Treble

or G clef. On the five lines.

Above the staff.Below t'h e staff.

In the four spaces. DeB A G F

G B D F F ACE GAB C D E

Names of notes in the bass clef.Above the staff.

Ba ss

orFelef .On the five lines.

Below the staff.

In the four spaces. FED C B A

..BCD E F GD D F A ACE G



13

The time or tempo in which a certain movement, or entire composition, is to be played, is in-

dicated by two numerals (forming a fraction) placed at the beginning. This is called the time signa-

ture. The upper numeral (numerator) denotes the number of beats (counts) in each measure, while

the lower numeral (denominator) denotes the kind of note, or rest, receiving one beat, for example:-

.i..: Heats (counts) to a measure.

4 : No t e or rest receiving one beat (count).

Table of Time Signatures in general use.

Simple.

Double.

Compound.

Triple. Quadruple. Double. Quadrup le ,rip l e ,

I

,< •

~

\

The key of a composition is indicated by characters called sharps and flats placed at the begin-

ning of the staff, immediately following the clef. These signs of chromatic alteration are called the

key signature. When no key signature appears after the clef, the composition is in the key of C

major, or in its relative key ofAminor.

All of the notes effected by the key signature are to be played sharp or flat, as the case may be.

When sharps and flats, not indicated in the key signature, and other signs such as double

sharps, double flats and naturals appear throughout a composition, they are known as accidentals.

Asharp (~)raises the note, before which itisplaced, a half-tone.

Adouble sharp (x )raises the note. before which it is placed, a whole-tone.

A flat (b) lowers the note, before which it is placed, a half-tone.

Adouble flat ( b b ) lowers the note. before which it isplaced. awhole-tone.

A natural (q ) counteracts the effect of a sharp or flat and restores the note to its normal pitch.

Example

~J ~ J & J ~ J - I I ~ P C P P C ~r jI

F F F F B B B Bsharp double sharp natural fl t double flat natural



14

KEY SIGNATURES (Treble Clef)

Major keys. with sharps, and their relative minor keys.

(The key-note. or tonic. is given ineach case.)

C major G major D major A major Emajor J :i major F# major C# major

~ ~ ~ _j.~ ~ ~. ~~. ~ ~ . L L ~ ~ L 1

• (~atural)_A ~ ~

. . ~ ~i. ~ ~. ~ ~ . L L ~ . ~ . I L

t

~ - "A minor Eminor Bmmo r F#mlDor c# mmo r G# mrno r D# mmor A~ mmor

KEY SIGNATURES (Treble Clef)

Major keys. with flats, and their relative minor keys.

(Thekey-note, or tonic, isgiven in each case.)

F major B~·major E~major A~major D~major G~major cb major

"L L L .L • L L

t 41 )

~ I l L L I L I.I

0 u ~

D minor G minor C minor F minor B~ minor Eb minor Ab minor

KEY SIGNATURES (Bass Clef)

Major keys, with sharps, and their relative minor keys.(The key-note, or tonic, is given in each case.)

Cmajor Gmajor Dmajor A major E major Bmajor F#major e#majoru . . . . .u . Ll.

T T T T1

~ (Nataral)

t IL LL 11 L L L 1

n - n

A minor E minor B minor F# minor C # minor Gt minor D# minor Al minor

KEY SIGNATURES (Bass Clef)

Major keys, with flats, and their relative minor keys.

(Thekey-note, or tonic, isgiven in each case.)

F major Bb major Ebmajor Ab major Lb major Gb major eb major~

~

. , ." .. v

~

I

I

."

_ ._.. . . . " v

Dminor. G minor e minor F minur B~ minor Eb minor A i> minor



lS

Notes grouped unevenly are indicated as follows:-

J j5

j j j7

J J J J J etc.

5==3 This means to repeat

~ the preceding measure.

Abbreviations2* " I This means ,to repeat the_ ,two pr e c eding measures.

The word bis, meaning twice, is sometimes used to indicate the repetition of one or more

measures.

3

·ritten. ·I I

·Played. ·

Drum rolls are indicated

in this manner:

tk, . t ; 1etc.

DYNAMICS

(VariousDegrees of Power)

mp, mezzo piano means moderately soft.p, piano means soft.pp, pianissimo means very soft.ppp means as soft as possible.mi, mezzo forte means moderately loud.I,forte means loud.ii, fortissimo means very loud.Iff means as loud as possible.sf or sfz, sforzando means forced - with sudden emphasis.rf or tiz, rinforzando means to reinforce - with special emphasis.ip, forte e subito piano means loud, then suddenly soft.ctesc., crescendo or means increasing in loudness.

ditn., diminuendo I = = = = = - d " 1 ddecresc., decrescendo ~or means ecreasmg m ou ness.

When a note is to be given special emphasis, a sign called an accent (~or J\ ) isplaced over or

under it.

(Further study of accents will be found in Lesson 3, p. 18,)

Although a rather incongruous term, the word "fingering," in connection with drumming,

refers to the right and left hand strokes, such as:-LRLL,RLRR,etc.



16

A si<T' called a fermata or bold ( r . - . . ) , placed over or under a note, means that, at the con-ductor's or performer's pleasure, the counting ceases while the note is sustained beyond its normal

duration. This is also true in the case of a rest having a fermata placed over or under it.

A short stop, or pause, is indicated by this sign, #.

A curved line (-) connecting two notes alike in pitch is called a tie. The second note is notstruck but its time-value is added to that of the first note.

Example

, till

!r'71} , ~

fermata

r . - . .

" F

pause

H

slur (legato)

I I I r r Ir F 7 ? r I I

Acurved line (---i placed over or under two or more notes ofvarious pitch is called a slur, which

means that the notes so marked are to be played in a smooth and connected manner. This method

ofplaying iscalled legato.

Anote, over or under which a dot (.) is placed, is to be played in a short, crisp manner. This is

called ordinary staccato playing.

When a note ismarked by a wedge-shaped stroke (, ), the effect is increased. This is called the

full staccato. When a curved line (slur) is placed over the staccato marks, the effect is decreased.

This is called mezzo staccato or balf stecctuo.

Example

Ordinary staccato. Full staccato.

::j '" - 1 " ' "

!J ~ r F i r F r ~ I I J J r r I r r rM'."zzo (half) staccato.

~ .. - - - - - .

~ I I 9 J r r I r F r r l I

When a group of notes is to be played an octave (eight notes) higher than written, the abbre-

viation 8va isplaced over the group. Locomeans toplayas written.

Examp le

8va.····..···.· :

- - - = = r : : .jtiJ r r* J '

loco

Ir~ ..



LESSON 1

DEVELOPMENT OF THE HANDS

1

In every drum rudiment, the important thing to remember is to make sure that the sticks arheld correctly. In fact, before commencing any exercise, the student is advised to "check up"not only on the correct manner of holding the sticks, but also on the correct movement of thbands, arms and wrists.

Each of the following exercises is to be played in a very slow tempo, at first; later on, thtempo may gradually be increased, until a fairly rapid rate of speed has been attained. This, ocourse, must be done without interrupting the rhythm of the rudiment. As the speed increasesthe student's forearms and hands will. naturally, get closer to the drum and still retain the sammotions as those required for a slower tempo.

Count 1

out loud. J.2 : til:

2 3

J J

ExeJ'cise I3

J4

J3 4

J J4

J :Fingering. R

Count 1

0 .' loud. J.,:I : =

R R

2

J3

J

R L L L L R R

Exercise II2

J3

J

R R

2

J3

J

L L L

2

J

L

3

JFingering. R

Count 1

out loud. J

,.til:

R

2

J

3I

~

R

4

J

L L L R

Exercise III2

J

3

J

4

J

R R L L L

4

J :Fingering. R

Count 1

out .loud. J: 5 ' . ill: -

R R

2

J3

J

R R R R R L L

Exercise IV2

J3

J

3 4

J JL L

2

J3

J

2 3

J JL L L

2

J

L

3

JFingering. R R R R R R L L

LESSON 2ALTERNATE SINGLE STROKES

L L L

: 1L

Alternate Single Strokes are very extensively used in both rudimental, as well as in originadrumming. This method of playing Alternate Single Strokes is commonly referred to as "hand thand" playing. and simply means that the hands alternate when striking the drum; each handplaying a single stroke at a time.

INSTRUCTIONS FOR PLAYING ALTERNATE SINGLE STROKES

The correct position of the hands and arms, when playing Alternate Single Strokes, is afollows: (See starting position shown in lllustration 3,p. 8)

First: Strike the drum with the right stick, and keep it down. (See lllustration 5,p. 9.)

Second: Strike the drum with the left stick and, at the same time, bring the right stick up tits original position. (See Illustration 6, p. 9,) Keep on repeating this process. first with the righhand. and then with the left hand, until the Alternate Single Strokes have been mastered.



18

In the beginning, the following exercises are to be played very slowly, the student bearingin mind the fact that the hands work in opposite directions, that is; when one hand is going towardthe drum, the other hand is going away from the drum.

These exercises should be constantly repeated, until the student ispositive that the hands movecorrectly.

After the exercises have been thoroughly learned in a slow tempo, the rate of speed maybe increased.

Exercise ICount 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4out loud.

J J J J J J J J , J J J J J JI

4 s JJ F t I I : I I •Fingering. R L R L R L R L R L R L R L R L

Exercise IICount 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4out loud.

J J JI

J J J J J J J J J J J J2 : 1 I I : J I I I : 1Fingering. L R L R L R L R L R L R L R L R

The above exercises are given here for the purpose of preparing the student for the study ofthe Single Stroke Roll,which will be taken up later on, following the study of the Five, Seven andNine Stroke Rolls.

Bydiligently practicing Alternate Single Strokes, the student will be able toacquire the propermovement of the hands and arms, which is extremely necessary in perfecting any rudiment.

LESSON 3

ACCENTS

An accent is indicated by a certain symbol, or sign, denoting special emphasis. A note, overor under which an accent is placed, is to be played louder than the note not so marked.

There are two kinds of accents; the light, or weak (.>- ), and the heavy, or strong (A) . Anotemarkedwith a heavy accent (A ) istobe played as forcefully aspossible.

A finished performer on the drums will always make sure that he plays all of the unaccentednotes in a normal way; which means that he plays them with an equal amount of volume. Then,when an accented note appears, he strikes it with more emphasis than he does the other notes.

The following exercises are to be played very slowly, at first, and in strict tempo. The accentmust be perfected to such a degree that it will not interfere with the tempo of the music.

The hand motions,used in these exercises, are the same asthose used fordeveloping the hands.(See Lesson I, p. 17.)However, when playing an accented note, the arms and wrists are used with a"snapping of a whip" motion. This "snap" of the arms and wrists takes place during their normalmovements. The student is advised against increasing the power of the accent by adding to theheight of the stick, or by taking a longer swing with the arm. The stronger the wrists become (inthe "snap"), the less the arms will have to move. The secret of executing an accent in a smooth,even manner, is to play it as close to the drum as possible, with a sudden "snap" of the wrist, butwith only a slight armmotion.

When the student finds that he has perfected the system of playing an accent in a slow tempo.he may then gradually increase the speed, until he can play the exercises in a very rapid tempo.



19

Exercise ICount 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4out loud.

I I : d ~ ~ JI

J J 2 J J J !I

J J:t I 2 • I I J: 1 1

Fingering. R R R R L L L L R R R R L L L L

Exercise IICount 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4out loud.

~ J J d J J JI

J J J~

J - - 1 d: I I : I g I I J: 1 1

Fingering. R R R R L L L L R R R R L L L L

Exercise IIICount l 2 3 1 2 3 1 2 3 1 2 3out loud.

~

J J

tJ J

iJ J

iJ J

2:1 I I : I I 1 : 1 1Fi ngeri =s. R R R L L L R R R L L L

Exercise IVCount

1 2 3 1 2 3 1 2 3 1 2 3out loud.

J J t J J t J J d J J d2:iI I : I I I : 1 1Fingering. R R R L L L R R R L L L

Exercise VCount

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4out loud.

d J J J I i J J J t J J J i J J J:t I I : I I : 1 1Fingering. R R R R R R R R L L L L L L L L

Exercise VICount 1 2 3 4 1 2 3 4 1 2 ')

4 1 2 3 4out loud.

J 2 J J J d J J J d J J J t J J2 : t I I : ,I I : 1 1

Fingeri ng. R R R R R R R R L L L L L L L L

Exercise VIICount

1 2 3 1 2 3 1 2 3 1 2 3out loud.

t J J d J J 2 : J J d J Jt J : f I I : I I I : 1 1Fingering. R R R R R R L L L L L L

Exercise VIIICount 1 2 3 1 2 3 1 2 3 I 2 3out loud.

J i J J i J J 2 J J dI

2:!I : I I I J : 1Fill~t'ri ng. R R R R R R L L L L L L



20

LESSON 4

THE THREE STROKE RUFF

with an accent on the third strokeAll short, Single Stroke Rolls are known as Ruffs. The rudiment, in this lesson, consists of three

alternate strokes, the third of which is accented.

The rhythmic model of this rudiment, shown below, iswritten incommon time (4/4).There arefour beats to each measure, the fourth ofwhich is a quarter rest. By playing this rudiment in strict

tempo, slowly at first, and counting each beat out loud, the student will soon discover that therudiment will automatically set itself into a definite tempo; especially as the rate of speed is in-

creased.INSTRUCTIONS FOR PLAYING THE THREE STROKE RUFF

At the start, both sticks must be up; that is, they must be raised above the drum. (Ill. 3" p. 8.)On the count of one, bring the right stick down on the drum. ( 1 1 1 . 5, p. 9.)Then, on the count of two,bring the left stick down and, at the same time, bring the right stick up. ( 1 1 1 . 6,p. 9.) On the count ofthree, bring the right stick down with a "snap" of the wrist and arm, in order to produce the accent,and, at the same time, bring the left stick up. (111.,p. 9.)Then retain this position (right stick downand left stick up) on the count of four, which is a rest. Continue the exercise (rhythmic model) in themanner just explained, but take notice that the hands alternate on the first beat in each measure.Always pay strict attention to the fingering.

Rhythmic Model

Play slowly. at first; increase speed gradually. Keep strict rhythm.Count 1 2 3 4 1 2 3 4 2 3 4 1 2 3 4out loud.

J J i I J J dI - d J ? d:1 I I : I t I J I I I : 1

Fi nge r ing , R L R L R L R L R L R L

Examples in usual notationI

Count 1 2 1 2

~ 0 2 ~ t~02~d ·~n~~ t~~n~~ i~ I~ . § r -= , ~d~~ . ~u~ J~~ Irac~, nlote~,atrctthohIeplayedt:: ~ :;: . ~ very C ose 0 e argc no e.

Fingering. R L R L R L RLR LRL

II IIICount 1 an- duh 2 an - duh 1 an - duh 2 an=du h Count

out loud. J t4) t4 J!j )E j cut l~ud.

1F t ~ CJ. : ~ I ~ ~ : ~ I I 2·i

1 ub-an 2 uh-an 1 uh-an 2 uh-an

ni t : l d In d

nd I I

Fingering. R L R L R L R L R L R L Fing!'riog. R L R L R L R L R L R L

LESSON 5

THE THREE STROKE RUFFwith an accent on the first stroke

This rudiment is almost identical to the one mentioned above in Lesson 4, except for the factthat the accent falls on the first stroke, instead of on the third stroke. .

The preceding Three Stroke Ruff (Lesson 4) is the accepted version of this particular rudi-ment. Bypracticing the Three Stroke Ruff with the accent on the first stroke, instead of on the thirdstroke, a much finer technique, as well as a firmer and broader knowledge of rhythmical beats will~~~~d '

The instructions given in Lesson 4 also apply to the following rhythmic model, with. however.the exception ofthe accent.



21

Rhythmic l\lodel

Play slowly, at first; increase speed gradually. Keep strict rhythm.

Count 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4out luud. I

J J I d JI 1

J J Ii J Jj:a I I : t , ~ I I i , l : 1Fingering. R L R L R L R L R L R L

Example in usual notation1 an duh 2 an - duh 1 an - duh 2 an - dub

Count

out Ioud ,

J~

J J i J J l J J~

J):i IFingering. R L R L R L R L R L R L

LESSON 6

COMBINATION OF THE TWO PREVIOUS rnREE STROKE RUFFS

This lesson will give the student better control over each individual Three Stroke Ruff. Itshould be practiced very slowly, at first, gradually increasing the speed, and always bearing inmind the correct movements of the arms and wrists.

After this lesson has been perfected in a fairly rapid tempo, the student will experience littledifficulty with a Three Stroke Ruff in any combination of accents.

Count 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4out loud.

J J d J J d J J dI

J dEt , I I I j • ,Fingr>ring. R L R L R L R L R L R L

1 :: 1 3 4 1 2 3 4 1 2 3 4 1 2 3 4

! 1 : g J J , I i J J t I d J J , I d J J l IR L R L R L R L R L R L

LESSON 7

WRIST EXERCISE FOR THE THREE STROKE RUFF

This.exercise, with the exception of the fingering, is the same as the one given in Lesson 6.

In the beginning, both sticks should be up. (See Illustration 3, p. 8.)

After striking the drum, the sticks must be returned to their original positions.

When starting slowly, the arms and wrists must be used in playing every stroke. Then, after alittle speed has been acquired. the hands will gradually get closer to the drum, with the wristsdoing most of the work.

Count 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4cut loud.

t= J J d J J IJ J d J J d' ; r t I : J I I t I If-1Dg<:liLg H R R L L L R R R L L L



22

THEwith an accent on the fourth stroke

This rudiment consists of four alternate strokes, with an accent on the fourth stroke. When theleft hand stick begins the Ruff, the right hand stick plays the accented (fourth) stroke; and, whenthe right hand stick starts the Ruff, the left hand stick is given the accented (fourth) stroke. In otherwords, the hand that is down on the drum, remains down, after playing the accent, and starts theensuing Ruff from this position.

The rhythmic model of this rudiment, shown below, is written in 6/8 time. There are six beatsto each measure, the fifth and sixth of which are eighth rests. \

It is advisable to start playing this Ruff in a slow tempo, at first, gradually increasing the speed,until the desired tempo is obtained.

By counting out loud and retaining a strict tempo, the student will, in a comparatively shorttime, acquire a perfect Four Stroke Ruff.

ILLUSTRATINGTHE FOUR STROKE RUFF

rUst stroke, 111.6,p. 9

Starting with the left hand:Second stroke, Ill.5,p. 9Third stroke, Ill.6,p. 9Fourth stroke, Ill.5,p. 9

Fifth and sixth beats are rests. (Keep right hand down.)

rirst stroke, Ill. 5,p. 9

Starting with the right hand:Second stroke, Ill.6,p. 9Third stroke, Ill.5,p. 9

1 : ; : 1 2 4Fourth stroke, Ill.6,p. 9

Rhythmic Model. .; ; ; z : : : : : : ; : : Play slowly, at first; increase speed gradually. Keep strict rhythm.

~Count 1 2 3 4 5 6 1 ~ 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5

6out loud.

I I : J J J ~, IJ J J ~j I J J J~ I J J J

~j: e j , j j j j

: 1 1Fingering. L R L R R L R L L R L R R L R L

~ X . . V


1 2 an - duh 3 4 an - duh 1 2 an - duh 3 4 aa - dub

Count 3 I 3 I 3 3 1aut loud.

i

J J J~

J J J I~ J J J d J J J: t I IFingeting. L L R L R R L R L L R L R R L R._::-.

Count4

~t loud.

Finger] .L HL R

~~IW III4' 1 an 2 an 1 an 2 an

Count r-.~ -, i 3,3

,3

out loud.

2 j J 3 !J J J 1 2 J 3 J 2 J 3 J I f21

I·iDgl'fiD~. R R L R L L R L R R L R L L R L

p. ~ '6



Examples in usual notationI1 an - duh 2 3 an - duh 4 1 an - duh 2 3 all - dub· 4

Count I 3,

3 I 3 I 3out loud. i

J J J l J J J1 d J J J d i J J J I~:t

Fingering. L R L R R L R L L R L R R L R L

tW X _II

l - ; ; - [ l P Count

1 an 2 an 1 an 2 an

d

3!

j d

3 I3

,

d 3. out loud. ~

J J 3 J 1 J d J J J 3~

~:iFingering. L L R L R R L R L L R 1 .. R R L R

c ~

S~OMBINATION OF THE VI FOUR STROKE RUFFS

2 3

Twitli n accent on roke

This rudiment is to be played in the same manner as the one given in Lesson, 5, p. 20,with theexception of the accent. The latter falls on the first stroke, instead of on the fourth stroke.

Itisextremly important tocount out loud.

The hand playing the fourth stroke of the Ruff must be kept down, ready to begin the Rufffollowing.

Rhythmic ModelPlay slowly, at first; increase speed gradually. Keep strict rhythm.

Count 1 2 3 4 5 6

out !oud. -± . ? ? ~_~ . g I : s; : . I _ ~ ,fJ J

1 2 3 4 5 6 1 2 3 4 5 6

Ii J J ;, J '1 1 2 J 3 ), . ,R L R L L n L Ringering. L R L R

fir XR L R L

This lesson is exactly what its caption implies. It will be noticed that, in each of the first fourmeasures, the accent occurs on the fourth stroke of each Ruff; and, in each of the next four meas-ures, the accent falls on the first stroke of each Ruff.Throughout the exercise, the hands alternate inplaying the first stroke of the Ruffs.

Through careful practice, and by complying with the rules and instructions given previously,the student will, in a short space of time, master the Four Stroke Ruff, regardless of the accent.

., Ig4 -/~

I Count 1~2 ..... .~out loud. ) ?2: g • ~

3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 :" l 4 5 6

J~

j j , J J J~J j , J J J

~J

. ,I J J J

~J J

L R R L R L L R L R R L R Lingering. L H

1 2 3 4 5 '3

2 :g ; J J ) l . , 'J

! 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6

, d J J )J J Ii J J ;, j . , I i J J ) 2 J J I I

R L R L L R L R R L R L :R L R



24

~N7JWRIST EXERCISE~ FenJR STROKE RUFF

The instructions given for the wrist exercise in Lesson 7, p. 21 also apply to the wrist exercisefor the Four Stroke Ruff,except for the accents and the difference in time.

Count 1 2 3

out :uud. J J JiJ· ell:

1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6

I J J J~

" 1 . , l i i J J )1 , ItJ J )i 1 : 1L L L R R R R L L L L

-~

LESSON 12

Fi nger ing. R R R R

THEwith an accent on the fifth stroke

This rudiment consists of five alternate strokes, with an accent on the fifth stroke.

The arm and hand motions, used for executing this Ruff. are the same as those used to execute

the Three Stroke Ruff. Both of these Ruffs are practically alike; in fact, the only noticeable differ-ence between them is that the Five Stroke Ruff contains two more strokes than the Three Stroke Ruff.In each Ruff. the accent occurs on the last stroke.

With the exception of the accents, the instructions given for the Three Stroke Ruff in Lesson4. p. 20, are also applicable to the Five Stroke Ruff.

While increasing the speed from a slow tempo to a fast tempo, the correct motions of thehands and arms should not be sacrificed.

\ : / t P ~,9

Rhythmic Modelowly, a .rst: increase speed gradually. Keep strict rhythm.

Cout 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 f

~ o ~ ~ I I : ~ J ~ J J ~ § ~ " ~ I ~ J ~ J ~ J _ ~ i ~ " ~ 1 ~ J ~ J ~ J ~ ~ijg2. !LR~R LRLRL RLRLR LRLRL

r ~ (20 Examples in usual notation ~./ I II

1Count 1 2 uh-an-duh 1 2 uh-an.dub Count

out loud. ) ))) J 1)4 4) out toud'lJ}: J ~ If ~ ~ ~ I~ ~~~~ 1 1 2 : f ~Fingering. R L R L R L R L R L Fingering. R

III IV

LRLRL RLRLR LRLRLRLRL

)(

3 uh « an-dohI an 2 all

Count1 uh - an - duh 2 4 Count

d 3 J J J d 3 3 3 JJ J J J J J Jut loud.

t 2out loud.

.2:3 I I ~: ! I IFingering. R L R L R L R L R L Fingeriog . R L R L R L R L R L

~ }( . . )S ~ ~- -Countout loud.

Countout luud.

V

L L R R L L



.. iIY

25

LESSON1

This rudiment is played in the same manner as the preceding Five Stroke Ruff, except for thedifference in the accent.

The instructions given in Lesson 12,p. 24 also apply to the following rudiment.

Rhythmic Model

Play slowly. at first; inc e a s e speed gradually. Keep strict rhythm.

Oount 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1out loud. L::l ~ ~ : : : f

0 2 : H I I : e J J . 3 , I: J J hJ ' I ~ J i J . . , I : ;2 3 4 5 6

J J f) ,: 1 1

Fingering. R L R L R L R L R L L R L R LL R L R

Examples in usual notationI II1 vh - an - duh 2 Count 1 an 2

l J J J Jout loud.

J d J J J JI I I ~):L R L R L Fingering. R L R L R L R L R Lingerir:g. R L R L R

III IVCount

out loud .

•.Fi..t>r'ng. R L L R L L R Fingering. L R L

COMBINATION OF US FIVE STROKE RUFFS

In each of the first four measures, of the following exercise, the accent occurs on the fifthstroke;while, in each of the next four measures, the accent falls on the first stroke.

When this exercise has been sufficiently practiced, the student will have little difficulty inplaying any Five Stroke Ruff, regardless of the accent.

The student is again advised to begin the exercise in a slow tempo, gradually increasing thespeed, until a fairly rapid tempo has been reached. Counting out loud is also extremely important.

t / [R 4 - _ _

Count 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6

out loud.

J J J Ii J J J Ii I J J J~

J J J f1: R ,I

, ,I 7

Finger;ng. R L R L R L R L R L R L R L R L R L R L

2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6

~:d J J ;-J ,I i J J ;-J , I d J J ;-J ,IiJ J JJ ,IR L H L H L R L R L R L R L R L R L R L



26

The first four strokes of this rudiment are executed with each hand playing two strokes at atime; therefore, when playing the following rhythmic model, the first and second strokes are playedwith the right hand, the third and fourth strokes with the left hand, and the fifth (eccentedlstrokeis played with the right hand, which should be raised so that it will be in position to start the nextFive Stroke Roll. The latter is played in the same manner as the preceding Five Stroke Roll, exceptthat it is begun with the left hand, instead of with the right hand.

Although the hands alternate by playing two strokes at a time, it can readily be seen that thisis a "hand to hand" rudiment; however, the accented fifth stroke must not interfere with the posi-

tion of the hands.

The count is the same as that of the foregoing Five Stroke Ruff.

It is advisable to master the Five Stroke Roll in a slow tempo, before attempting to play it

rapidly.

) x : (J'4- Rhythmic l\Iodel.7

Play slowly. at first; increase speed gradually. Keep str ic t.rhy thm ,

ering. R R L L R.~ ..(

L LRRL RRLL Rf ~ ~ ~

Examples in usual notationII

L L R

4 5 6

Ii.; 1 1

R L

> -

1 234561 23456

O ; ; I II) J J n ' I J J J Q ~1 2

I J J3 4 5 6

J F a L

1 2 3

I J J J

1 ; : ; ; {l-OCount 1 ub-an-duh 2 1 uh-an-duh 2 Count 1 an 2 an 3 an 4 an

O ; ; I J J J J d I J J J J t I IO ; ; 0 i 'J J J n t J J J 3 l 3 J J J J j 3 J J J I I

I

Fingering. R R L L R L L R R L

~·~III

Fingering. R L L R RiR R L L R L L R R L

(~____YIV

Count 1

out loud.

2 3 2

L L R R L L R Finger icg , R L R L R L R L

LESS

With the exception of th~e-:a>rc~?rt--H.T.o-I"'I"I'?~l;;m~ents played in the same manner as the preceding

one inLesson IS.

Rhythmic l\lodelPlay slowly, at first; increase speed gradually. Keep strict rhythm.

Count 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6out loud.

I f : iJ J £)

l aJ J £)

IiJ J J]

lJJ £)

~ RL ¥ , .

I

, .Fingering. R R L L R L L R R L R R L L R L L R R L



27

Examples in usual notationCount 1 uh-an-duh 2 I 1 uh-an-duh 2 Count 1 an 2 an II 3 an 4 an

'ili 4 J J I is S 4 J f~"i iJ J J g J J J J @ J 9 J J d J J J l 1Fingering. R R L L R L L RRL Fingering. R L LRRL RRLLR LLRRL RRL L

III I VCount 1 Count 1 2 3 4 1 2 3 4out loud. out loud.

F inge r i .R L L R R L L R L R L R L

COMBINATION OF T IVE STROKE ROLLS

This lesson should be practiced sl ... mastered; then, when this is accomplished,it will be easier to increase the rate of speed and still maintain clean rolls.

The accents should be carefully observed.Count 1 2 3 4 5 6 1 2 3 4 5 6 2 3 4 5 6 1 2 3 4 5 6out loud.

J J J f1 J J J l]; , J J J f1 J J J f1: 2 ,i

, . , .I

. , .

Fingering. R R L L R L L R R L R R L L R L L R R L

1 234 5 6

2: 2 J J .rJ ,1 2345 ti

I d J J I : J z1 2 3 4 5

Ii J J Jl6 1 2

,I 2 JL L

3 4 5 6

J Jl zI I

R R LR L L R L L R R L R R L L R

This exercise, with the exception of the fingering, is the same as the one given in Lesson 17.The instructions given for the wrist exercise in Lesson 7, p. 21 also apply to this one.

Count 1 2 3

out loud. J ? J2: 8 1 1 : · • . .

1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6

I J J J It ,I d J J Jl ,I i J J Jl ,: 1 1

L L L L L R R R R R L L L L L

456

- § : iFingering. R R R R R

. . x -

IV( z - Ir2-_ ,

~lft-~"""'GGEKit-e'll'rltree seventh stroke

This rudiment consists of seven alternate strokes, with an accent on the seventh stroke. Thelatter, in 6/8 time, also happens to fall on the second major beat in the measure, which is the countoffour.

In the following rhythmic model, in 6/8 time, the count is six to each measure. Each eighthnote, or its equivalent in other notes or rests, is given one beat. However, in order to maintain aneven tempo, the student is advised to count each half beat in this manner: 1 an, 2 an, 3 an, 4 an,5 an, 6an.

This rudiment should not be attempted in a rapid tempo, until it has been thoroughly prac-ticed in slow and moderately fast tempos.



2 8

Rhythmic Model(A,)

Play slowly, at first; incease speed gradually. Keep strict rhythm.

Count

out ~oud. J J J J J J ~2· gil: ~

1 an 2 an 3 an 4 5 6 1 an 2 an 3 an 4 5 6 1 an 2 an 3 an 4 5 6 1 an 2 an 3 an 4 5 6

~ I J J J J J J ~! 'I I J J J J J J ~ 'I Y I J J J J J J ~ 'I : ; I ~LRLRLRL RLRLRLR LRLRLRLingering. RLRLRLR

.. X

Rhythmic Model (B)

(This r hy thmic model may also be used for all the

succeeding Secen Stroke Rolls and Ruffs, except for

the difference in fingering and accent s.)

Count 1 an 2 an 3 an 4 an 1 an 2 an 3 an 4 an 1 an 2 an 3 an 4 an 1 an 2 an 3 an 4 an

f 2 rI I :J J J J n J !T J J J n~~J J J J n £ l I J J J J n~1 : 1

Fingering. R L R L R L R L R L R L R L R L R L R L R L R L R L R L

Examples in usual notationI II

Count 1 2 1 2 Count 1 au 2 an 1 an 2 an

0"'0.d. d J t J . 8 J 1 J J 2 J e J f out Ioud. ~ J"""""l. ~

?! ~ ~ ~ I L E F ~ I I ! J : J ~~:;~~ g~Fingering. I /J I I 3 I Fingering. R L L R R L L R

RLRLRLR L RL RLRL

r'~ [7~

.P

The instructions given in Lesson 19,p.27also apply to the following rudiment, except for thedifference in the accent.

Rhythmic Model


Count 1 an 2 an 3 an 4 5 6 1 an 2 an 3 an 4 5 6 1 an 2 an 3 an 4 5 6 1 an 2 an 3 an 4 5 6

o ~ j t g d i l : d J J JJ J J I , " I d J J J J J o P ~ II d J W W JJJ'tfjyJJ U J w b ¥ 1 3 1Fingering. R L R L R L R L R L R L R L R L R L R L R L R L R L R L


Count ~

out l O U d .) )

~i ._~2 1 2

p J P = rI d J p J r J

rI

Fingering. R L

3 I I 3 I

R L R L R L R L R L R LFingering. R L L R H L L R



2

COMBINATION OF THE OUS SEVEN STROBE RUFFS

It is best to practice this exercise in a slow tempo, until it is well learned; after which, the rate ospeed may gradually be increased.

Count 1 an 2 an 3 an 4 5 6 1 an 2 an 3 an 4 5 6 1 an 2 an 3 an 4 5 6 1 au 2 an 3 an 4 5 6

° f ¥ ° 6 d• ) J J J ? J l'.. j J J 3 J J ~ J J J J 3 3 ~ _J ~ ~ ~ ~ ~ ~

~B 1f1flf1IfIfIf~I !j I~~~~Jt'!j IJ " " ~ " l i J t ' 'i I~·····::f,.Fingering. R L R L R L R LRLRLRL RLRLRLR LRLRLRL

1 an 2 an 3 an 4 5 6 1 an 2 an 3 an 4 5 6 1 an 2 an 3 an 4 5 6 1 an 2 an 3 an 4 5 6

2 : = = ~ ~ ~ j ) ' f ' I d ~ ~ ~ = = j ! j ! j 1 2 J J J J J j , ! j I d = ~~s~j, !j IRLRLRLR LRLRLRL RLRLRLR LRLRLRL

The most appropriate manner in which to illustrate a Seven Stroke Ruff or Roll is to play it in

6/8 time. This will prevent the student from playing it incorrectly.

The hand ending a Seven Stroke Roll should be kept down, ready to begin the following Seven

Stroke Roll - the same as in the Four Stroke Ruff.

1 : ; ; : I '~ 1-~ Rhythmic Model


Count 1 an 2 an 3 an 4 5 6 1 an 2 an 3 an 4 5 6 1 an 2 an 3 an 4 5 6 1 an 2 an 3 an 4 5 6

: o § t J f i l : J J J J J J E ! j 7 I J J J J J J ~!j ! j I J J J J J J ~ , . !j I J J J J J J ~ , . , ¥ : 1Fingering. L L R R L L R R R L L R R L L L R R L L R R R L L R R L

~ ~

Example showing similarity to a Four Stroke Ruff1 an 2 an 3 an 4

Count L L R R L L Rout loud.

1 an 2 an 3 an 4

R R L L R R L5 66

Fingering.~ L L

CountI

1 1 2(Jut loud. ~

.' 1 3 Fingering. R L R R L L R LFing,·ri!lg.L L R f.i L L R R R L L R R L



30

This rudiment is played in the same manner as the preceding Seven Stroke Roll, except for the

difference in the accent.

Rhythmic l\JodelPlay slowly, at first; increase speed gradually. Keep strict rhythm.

Count 1 an 2 an 3 an 4 5.3 1 an 2 an 3 an 4 5 6 1 au 2 au 3 an 4 5 0 1 an 2 an 3 an 4 5 6

0 6 } 0 j { I I : d i J J J J J ) 1 , , I a J J J li),.,d J J J ~ J ) 1 , 'I 1 2 J J J J J ) , ' : .Fingering. L L R R L L R R R L L R R L L L R R L L R R R L L R R L


1 2 1

Count ~ ~out 10 ud. !==F==F:;=:::;: :;;"----j"""--""""

Il

Fingering. R L R R L L R L

L

COMBINATION OF

} ~ \~'L

S SEVEN STROKE ROLlS

Count 1 an 2 an 3 an 4 5 6

out loud. )) ) ? ?? ~! f A ~~~~~~!'

1 an 2 an 3 an 4 5 6 1 an 2 an 3 an 4 5 6 1 an 2 an 3 an 4 5 6

I J a S J a a ~ '1 '1 I J J J a a a ~ 't '1 I J J J J J a i '1 T IFingering.LL R R L L R RRLLRRL LLRRLLR RRLLRRL

1 an 2 an 3 an 4 5 6

2: d U J J J U ; " ,1 an 2 an 3 an 4 5 6

I d J a J J a ) , '1

1 an 2 an 3 an 4 5 6 1 an 2 an 3 an 4 5 6

I J a s J J a j ) . , '1 l i n m1 '1 ILLRRLLR RRLLRRL LLRRLLR RRLLRRL

r

WRIST EXERCISE F STROKE ROLLS AND RUFFS

The instructions given for the wrist exercise in Lesson 7, p. 21 also apply to this one.

1 an 2 an 3 an 4 5 6 1 an 2 an 3 an 4 5 6 1 an 2 an 3 an 4 5 6

I J a J a J a ~ '1 't I i a a a J J jt~'I , 4 £ 3 J J J ) '1 ' 1 : 1 ~LLLLLLL RRRRRRR LLLLLLL

-.:::;;;>

Count 1 an 2 an 3 an 4 5 6

out ~uud. )? ? J ? 4 ~~.nil: • ~~~~~:t j j

Fingering. R R R R R R RK'



,-

~..~ - - - ~ - - -..> ,~

LESSON 26

NINE STROKEW1 an accent ninth stroke

This rudiment is very similar to the Five Stroke Ruff.

Itwill be noticed that, in the rhythmic model, the accented ninth stroke is also the fifth beat othe measure.

In Example I,given below, the Nine Stroke Ruff begins on the count an, following each beat; i

which case, the accented ninth stroke falls on each beat.Example II illustrates the abbreviated method of writing a Nine Stroke Ruff.

r - : : r 3 L. Rhythmic Model

3

Play slowly, J . , : X ~increase speed gradually. Kcep strict rhythm.

Count 1 an 2 an 3 an' '. 6 1 an 2 an 3 an 4 an 5 6 1 an 2 an 3 an 4 an 5 6 1 an 2 an 3 an 4 an 5 6

¥ F i r I I ) J J J J J m '1 I J J J J J J f f l : 'I I J J J J J J m ' I J J J J J J m ' 1 : 1Fingering. RLRLRLRLR LRLRLRLRL RLRLRLRLR LRLRLR LR L

~ 1("

1

Example',///3

troke Rolling similarity to a Five2 a 4 an e 6

>-3 an 4n

Countout loud.

:::>5

Li •• eri••f L

'5

R2

R3

R6 1 2

L R L6

L R

Examples in usual notationAs a rule, these are not played as Singlc Stroke Rolls.

Ian 2 an

Countout loud.

R L R LL R L R L R LRLRLRLRL Ri nger i L R L

II

Co

out

Finl!,ering. R R L L RL

~-~..-~_----

~ '.~ . . . . . . . .

LESSON'27-~

THE NINE STROKE RUFF

The instructions given inlt:~mr~8-<3d'Slni:6iSi1VTcthe difference in the accent.

Rhythmic ModelPlay slowly, at first; increase speed gradually, Keep.strict rhythm.

Cou nt 1 an 2 an 3 an 4 an 5 6 1 an 2 an 3 an 4 an 5 6 1 an 2 an 3 an 4 an 5 6

"fl-ll:2JJJJJw 'ldJJJJJ ill 'llblJJJ3ffl,

1 an 2 an 3 an 4 an 5 6

1 p JJJa ill ' 1 : 1 1Fmger mg. HLR L RLR L R L R LR LR L R L R LR LR L R L R LRLRLR LR L



32

Countout loud.

1 a n::>

~ ~


2

LRLRLRLRL R

- ~ - - - . - - .----------------------!Fingering;R L R R L R L R L

Countout Ioad,

OUS NINE STROKE RUFFSOMBINATION OF

::;(~L,Count 1 an 2 a n 3 an 4 a n 5

°2lJ J J J J J f f l6 1 an 2 an 3 an 4 a n 5 6 1 an 2 an 3 an 4 a n 5 6 1 an 2 a n 3 a n 4 a n 5 6

' q J J J J J Jm 'i I J J J J J J m , I J J J J J J r o - ' 1 IFingering;.RL R L R L R L R LRLRLRLRL RLRLRLRLR LRLRLRLRL

1 an 2 a n 3 a n 4 a n 5 6 1 an 2 a n 3 an 4 a n 5 6 1 a n 2 a n 3 a n 4 a n 5 6 1 an 2 a n 3 a n 4 a n 5 6

? d J J J J J m ~ I ~ J J J J J m ' I d ) J J J J Jm ~d J J J J J m ' I IRLRLRLRLR LRLRLRLRL RLRLRLRLR LRLRLRLRL

Rhythmic ~Iodel

Play slowly, at first; incr eas e speed gradually. Keep strict rhythm.

Count 1 an 2 an 3 an 4 an 5 6 1 an 2 an 3 an 4 an 5 6 1 an 2 an 3 an 4 an 5 6 1 an 2 an 3 an 4 an 5 6

o~ri l JSJJSJm ' I I J J J J J Jm " I JU SJJS ffl ¥ I JUJ J J Jm t : 1 1F inge ring . R R L L R R L L R L L R R L L R R L R R L L R R L L R

~ X'

Examples in usual notation

I

LLRRLLRRL

IICount 1 a n

out loud.Count 1 an 2 an 3 an 4 all

out loud.

F inge'ting :RALRRLLRR L



3 3

This rudiment is the same as the one given in Lesson 29, p. 32, except for the difference in theaccent.

l y{72-Rhythmic Model


Count t an 2 an 3 an 4 an 5 6 1 an 2 an 3 an 4 an 5 6 1 an 2 an 3 an 4 an 5 6 1 an 2 an 3 an 4 an 5 6

O ;:'ildJ JJ JJ n:J ~Ii JJJJJm 'I dAJJJUiOJ ,IiJJJJJ::lljFingering. R R L L.R R L L R L L R R L L R R L R R L L R R L L R L L R R L L R R L


Count 1

out loud.

an:;;;-

2 an;-

an 2 an

Fingering.R R

II IIICount

out loud.Gountout loud.

Fingering.R L L L L R Fing e r ing, L L R R L L R

COMBINATION OF

~~(Lf')6 '",-t.

NINE STROKE ROLLS

Count 1 an 2 an 3 an 4 an 5 6

°f¥ rJJJJ JJ ffl '

1 an 2 an 3 an 4 an 5 6 1 an 2 an 3 an 4 an 5 6 1 an 2 an 3 an 4 an 5 6

I JJJ JJJ ffl ' IJ J JUJ Jm , IJ JJJ JJ ffl 'Fingering.R R L L R R L L R LLRRLLRRL RRLLRRLLR LLRRLLRRL

1 an 2 an 3 an 4 an 5 6 1 an 2 an 3 an 4 an 5 6 1 an 2 an 3 an 4 aa 5 6 1 an 2 an 3 an 4 an 5 6

~ : F J ~ .d g J ~ J! J ~ J- ~ F I J ~ ¥~ d ~ Jg J J ~ J ~ J j J ~ ¥ ~ 1~ J ~ J~ J ~ J~ f 5 J ~ ¥ l l !J~J~J~~~ f j J ~IRRLLRRLLR LLRRLLRRL RRLLRRLLR LLRRLL_R_R~L2~_=:_·

WRIST EXERCISE ROLLS AND RUFFSThe instructions for the wrist exeTir~5'"""I"lmn5ft"'1ilnnLesson, p. 21 also apply to this one.



34

Count 1 an 2 an 3 an 4 an:> 5 1 an 2 an 3 an 4 an 5 6 1 an 2 an 3 an 4 an 5 6 1 an 2 an 3 an 4 an 5 6

· ; i I i , : J J J J a a m ' t , J a a J J a m 'i , d a a a a a m , , d a a a a J ill.,1 1Fi,g'd.g.: R RRRRjtR R L L LL LL LL L RRR RRRRI! R L LL L LL L L L~.

LESSON 33

THE DOUBLE STROKE ROLL

This rudiment consists of the alternate playing of two strokes with each hand. It is commonlyreferred to as the "Daddy-Mammy" system for playing the Long (Double) Roll. Every stroke mustbe played with an equal amount of volume, and there must be no deviation in the rhythm.

After the student has acquired a certain amount of speed through the practice of this Roll, hewill be ready to employ what is known as a "bounce." This will not only serve to increase thespeed, but it will also aid in relaxing the muscles of the hands, wrists and arms.

It will be noticed that, upon striking the drum with the stick, the latter has a tendency torebound (bounce) of its own accord, although uncontrolled. The object is to control the "bounce"so that the student will decrease the amount of effort in his playing. During the "bounce" the handand arm should be allowed to follow the upward action of the stick.

After practicing the "bounce" for a while, the student will gradually begin to coordinate thewrist and stick action; then, it will be only a matter of time when he will acquire perfect control ofthe "bounce."

When starting slowly, the wrist coordinates with each stroke; as the speed increases, the firstright hand stroke is executed normally, and the second right hand stroke is "bounced," the fingersaround the stick controlling the "bounce." This also applies to the left hand.

As the speed increases, the student must remember not to allow the second stroke of eitherhand to diminish in volume. In other words, every stroke, in a perfectly smooth Roll,must be madewith an evenness of rhythm and an equal amount of volume.

The triplet rhythm exercise is a little more difficult to execute properly; it, therefore, will re-quire more study, and ought not to be attempted until the Long Roll is thoroughly learned.

The rhythmic models, shown below, are self-explanatory. The student should be able to start aRoll with either hand; therefore, in order to insure this, he should practice it accordingly. (Notefingering.)

Rhythmic l\lodel(Long Roll)

Play slowly, at first; increase speed gradually. Keep strict rhythm.Count 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

out loud. ~

J J J I J J J J I J J J J 1 J J J J : 1 11 I I :Fingering. R R L L R R L L R R L L R R L L

L L R R L L R R L L R R L L R R

Rhythmic Model (Long Roll)

(Triplet Rhythm)

Count 1 2 t 2 1 2 1 2

· ~ i d, : r J d J e J r J ? J e J ' r J t J F J r J ? J e J , H J ? J ? J r J r J e J , H J r J e J r J r J e J : 1 113 II 3 I I 3 II 3 I I 3 1 13 I 13 II 3 I

Fingering. RRLLRRLLRRLL RRLLRRLLRRLL RRLLRRLLRRLL RRLLRRLLRRLL

L L R R L LR RLLRR,etC.



l

35


ICount 1 2 3 4 1 2 3 4 1 2 3 4out loud.

! ! I J J J¥ O f 1 < I;;; '>2 ~

1 2 3 4

I,

I f. . . . . .<

Fingering. 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 RL L R R L L R R, etc.

III

)~~~~~~~an~~~~2~~~~~~n~~~3~~~~a!n~~~4~~~~a~n~~.~Played. IJ~

RRLLRRLLRRLLRRLLRRLLRRLLRRLLRRLL L R R L L R R, etc.

IV: : ; I

Writtcn. ,,< 2 3 4 1 2 3 4

I I.Played.

.,

3 I I 3 I I 3 I I 3 I

RRLL RRLLRRLLRRLLRRLLRRL L RLLkR L L~ etc.

v

~~~~~~~~I§I

Wnttcn.~

t< an 2 an 3 an 4 an 1 2 3 4

Played.

~ ~ ~ : ~ ~ ~ l i i i i i - ' 1 ~ 2 i i i i ~ ~ i l ~ ~ ~ ~ ~ 1 ~ 2 ~ i i i j i l i l ~ - ; -Fingering. R R LLR H L LH R LLU U LLRR L LR R LLRRLLR RLLRR LLRR L LRR LLHR LL R

LLUR LLHH LLRR,etc.



36

: : : ; VI

Writtcn. ~,~

2 3 4,~laycd. I

3 3 3 I 3 IR R L L R R L L R R L L R R L L R R L L R R LL L R R L L etc.

LESSON 34

THE SINGLE STROKE ROLL

Having already learned the correct arm and wrist motion of the Alternate Single Strokes,earlier in this book (Lesson 2, p. 17),the student is now prepared to take up the study of the SingleStroke Roll. The latter ismerely a succession of Alternate Single Strokes, which are to be played as

rapidly and as evenly as possible.Both sets of fingering, indicated beneath the staff of the rhythmic model, should be practiced.

The reason for this is, that the drummer must be proficient in starting any rudiment with either hand.It is suggested that the student refrain from practicing the triplet rhythm exercise, until he has

thoroughly mastered the Single Stroke Roll.

Rhythmic Model(Single Stroke Roll)


Count 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

out loud. ~

J J J J J J JI

J J J J J J JI J I : 1 11 1 1 :Fingering. R L R L R L R L R L R L R L R L

L R L R L R L R L R L R L R L R

Rhythmic Model (Single Stroke Roll)(Triplet Rhythm)

· ' · f l l : g J 2 J ? J r J 2 J 2 J I d ' 2 J 2 ' & ' 2 = 2 ' 1 E J e ' 2 J r J ? J 2 J l r S A ' 2 ' r J ~ J ? ' : 1 11 /1 It / 1 ' 1 / 1 J J /I J 1 /1 I J /I I 1 /1 11 /1 I

F. . )RLRLRLRLRLRL RLRLRLRLRLRL RLRLRLRLRLRL RLRLRLRLRLRLIngerlDg·1LRLRLRLRLRLR LRLRLRLRLRLR LRLRLRLRLRLR LRLRLRLRLRL R

Count. 1 an - dub 2 an - dub 1 an - dub 2 an - dub 1 aD - dab 2 an - dub 1 an - dub 2 an _ dub

Coant

Examples In usual notation

I



37

II

Written.

I

1 an 2 an 3 an 4 an~r-------L-?----~Ir-----L-?----~I -,----~~-----.I ~I-----1-2----~

123 4

I

Played.

RLRLRLRLRLRLRLRLRLRLRLRLRLRLRLRLRLRLRLRLRLRLRLRL R

L R L R L R L R LR L R. etc.

LESSON 35

THE PRESS ROLL

This rudiment is executed with both sticks striking the drum simultaneously. The "bounce" ofthe sticks is controlled by "pressing" them on the drum.

The Press Roll should begin promptly on the beat, on which it is written, and care should betaken so that it does not continue to drag into the following beat.

The Press Roll is only used to produce a short, crisp Roll; however, dance drummers generallyuse it when executing quarter note Rolls in fast tempos. (See Example 3, below.) In any event, it isnot advisable toemploy the Press Roll,until both the Single and Double Stroke Rollshave been thor-oughly practiced.

Examples in usual NotationI

Count 2 3 4 5 6 2 3 4 5 6out loud.

J j ) J I tJ I ~ J I p J28 j 'J I, .

I I IPress roll ~ :}f: LR . - RL . - LR

* 'RL

II III

Count 1 an 2 an 3 an 4 an Count 1 2 3 4 1 2 3 4

out loud.

I I I Iout 10ud.

J l : ; J b lcJ JJ : t , , j,

1 1 2 :I I I* '

. -* * * * *

LESSON 36

THE SINGLE PARADIDDLE

(Stroke Paradiddle)This rudiment combines two single strokes with one double stroke. The first stroke of the

Single Paradiddle is accented by means of a natural down blow of the stick.After completing the fourth stroke, the hand playing it should remain down; the other hand

should be in an upward position, ready to begin the next Paradiddle.Each stroke, with the exception of the first (accented) stroke, should be equal in volume.

ILLUSTRATINGTHE SINGLE PARADIDDLE

{

First stroke, Ill.5,p. 9

S· ith th . ht h d Second stroke, Ill.6,p. 9tartmg WI e ng .an : Third stroke, 111.5,p. 9

Fourth stroke, 111.5,p. 9

{

First stroke, Ill.6,p. 9Starting with the left hand: Second stroke, Ill.5,p. 9

Third stroke, Ill.6,p. 9Fourth stroke, Ill.6,p. 9



38


Exercise I Exercise II

Count 1 an 2 an 3 an 4 an 1 an 2 an 3 an 4 an Count 1 uh-an-duhZuh-an-duh 1 uh-an-duhZuh-an-duh

° i i I 'I I : ~ J J J d J J J I i f J J J d J J J : l f f fO l l l : d J J J d J J J 1d J J J 2 3 J 3 : 1 1Fingering. R L R R L R L R R L R R L R L L Fingering. R L R R L R L L R L R R L R L L

(A)

This rudiment contains trokes; four' alternate strokes, followed by a double stroke.The first and third strokes are accen e .

The arm and wrist motions, used for executing the Double Paradiddle, are the same as thoseused for executing the Single Paradiddle.


Exe rc iae I Exercise IICount 1 2 3 4 5 6 1 2 3 4 5 6 Count 1 an 2 an 3 an 1 an 2 an 3 an

o ; ~ t l l : d J d J J J 1d J 2 J J J : l f i J . " j d l l : d J d J J J 1i J l J J J ~ ~Fingering. R L R L R R L R L R L L Fingering, R L R L R R L R L R L L

4i x- . . . ; - S . /0 ) x: .1( ~ ~ .>-

I ; : : , r g4-,/

--lIImlrcone accent

With the exception of the accent, which occurs on the first stroke only, this rudiment is thesame as the one inLesson 37.



Count 1 2 3 4 5 6 1 2 3 4 5 6 Count 1 an 2 an 3 an 1 an 2 an 3 an

° i r l l : i l J J J J J 1i f J J J J J : 1 , " 2 1 1 1 : i f J J J J J 1 i l J J J ~Fingering. R L R L R R L R L R L L Fingering. R L R L R R L R L R L L

" ~ "X .f<.¥ ~ ... K .--

\ On / ~

~ .~ I J 0(/ LESSON

This rudiment contains eight stro , smgle alternate strokes, followed by a double stroke.The accents occur on the first, third and fifth strokes.

The arm and wrist motions, used for executing this Paradiddle, are the same as those used forexecuting all of the previous Paradiddles.


(~ l4-4- Exercise I Exercise IIA

Count 1 an 2 an 3 an 4 an 1 an 2 an 3 all 4 an Count 1ub-an-duh 2uhan-duh 1 uhan-dubZuhan-dub

O ~ T I I 'd J 2 J i J J J 1 d J d J i f J J J : l n l " f l l :2 u g J J J J J 1 J J l 3 d J J J : 1 1

Fingprillg, R L R L R L H R L R L R L R L L Fingering. H . L R L R L R R L R L R L R L L



39

This rudiment, except for the added accent, is the same as the preceding Single Paradiddlein Lesson 36, p. 37. This lesson should also be practiced by accenting only the second stroke ofthe Paradiddle. The rhythmic effect, produced therefrom, will be well worth the extra time spent

inpractice.

Play slowly, at first: increase speed gradually. Keep strict rhythm.


Count 1 an 2 an 3 an 4 all 1 all 2 a:l 3 an 4 an Count 1 uh-an-duh Zuhan-duh Luh an-duh Zub-an-dub

~;;rl:dd J i d 3 3 1 2 2 3 3 d d 3 J : l f ~ r l l : d 2 J J 2 g J J I W J 2 2 J J : 1 1Fingering. R L R R L R L L R L R R L R L L fingering. R L R R L R L L R L R R L R L L

\~lW/

with an accent on the first and fourth strokes

With the exception of the accents, this rudiment is the same as the Double Paradiddle (A) inLesson 37,p. 38.

Play slowly, at first; increase speed gradua lly, Keep strict rhythm.

Exercise I Exercise IICount 1 2 3 4 5 6 1 2 3 4 5 6 Co u n t 1 an 2 an 3 an 1 an 2 an 3 an

¥ i i i : i J J d J J I d 3 J g J J : 1 , " 2 ' 1 " 1 1 : : l J J d J J I : l J J 2 J J : 1 1Fingering. R L R L R R

~ ~

Fingering. RLRLRR~ ~~-

L R L R L L

.... ~-r-L R L R L L

" .lc::

This rudiment is the same as the Triple Paradiddle in Lesson 39,p. 38,with the exception of theaccents.



Count 1 an 2 an 3 an 4 an 1 an 2 an ~j an 4 an Count 1 uh-an-dub Z uh-an-duh luh-an..duh2uh-an-duh

~ n l : d J 2 J J d J J I d 3 d J J d J J : I ~ r l l : t J g J J a J J I d J 9 J J d J J : I IFingering. RL R L RL RR L R L R L R LL Fingering. RLRLRLRR LRLRLRLL



40

LESSON 43

THE FLAM

This rudiment consists of a principle (large) note, preceded by a grace note.In executinq the Flam, the grace note is lightly tapped as "close" as possible to the principle

(accented) note. However, it is advisable. in the beginning, tokeep the two notes "open," graduallyclosing the grace note to the main.note.

A right hand Flam ismade by playing the grace note with the left hand, and the accented (large)

note with the right hand. (See Illustration 6, p. 9.)A left hand Flam ismade by playing the grace note with the right hand, and the accented note

with the left hand. (See Illustration 5, p. 9.)The important points to remember are, that, when executing a right hand Flam, the left hand

leads; and, when playing a left hand Flam, the right hand leads.According to the fingering indicated in the rhythmic model, below, the right and left hand

Flams alternate; while; in Example I, two sets of fingering are indicated - one for the left handFlam, and the other for the right hand Flam.

The student is advised to thoroughly master the Flam, before attempting to play any beat con-taining it; otherwise, ~s~sing results are almost certain to follow.

f ; ; R D -: 2D6" Rhythmic Model

Play slowly. at first: increase speed gradually. Keep strict rhythm.

Count 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

O ~ ; II : Jli 'i ~ d t d I p i t . d J l a p d I f l d P i ~ d J t d I 4 ! d ~ i p i P 2 : 1 1Fingering. L R R L L R R L L R R L L R R L LR RL LR RL LR R L LR RL

Flam ExercisesI II

Count 1 2 3 4 1 2 3 4 Count 1 2 3 4 1 2 3 4

out loud. --' I ~ I ~ ~ r I - ~ out loud. .f - 4 ~ ~ - 4 - l ~ r - l -

y : f I I : t: & 1: ' E I t: t : t a t: : l l t J : : I i : ~ ~ : ~ : $ = I ~ f . : f.i £ : : : 1 1Fing er ing', LR LR LR LR LR LR LR LR Fingering. LR LR RL RL LR LR RL ' RL

RL RL RL RL RL RL RL RL-~-~.", ..,_ - .. . _ . " .. '.~~---'"

- _ ' - - - -

I : ; : : IIhc.

By placing a grace note In cmfolfue first stroke of the Paradiddle, we have what is knownas the Flam Paradiddle. The grace note, which is a light tap, is quickly followed by an accentedstroke; the latter, in turn, is followed by three normal taps.

Play slowly. at first: increase speed gradually. Keep strict rhythm.


Count 1 an 2 an 1 an 2 an Count 1 uh-an-duh 2 uh-an-duh 1 uh-anduh 2 uh-an-d uh

O ; ~ II : ti J J J I~J J J :If;j~II : P 2 J J 3 ~ dJ B I ~ dJ J J ~ J JJ J : I ILR L H R

i ~-

LR LRR RL RLLd )('

RL R L L Fingering. LRL RR R~ L L

°T ;<DOUB~~~

----.~am=a-=1fam;-diddle)

By placing a grace note just ahead of the first and third strokes of a Double Paradiddle, wehave what is known as the Double Flam Paradiddle. In other words, this rudiment contains twoFlams: whereas, the Single Flam Paradiddle has but one Flam.



41


_,. Exercise I "'" /" Exercise II ".r ' '1;\

Count 1 2 3 4 5 6 1 2 3 4 f\ 6 1 an 2 an 3 an 1 an 2 an 3 an

out loud.

LR L LR L R R

• X

1 ; ; ~4'

RL RL LJe-- .....

RL R ingering. LR L LR L R R RL R

• J.- ~ .. '

~, " !~g4-LESSON~

THE T LE P .IU lA :r lm DLE(Flama-Dama-Damadiddle)

This rudiment contains three Flams. In reality, it is merely a Triple Paradiddle with the addition of a grace note placed in front of the first, third and fifth strokes.

t : : l { 2. Exercise I# Play slowly, at first; increase speed gradually. Keep strict rhythm.

3 an 4 an

~i J J J I1 an 2 an 3 an 4 an

~iJ ~ d J J J: 1

RL R RL R L Lingl'r!lIg. LR L tR L

~

LR L R R RL R

x-

Exercise II

Count 1 uh an » dub 2 uh - an - dub 1 uh - an - duh 2 uh - an - dubuut hurl.

t J i J b t J i l 2 J J J / 1 [ J ~lJ P 2 J J J: i I : ] iFing er ing . LR L LR L LR L R R RL R RL R RL R L L

( . . X-=

This rudiment is exactly what its name 1 I ed by a tap.The grace note is a very light tap and the next two notes are accented with equal volumeThe exercises in 2/4 and 6/8 tempos, shown below, will give the student sufficient practice in

perfecting this rudiment.

{ ~ / 2 ( ,Play slowly, at first; increase speed gradually. Keep strict rhythm.Exercise I Exercise II .

Count 1 an 2 an 1 an

¥ff I I : '~liP U I Jl!9

2 an Count 1 2 3 4 5 6 1 2 3 4 5 6

H out loud.' - + l - + ~ - 4 ~ J - - t r n~§1 1 ? H I I : ~i t ~g £ 1 P i iP 2 ~

Fingering. L R R R \ L

. .LH R R ~ L Fingering. L : R R \ L ~ H . R ~ ~

LESSON4~- - ' ,. THE FLAM ACCENT .

This rudiment consists of a Flam. fo 0 by.JwQ taps. The Flam Accent is most commonly written in 6/8 time. However, it is also advisable for the student topractice the FlamAccenin the 2/4 tempo, as given in Exercise II.



42

Exercise IPlay slowly, at first; increase speed gradually, Keep strict rhythm ..

Count 1 2 3 4 5 6 1 2 3 4 5 6

ut loud.

~ 2 i J J i1~d J J ~ d J J ~ 2 J J; g I I : : I IFingering. LR L R RL R L LR L R RL R L

~ XExercise II

Count 1 an - duh 2 an - duh 1 an - duh 2 an - duh

out loud.

l 1 i J J ~i J J ~ d J J P 2 J J:!I : : 1 1Fingering. LR L R RL R L LR L R R L R L

~ » c

, 1 ~ ( fk)Inreality, the Flamacue is a troke S' all. with the first and fifth strokes "Flammed,"

and the second stroke accented. The ams and accented note should have the same volume.

Exercise I

~Play slowly, at first: increase speed gradually. Keep strict rhythm.

Count 1 2 3 4

~ A o ,6 1 2 3 4 5 6

~

out loud.

~ll - J J l l d i l J J P 2g I I :, .

¥ : 1 1Fingering. LR L R L LR RL R L R R I

.# .~

Exercise IICount 1 uh - an - dub 2 an 1 ub - an - duh 2 aD

out loud.

~ d 2 J J . . . . ~ j ) d 2 J J J y ~¥J I I : 1 \ 2 'i z: 1 1

Fingering. LR L R L LR R L R L R R L

LESSO

THE HALF DRAG (A)Ith an accent on the t .

This rudiment consists of a double, normal stroke, followed by a single accented stroke. Therhythm of the Half Drag is similar to that of the Three Stroke Ruff, and should be practiced in thesame manner.

The customary notation for the Half Drag is illustrated in Example II, shown on next page;which is two grace notes (double stroke) followed by the accented principle note. The grace notedouble stroke is to be "bounced," instead of "pressed," when speed is attained.

f /~~g Rhythmic Model

Play slowly, at first: increase speed gradually. Keep strict rhythm.

Count 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 -1

out Ioud ,

I I : J J i J J iI

J i J J i -):! l I I ~ I I I : 1 1Fingering. L L R R R L L L R R R L



43


I II

Countout loud.

Fingering. L L R R R L L L R R

, ~III

Count 1 an - duh 2 an - duh 1

out load.

E J J 2 J j df o l IFingering. R L L R R R L

• ~

LLR RRL LLR RRL

an - duh 2 an - ' duh

J J 2 J J

"L R R RII

This is a "hand to hand" rudiment, which is chiefly used in slow or medium tempos. It is anexceptional rudiment for improving one's technique.

f / ' 2))1' Rhythmic Model. .

Play slowly, at first; increase speedgradually. Keep strict rhythm.

Count 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4out loud.

d J J 1 2 Ji

Ii J J I i J J:1I I : I J I~

l : 1 1

Fingering. L L R R R L L L R R R L

( _( (A) Example in usual notation, - - - - -

Count 1 an - duh 2 an - duh 1 an - dub 2 an - duh

out loud.

J d J J i J J d J J~

3f ) : i IFinger ing. R L L R R R L L L R R R

This rudiment is more practical in a rapid tempo than the Half Drag (A)in Lesson 50,p. 42.Thisis due to the fact that the latter is played from "hand to hand" - a more difficult method of rapidexecution.

r ~ 1 J JPPlay slowly, at f'irst; increase speed gradually. Keep strict rhythm.

1234 1234 1234

fiI : J J - - - j t I J J d J I J J d i

Rhythmic Model

Count 2 4

d : 1 1Fingering. L L R

R R LL L RR R L

L L RR R L

L L RR R L



44 (~t~" Examples in usual notation

.. t :

~ I

(Count 1 ub - an 2 ub - an 1 uh « an

Countout loud. out loud.

Fingering. L L R L L R L L R L L R inger ing LLR LLR LLR LLRR R L R R L R R L R R L RRL RRL RRL RRL

III

Count 1 an - duh 2 an dub 1 an - dub 2 an - dub

out loud.

~J J i J J

~J J 2 J J~·I I I I

Finger ing. R L L R L L R L L R L LL R R L R R L R R L R R

In a lively tempo, this rudiment is easier for some drummers to play than the previous HalfDrag (B)in Lesson 51,p. 43,because it is not played from "hand to hand." Both, however, should be

mastered.

Rhythmic 1\10del


Count 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

ouLloud.

dJ J

d

I J a J J

2J J2:2 I I : t

I •l

It I J : 1 1

Fingpring. L L R L L R L L R L L RR R L R R L R R L R, R L

c...--.

Example in usual notation?

Count 1 an - dub 2 an - duh 1 an - duh 2 an - dub

out loud.

J 2 J J~

J J i J J d J: I I IFingering. R L L R L L R L L R L L

L R R L R R L R R L R R

Rhythmic Model

Play slowly, at first; increase speed gradually. Keep strict rhythm. ' ~ 1 · !Count 1 2 3' 4 1 2 3 4 1 2 3 4 1 2 3 4

°2~1Pt d n d J I n g d ni g I nt i ni t I ni i nit tI i

Fi'g''''. LLR L RRL R LLR L RRL R LLR L RRL R LLR L R RL R:_j



I

I

1i\

r

Examples In usual notationI II

Count 1 an 2 an 1 an 2 an C t 1 an 2 an

o . , ° i flU n@ , n§ n a Ii~:ll n a d - na l n i l n 2 IFingering. LLR L RRL R LLR L RRL R Fingering. R LLR L RRL R LLR L RRL

IIICount 1 2 3 4 5 6 1 2out luud.

i M £ d n~ i9:e IFiDgerin~. R L LR L R RL R

IL L R L R R L

LESSON 55

THE FULL DRAG

A Full Drag consists of a Half Drag, followed by a single, accented stroke; the latter is madewith the same hand that completes the Half Drag. In the rhythmic model, given here, the HalfDragoccurs on the first and third beats in each measure.

Count

out loud.

: 5 1 : t

Rhythmic Model

Play slowly, at first; increase speed gradually. Keepstrict rhythm.

12 34 12 34 12 34 12 34

II:nit n i d InJj n J i , n ~ ~ nl2,ni~ nJj:1Fingering. LLR R R R L L LLR R R R L L L L R R R R L L L LR R R R L L

I


II2 an Count 1 2 3 ~. 4 5 6 1 2 3

nR j ( § ! O nd n J } I fjJ } I , nJ d l

4 5 6

flJ o . bl

Cuuntout loud.

~:

1 an

nE nR,nR2 an 1 an

Finger ing. LLR R R R L L Fingering. L L R R R R L L L L R R RRL LRL L LLR R

Co.pl 1 2 3

Ollt Jo.d. nJ J~ : B . ,Fingerillg. L LR R

III4 5 6 1 2 3 4 5 6

nJ j J I nJ '1 J nJ '1 J I IR R L L LLR R R R L L

LESSON 56

THE DOUBLE DRAG

This rudiment consists of twoHalfDrags. the second of which is followed by a single. accentedalternate stroke. The student's attention is called to the fact that the two Half Drags, in succession

do not alternate.

The stick that concludes the second Drag. of the Double Drag, should remain down. so thatwill be in position to start the following Double Drag.

Once again the student is cautioned to maintain a strict tempo. when practicing any rudimentEven a slight deviation in tempo is not considered good drumming, and may lead into many diff

culties later on.



46

Rhythmic l\'lodel


fingering. LL R L L R L RRL RRL R L LR L J~R L RRL RRL R

Examples • usual notationn

f II

(_,.p.t 1 2 3 4 5 6 Count 1 2 an 3 4 5 an 6~1I\load. nJ nJ J nJ n J J oat loud. nJ . n i l J nJ . nj J, : H 1 1 ~ : R I fFingering. L LR LLR L RRL RRL R Fingering. LLR LLR L RRL RRL R

LESSON 57

THE SINGLE DRAG PARADIDDLE

This rudiment is a Paradiddle of which the first stroke is played as a Half Drag.

In order to determine the value of the two grace notes in their relation to the Paradiddle, thisexercise should be practiced in a very uniform tempo.

Rhythmic l\lodelPlay slowly, at first; increase speed gradually. Keep strict rhythm.

Count 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

oat loud.

fitJ J J

n dJ J J

n dJ J J

InaJ J J

2 :: I I : I I : I IFingering. LLR L R R ~ RRL R L L LLR L R R RRL R L L


eOllnt 1 an 2 an 3 au 4 an 1 an 2 an 3 an 4 an

out,loud.

n d J J J l i d J J J n a J J J n d J J J~2 I DFingering. LLR L R R RRL R L L LLR L R R RRL R L L

II

Count 1 uh - an - duh 2 ub - 3n - duh 1 uh - an - duh 2 u b an - dub

out loud.

n I J 3 J J n d J J J n i 3 J J n i J J JfJt i I nFingering. L LR L R R RRL R L L LLR L R R R RL R L L

LESSON 58

THE DOUBLE DRAG PARADIDDLE (A)containing one HaUDrag

By making the first stroke of a Double Paradiddle a Half Drag, we have what is known as a

Double Drag Paradiddle.



a

4

Rhythmic M()delPlay slowly, at first; increase speed gradually Keep strict rhythm.

Count 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6

·;;ll:n J J J J J J In d J J J J J In d J J J J J I r 1 d J J rotFingering. L LR L R L R R RRL R L R L L LL R L R L R R R R L R L R L L


Count 1 an 2 an 3 an 1 an 2 an 3 an C01lnt 1 an 2 an 3 an 4 an 5 an 6 an

· p il 1 )2 J J J J J I fJ~ J J J J ~ u " ? ' l n i l E E E E E n ~ J E J i J J IFill&t'ring.LLR L R L R R RRL R L R L L Fingering. LLR L R L R R RRL R L R L L

J.FSSON 59

THE DO U B LE DRAG PARAD IDDLE (B )

containing two Hall Drags

This rudiment is practically the same as the one in Lesson 58,except that the third stroke is alsoplayed as a Half Drag - making two Half Drags instead of one.

Rhythmic Model


C01lllt 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6

° i ' t l : n O A im 1 J . j 4 J ! ' J i m In 4 J f J tm IntJ ntm~Fingering, LLR L LLR L R R RRL R RRL R L L LLR L LI;R L R R RRL R RRL R LL


Count 1 an 2 an 3 an 1 an 2 an 3 an Count 1 an 2 an 3 an 4 an 5 an 6 an

¥Jl fli J f t l J J J IniJ nlJ J J ffi:'f 1 3 4 J nlJ j J n O flij ~ IFingering.LLR L LLR L RR RRL R RRL R L L Fingerillg.LLR L LLR L RR RR L R RRL R L L

LESSON 60

THE TR IPLE DRAG PARAD IDDLE

This rudiment is merely a Triple Paradiddle with the first, third and fifth strokes played asHalDrags.

Rhythmic Model(Usual notation)

Play slowly, at first; increase speed gradually. l{eep strict rhythm.

Count 1 all 2 An 3an4a1' 1 an 2an 3an4an 1 all 2ap 3an4an Ian 2an 3an4an

illl:ni? f i@J' l@p"O n J ? n @ J ln[?nl3n@I!l@ !lanAFingering. LLRLLLRLLLRLRR RRLRRRLRRRLRLL LLRLLLRLLLRLRR RRLRRRLRRRLRLL



48

Another example In usual notation

1 ub - an _ dub 2 uh - Iln - dub 1 uh an - dub 2 ub - an - duhCoul)t

n l J n £ J E l l J J J n t J h d J n l J J J1lt loud.

2 : 1 I I IFingering. L L R L LLR L LLR L R R RRL R RRL R RRL R L L

LESSON 61

THE THREE STROKE RUFF SINGLE PARADIDDLE

By playing the first stroke of a Single Paradiddle as a Three Stroke Ruff, we produce a ThreeStroke Ruff Single Paradiddle.

Before attempting any of the Ruff Paradiddles, the student must be thoroughly familiar withthe Three Stroke Ruff and the Single, Double and Triple Paradiddles.

Cpunt 1 2 3 4out loud. n i J J J: J : II :Fingering. RLR L R R

Rhythmic Model


1234 1234 1234

I a t J J J I n t J J J I nt J J J : 1LRL R L L RLR L R R LRL R L L

Examples •usual notationn

ICount 1 an 2 an 3 an 4 an 1 an 2 an 3 an 4 ano.t loud.

fil J J J nl J J J fii J J J f i J i J J J:f I I IFingering. R L R L R R LRL R L L RLR L R R LRL R L L. . . .

IICount 1 uh - an - duh 2 uh - an - duh 1 uh - an - duh 2 uh - an - duhout lo.d.

n d J J J n d J J J f ) d J J J ~d J J J:I I I IFingering. R L R L R R LRL R L L RLR L R R LRL R L L

LESSON 62

THE THREE STROKE RUFF DOUBLE PARADIDDLE (A)containing one Three Stroke Ruff

This rudiment is like aDouble Paradiddle, except that a Three Stroke Ruff is substituted for thefirst stroke.

Rhythmic ModelPlay slowly, at first; increase speed gradually. Keepstrict rhythm.

Count 1 2 3 4 5 6 1 2 3 4 5 6 1 2 34 5 6 1 2 3 4 5 6

O;:'lll: i i d J J J J J Ini J J J J J Ifit J JmI 1 1 t J J J J J :1Finj!;eriD~. RLR L R L R R LRL R L R L L RLR L R L R H LRL R L R L L



4

Examples in usual notationI I I

Count 1 an 2 an 3 an 1 an 2 an 3 an Count 1 an 2 an 3 an 1 an 2 an 3 an

~;q' t J J J J J I fit J J J J # ; ! O g d . a d J J J J J I iii J J J J l - uFingering. R I.R L R L R R LRL R L R L L Fingering. RLR L R L RR LRL R L R L L

LESSON 63

THE THREE STROKE RUFF DOUBLE PARADIDDLE (B)containing two Three Stroke Ruffs

This rudiment is the same as the one in Lesson 62, except that the third stroke is also played aa Three Stroke Ruff.

Rhythmic Model

Play slowly, at first; increase speedgradually. Keep strict rhythm.Count 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6

out load.

n j i J n J m l n t J n J ; m 1 n i J n~IJJ I n E J t ' l Jm : .2: n I I :Fingering. RLR L RLR L R R LRL R LRL R L L RLR L RLR L RR LRL R LRL RL L


Coant 1 an 2 an 3 an 1 an 2 an 3 an

out loud. n J i J n 2 J J J n 2 J fit J J J:IFinger ing. R L R L RLR L R R LRL R LRL R L L

IICount 1 an 2 an 3 an 1 an 2 an 3 an

out loud.

n a J n d J J J In j J n l i J J J':eFingering. R L R L RLR L R R LRL R L RL R L L

LFSSON 64

THE THREE STROKE RUFF TRIPLE PARADIDDLE

This rudiment is a Triple Paradiddle with the first, third and fifth strokes played as Three

Stroke Ruffs.

Rhythmic Model(Usual notation)


Coaat lan 2an 3an4an lan 2an 3ao4an lan 2an 3an4an lan 2an 3an4aD

O ; } " j " " I I :~ Jg f i i J ftpl31ti3 W ¥ J J I J ! i > l n i3 1 @ J I W ~ @.aFiDgering. RLRLRLRLRLRLRR LRLR LRLRLRLRLL RLRLRLRLRLRLRR LRLR LRLRLRLRLL



50

Another example in usual notationCoant 1 ah - an· dub 2 uh- an. duh 1 uh - an - duh 2 uh - an - duho.t load.

n§nm f i J J J J n w F O nJEj nJ J J J: 1 I I IFingering. RL R L RLR L RLR L R R LRL R LRL R LRL R L L

LESSON 65THE FOUR STROKE RUFF SINGLE PARADIDDLE

By playing a Four Stroke Ruff, in place of the first stroke of a Single Paradiddle, the result willbe a Four Stroke Ruff Single Paradiddle.

Rhythmic Model


Coantout loud.

2: til:1234 1234 1234 1234

J " t J J J I J " t J J J I r o t J J J I r o t J J J : .Fingering. LRLR L R R RLRL R L L LRLR L R R RLRL R L L


Count 1 a n 2 an 3 an 4 an 1 an 2 anout loud.

JJJi J J J J J J t J J J m J i J J J:? 'I IFingering. L RL R L R R RLRL R L L LR LR L R R

3 an 4 all

r n a J J J ? lRLRL R L L

II

Count 1 uh - an - duh 2 uh - an _duh 1 uh - an - duh 2 uh - an - duh

outland.

J J J d J J J mi J J J Imd J J J r n i J J JJiJ I tFingering. LR LR I . R R RLRL R L L LRLR L R R RLRL R L L

LESSON 66

THE FOUR STROKE RUFF DOUBLE PARADIDDLE (A)containing one Four Stroke Ruff

This rudiment is executed by playing the first stroke of a Double Paradiddle as a Four StrokeRuff.


Count 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6

O ~ ~ O i fI I : mffl J J J ImW J J J I r o d J J J J a Irnffl . o i L .Fingerinl' LRLR L R L R R RLRL R L R L L LRLR L R L R R RLRL R L R L L


Count 1 an 2 an 3 an 1 an 2 an 3 an Count 1 an 2 an 3 au 1 an 2 an 3 an

° 2 = 1 m an J j a

I J J l i J J J J a l f 2 ~ l mlJJn3 I m i J J J J J I lFingering.LRLR L R L R R RLRL R L RL L Fingeriug, LRLR L R L R R RLRL R L R L L



51

LESSON 67

THE FOUR STRO.KERUFF DOUBLE PARADIDDLE (B)containing two Four Stroke Ruffs

This rudiment is the same as the one in Lesson 66, except that the third stroke is also played asa Four Stroke Ruff.


Coant 1 2 3 4 5 6 1 2 3 4 5 6 t 2 3 4 5 6 1 2 3 4 5 6

"illl: m d J m J J J J Im i J f f l d ffiI r o d J m dm Im J ) ro d m :1 1Fingering. LRLRLLRLRLRR RLRLRRLRLRLL LRLRL LRLRLRR RLRLRRLRLRLL

LRLRL RLRLRLL RLRLR LRLRLRR LRLRL RLRLRLL RLRLR LRLRLRR


Cou nt 1 ao 2 an 3 an 1 an 2 , . I ! 3 an Count 1 ao 2 an 3 an 1 an 2 an 3 an

° & ' 1 f D i l ] mdJJJ lm[J fflfflJ(;=t m e m J J J 3 I f f l [ . l mpHIFingering. LRLRL L R LRLRR RLRL R RLRL RLL F inger ing .LRLRL LRLRLRR RLRLR R LRLR LL

LRLRL RLRL RL L RLI{LR LRLRLRR LR LRL RLRLRLL RLRLR LRLRLRR

LESSON 68

THE FOUR STROKE RUFF TRIPLE PARADIDDLE

This rudiment is executed by substituting a Four Stroke Ruff for the first, third and fifth strokes

of a Triple Paradiddle.

Rhythmic l\'lodel(Usual notation)

Play slowly, at first; increase speedgradually. Keepstrict rhythm.

Count 1 an 2 an

out loud. i"i r-,

~:t I I : rot? rn~3 an 4 an

m JJ J J1 an

I J J ;[12 an

mil3 an 4 an

mi J J J IFinger ing. L R LR L L R LR L

LH LR L R L R L RL R LR L R RLR LR L R R

RLRL RRLRR L

RLRL RLRLR L

R LRL R L LRLRL R L L

1 an 2 an 3 an 4 an 1 an 2 an 3 an 4 an

'!l JJJiJ m i J m d J J J 1mB J ; J[l t n t J J J : 1LRLR L LRLR L LRLR L R R RLRL R RLRL R RLRL R L L

LRLR L RLRL R LRLR L R R RLRL R LRLR L RLRL R L L

Another example in usual notationCount t uh an - dub 2 ub-an-dub

out loud.

JJJI'

rnJ'J J

1tJ I IF iuger ing . L R L R L LRLR L LRLR L R R RLRL R L L. LRLR L RLH L R LRLR L R R RLRL R L L



5 2

LESSON 69

THE SINGLE RATAMACUE (A)with an accent on the third stroke

This rudiment is executed like the Four Stroke Ruff. except that a Half Drag is substituted forthe first stroke.

In the rhythmic model, all of the notes are equal in value (eighth notes). The purpose of this isto prevent the student from "pressing" the Drags, which might retard his efforts in acquiring clear-

ness and speed in the excution of the rudiment.In the two written examples, shown here, the first two strokes of the Ratamacue are to be

played as grace notes. The student should undertake great care not to "press" the grace notes, butto play them as closely as possible to the main (accented) note.

After the rhythmic model has been thoroughly learned, in the notation in which it is written,the student should then practice the examples in strict tempo, without interruption. By aJ,iplyinqthis method of practice to every Ratamacue, the student will have little trouble in mastering the

rudiment.

Rhythmic Model


Count 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6

" f l " i f " I I ) 3 d J 3 3 I J 3 i J 3 3 I J J d J J 3 I J 3 2 J 3 3 :1 1Fingering. L L R L R L R R L R L R L L R L R L R R L R L R


1 an - duh 2 3 an - duh 4 1 an - duh 2 3 an - duh 4

COllnt 9I I 9 I 9 I I 3

out loud.

1 1 2J J J n d J J J

IntJ J J

fitJ J J!):f

"ingering. LLR L R L RRL R L R LLR L R L RilL R L R

II1 an 2 an 1 an 2 an

COllnt 3I

3 9 9 1

olltlood. n l J U J f i t J J J n i J J J "i J J J~!):J I jFingering. LLR L R L RRL R L R LLR L R L RRL R L R

'.ESSON 70THE SINGLE RATAMACUE (B)

with an accent on the third and sixth strokes

This rudiment is played inthe same manner as the one inLesson 69, except that the accentfalls on the sixth stroke, instead of on the third stroke.

Rhythmic Model

Play slowly, at first; increase speed gradually. J.{eepstrict rhythm.

Fingering. L

Count 1

out loud. ..)

~!): H I : ~LRLRL RRLRLR LLRLRL RRLRLR



53

Examples in usual notat ionI

1 aT . - dub 2 3 all - dub 4 1 an - dub '2 3 an - dub 4Count 3 1 1

3 1 3 1 I 3 1

: ) r out loud.

~~ ~ ~ i t ~~ ~ 3 i InJ ~ 3 d ~~ ~ ~ 2:3 I Is

I-

Fingering. L L R L R L RRL R L R LLR L R L RRL R L R

IeII

1 an 2 an 1 an 2 anIt Count 3

---,3 3 r 3

out loud.

nJ J J i nJ J J d InJ J J d fiJ J J 22:! I I.-9e Fingering. L L R L R L RRL R L R LLR L R L RRL R L R

LESSON 71THE DOUBLE RATAMACUE (A)

with an accent on the third and sixth strokesByplacing a Half Drag in front of a Single Ratamacue, the result will be a Double Ratamacue.

This Rudiment has an accent on the third and sixth strokes.

Rhythmic Model

Play slowly, at first; increase speed gradually_ Keep strict rhythm.

Count 1 2 3 4 5 6 7 8 9 1 2 3 4 5 6 7 8 9 1 2 3 4 5 6 7 8 9 1 2 3 4 5 6 7 8 9

illl:mmmlmmmlmmmlmmrn:1Fingering. L L R L L R L R L R R L R R L R L R L L R L L R L R L R R L R R L R L R


1 2 an.duh 3 1 2 an-duh 3 1 2 an-duh3 1 2 an-duh3

'3 f"'3I Count ~ r-;r-J

/jill J Ini J i m J 1 1 2 = 1 fl~ f J [ 1 ? J 1n~ "ltV I I

Countout !oud. !9j

2·! ~::Fingering.LL R LLRLRL RRL RRLRLR Fingering.LLR LLRLR L RRL RRLRLR

1

III2 an - dub 3 4 1 2 an - duh 3 4I 3 1 I - a I

n d J J J ( I fit n d J J J I ILLR L R L RRL RRL R L R

Countout loud.

2 : 1Fingering. L L R

LESSON 72THE DOUBLE RATAMACUE (B)

with an accent on the third and ninth strokesThis rudiment is played exactly like the preceding one in Lesson 71. except that the accents

occur on the third and ninth strokes. instead of on the third and sixth strokes.

Rhythmic l\'lodel


Count 1 2 3 4 5 6 7 8 9 1 2 3 4 5 6 7 8 9 1 2 3 4 5 6 7 8 9 1 2 3 ~ 5 6 7 8 9

°2~lll:mmmlmmmlmmmlmrnm:1FingeriDg. L L R L L R L R L R R L R R L R L R L L R L L It L R L R R L R R L R L R



54

Examples in usual notationI n

1 2 an.duh 3 1 2 an-dub 3 1 2 an-dub 3 1 2 an.duh 3

~ r:f' Count ~ '3

nIEi I fit nm~nJ l fit n m d In i fiffld IICount

_out loud.F1}

~:fH~Fingering.L LR LLRLRL RRL RRLRLR Fingering. LLR LLRLRL RRL RRLRLR

1HI

2 an - dub 3 4 1 2 an - duh 3 4

3 I 3 I

nJ J J t l lfit nJ J J i l I ILLR L R L RRL RRL R L R

Count

out loud. ~ 1Y:I J~~

Fingering.LLR

LESSON 73

THE TRIPLE RATAMACUE (A)with an accent on the third. sixth and ninth strokes

By placing a Half Drag in front of aDouble Ratamacue. we get a Triple Hatamacue.The rhythmic model, shown below. clearly illustrates the exact manner in which this rudiment

is to be practiced; and the written examples give its proper notation.

Rhythmic Model

Play slowly, at first; increase speedgradually, Keep strict rhythm.

Count 1 2 3 4 5 6 7 8 9 10 11 12 1 2 3 4 5 6 7 8 9 10 11 12

iO!h ) J d J J d J J d J J J I J J t J J d J J ~ J J J IFingering. L L R L L R L L R L R L R R L R R L R R L R L R

1 2 3 4 5 6 7 8 9 10 11 12 1 2 3 4 5 6 7 ~ 9 10 11 12

- ~ : J J d J J d J J d J J J IJ J 2 J J 2 J J t J J J : 1L L R L L R L L R L R L R R L R R L R R L R L R

Examples in usual notationL 73cont

I1 an 2 an 1 an 2 an

C01Ult I3

I 3out loud. n l fit n d J J J Ini f j t I I I J J 32J IFingering.LLR LLR LLR L R L RRL RRL RRL R L R

II1 2 3 an - dab 4 1 2 3 an - dub 4

Count I 3I r

3 I

out loud.

n i n i: n t J J J liii n J n i J J Jl:f IFingering.LLR LLR LLR L R L RRL RRL RRL R L R

LESSON 74

THE TRIPLE RATAMACUE (B)

with an accent on the third. sixth. and tweUth strokes

Except for a sliqht difference in accents, this rudiment is played exactly like the precedingone inLesson 73.



55

Rhythmic l\lodel

Play slowly, at first; increase speed gradually. Keep strict rbrthm.

CouIlt 1 2 3 4 5 {) 7 8 9 10 11 12 1 2 3 4 f» 6 7 8 9 10 11 12

nl: J d J . J @ J J J J J 4 1 J J t J J 2 J J J J J lFingering. L L R L L R L L R L R L R R L R R L R R L R L R

t 2 3 4 5 6 7 8 9 10 11 12 1 2 3 4 5 6 7 8 9 10 11 12

"J J d J J J J J J J J i J J l J J i J J J J 2 : 1L L R L L R L L R L R L R R L R R L R R L R LR


1 an 2 an 1 an 2 an

I 3I 3

fit fiJ J J d lfit n t n J J J d nLLR LLR L R L RRL RRL RRL R L R

112 3 an - dub 4 1 2 3 an - dub 4

I 3 I I 3 I

J ) i nJ J J t I H i n t nJ J J a ILLR LLR L R L RRL RRL RRL R L R

LESSON 75

Count

out loud. d

}!l:! n~Fingcr ing. L L R

Count

out loud. - +y : t 1 1 : ;Fillj.!,t'ring. L L R

COMBINATION OF THE TWO PREVIOUS SINGLE RATAMACUESIn the rhythmic model, shown here, the accent falls on the third stroke in each of the first two

Single Ratamacues, and on the sixth stroke in each of the third and fourth Single Ratamacues.

Rhythmic Model


Count I

_(Jut loud. )

~ II:~

234 561 234 561 234 561 23 4 56

J 4 J ~ J I J J 2 J J J I J J J J J d I J J J J J @ : 1LHLRL RRLRLR LLRLRL RRLRLR

Example in usual notation

3 an - deh 4 1 aJ1- duh 2I .1 I 3 I

f j J J J J InJ J J dRHL R L R LLR L R L

3 an - dub 43 ,

nJ J J i l lRRL R L R

LESSON 76

COMBINATION OF THE TWO PREVIOUS DOUBLE RATAMACUES

In the rhythmic model. given on the following page. the accent falls on the third and sixth

strokes in each of the first two Double Ratamacues. and on the third and ninth strokes in each o

the remaining Ratamacues.



56

Rhythmic Model


Count 1 2 3 4 5 6 7 8 9 1 2 3 4 5 6 7 8 9 1 2 3 4 5 6 7 8 9 1 2 3 4 5 6 7 8 9

o~ted'll:fflm 1 m rum l rum ffilffi m i l l : 1 1Finger ing. L L R L L R L R L R R L R R L R L R L L R L L R L R L R R L R R L R L R


2 an-duh B 1r--r

~ m J I n d

2 an-duh 3

'9

n [ J J J

1 2 an-duh 3 1 2 an-dub 3

~ 'T

Ind n@ 2 Ind nfJ) 2 I IFingt'ring.LLR LLR L R L RRL RRL R L R LLR LLR L R L RRL RRL R L R

LESSON 77

COMBINATION OF THE TWO PREVIOUS TRIPLE RATAMACUES

In the rhythmic model, given here, the accent falls on the third, sixth and ninth strokes in eachof the first two Triple Ratamacues, and on the third, sixth and twelfth strokes in each of the remain-ing Triple Ratamacues.

Rhythmic Model


Count 1 2 3 4 5 6 7 8 9 10 11 12 1

out ~oud. j?) )? 1 ) ? ) ) ? ? )-y. W I I : ~ ~ ~ ~ ~ : : Ii ~ :; ~ ~ ~ I ·

2 3 4 5 6 7 8 9 10 11 12

J d J J d J J d J J JFinger ing. L L R L L R L L R L R L R RLRRLRRLRLR

1 2 3 4 5 6 7 8 9 10 11 12 1 2 3 4 5 6 7

~ J J d J J i 4 J J J J J i 4 IJ J d J J i8 9 10 11 12

J J J J d : 1L L R L L R L L R L R L R R L R R L R R L R L R

Example in usual notation1 2 3 an-duh4 1 2 3 an-duh4 1 2 3 an-duh4 1 2 3 an-duh-t

Count '9 '3 r:fI ry-,

O ~ l · n d ~tn m J Ina n J JlffiJ lilt fl{ I'm i f In, n d t lm d I IFingering.LLR LLR LLRL R L RRL RRL RRL R L R LLR LLR LLRL R L RRL RRL RRLRL R

LESSON 78

THE COMPOUND STROKE (A)

accenting the Hall Drag

This rudiment is a combination of a Half Drag and a Three Stroke Ruff. The third (accented)stroke of the Half Drag is also the first stroke of the Three Stroke Ruff.



57

Rhythmic Model

Play slowly, at first; increase speedgradually. Keep strict rhythm.

COil nt 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

" ; ~ " i d I I : ni J J I I n t J J ~ I n J J J t I f i t J J t : 1Fi ngc r ing . L L R L R RRL R L LLR L R RRL R L


Count 1 uh-an 2 uh-an 3 uh-an-duh 4 an 1 uh-an 2 uh-an

o ~ rJ]ill )jill n J J J J J ~ .- - - 'f j I J1i!3 n l ! J3 ub-an-duh 4 an

n J J J J J a t I IF ing ering .LLHLR LLRLR LLRLRLR LLR LLRLR LLRLR LLRLRLR LLR

LLRLR RRLRL LLRLRLR LLR LLRLR RRLRL LLRLRLR LLR

LESSON 79THE COMPOUND STROKE (B )

accenting the Three Stroke RuH

In this rudiment the accent falls on the fifth or last stroke of the Compound Stroke.

Rhythmic ModelPlay slowly, at fint; increase speedgradually. Keepstrict rhythm.

Count 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

outluud.

" J J i If i J J a InJ J d InJ J : t~ :a I I : I t I I : 1 1Finger ing . LLR L R RRL R L LLR L R RRL R L

Example inusual notationCount 1 uh-an 2 tah-an 3 uh-au-duh4 an 1 vh-au 2 uh-a a

¥ j : ' i · n ID I'm n J J J J J n i t I n ! § . nJij3 ah-au-duh 4 au

n J J J J J n l l 1F in ll,l 'r ing .LLR L R LLR L R LLR L R L R LLR LLR L R L LR L R

LLRLR RRLRL LLRLRLR LLR LLRLR RRLRLLLRLRLR LLRLLR L RL R LLR

LESSON 80

COMBINATION OF THE TWO PREVIOUS COMPOUND STROKES

In the following rhythmic model, the first and second me~sures contain Compound Stroke (A)Lesson 78, p. 56,while the third and fourth measures contain Compound Stroke (B),Lesson 79.

Rhythmic ModelPlay slowly, at first; increase speed gradually. Keep strict.rhythm.

Cuu nt 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

out Ioud . ~~

J~

J In i J J I InJ J d I InJ J a l :2 : 2 I I : J

filll!.,·rii.!K· LLR L R RRL R L LLR L R I-lRL R L



58


Count1 uh - an 2 uh - an uh - an 2 l:h - an

~

j e fi~ J J InJ J d n J J d DF ing er ing .L L R L R RRL R L LLR L R RHL R L

LESSON 81

THE COMPOUND STROKE (C)

This exercise is written in the conventional drum notation. The student should be able to playit in a fairly rapid tempo, carefully observing the accents.


1 an 2 an 1 an 2 an 1 an 2 an 1 an 2 an

COUll t '3 '3 f"""3' r;fI '3 f3 ::;-1 r:f'

?idll: n d J J J n t m J l ! l m m i fli I~ n tm Inmm[1ij:11F inger ing . LLRLRL RRLRLR LLRLRLRLR LLR LLRLRL RRLRLR LLRLRLRLR LT .R

LLR LRL RRLRLR LLRLLRLRL RRL RRLRLR LLRLRL RRLRRLRLR LLR

LESSON 82

THE COMPOUND STROKE (D)

With the exception of the accents, the instructions given in Lesson 81 also apply to this one.

Play slowly, at first; increase speed gradually, Keep strict rhythm.

1 an 2 an 1 an 2 an 1 an 2 an t an 2 an

Count 13 rJI rJ''3 ryt IJI r-;r-I ry-;

~Il!l@nS lammi n i l l n J ? t i : n J # l Iflmmfij::11F i nger iug . LLRLRL RRLRLR LLRLRLRLR LLR LLRLRL RRLRLR LLRLRLRLR LLR

LESSON 83

EXERCISES IN TRIPLETS

A triplet is a group of three equal notes, ordinarily played in the time of one beat. When atriplet is played in the time of two beats, it is commonly known as a "drag" triplet, because it has atendency to drag from one beat to another. Exercises 8,9 and 10,in this lesson, are splendid ex-amples of the "drag" triplet. While practicing these exercises (8, 9 and 10),it is advisable to marktime with the foot by beating four counts to each measure.

A simple way to remember the evenness with which a triplet is tobe executed, is topronouncethe word "evenly," during its rendition. (See Exercise 1, next page.J

A triplet is easily recognized by the figure 3, which is placed either above or below the center

note, as follows: ' , . 4 - , 1 or r r r• • • L 2 . . . J

Each of the following triplet exercises is to be treated as an individual problem. Instead of play-inq-them in a sort of slipshod fashion, it is best to master them one at a time.

l

it

tIt[



5

Exercise IPlay slouily, at first; increase speed gradually, Keep strict rh y th m ,

Cou n t (Jut lo u d , Ob se rt:e fingering.

(The above refers to all exerci seslI'

a nv duh 2 an-duh 3 an-duh 4 an-duh 1 an-duh 2 an-dub 3 anv duh 4 an vduh

3 3 3 3 3 3 3 II 3 I

!IjII:J J J J J J J J J J J J IJ J J J J J J J J J J J lEv- en-ly ev- en -Iy ev- £'n-Iy ev- en-Iy

R L R L R L R L R L R L

ev-en-ly ev-en-Iy e v ve n vIy ev-en-Iy


anvduh 2 anvduh 3 an-duh 4 an-duh 1 an-duh 2 an-duh 3 an-duh 4 an-duh

3 3 3 . ! J 3 3 1 3 1 3 '

!1J

J JJ

J JJ

J JJ

J JI J

J JJ

J JJ

J JJ

J J: 1ev-en-Iy e v v e n v Iy ev-en-Iy ev-en-Iy


ev - en - Iy ev - en - Iy ev - en - Iy ev - en - ly


Exer efse II L 83 cont

1 an-duh 2 a~-duh3 an-duh 4 an-duh 1 2 3 4 1an-duh 2 an-dwt 3an-dub 4 an-dub 1 2 3 4

13"3"31131 '3",'/ 131131

!1i II:mmmmlJ JJ JImmmmlJ J J J ; IRLRLRLRLRLRL R L R L RLRLRLRLRLRL R L R L

Exercise III1 an-duh 2 an-duh 3 4 1an-duh 2 an-duh3 4 1 an-duh2 an-duh3 4 1 an-duh 2 an-dub 3 41 3 !I 3 I I 3 II 3 I I 3 II 3 1 1 3 11 3 I

!1j II:mmJ J ImmJ J ImmJ J ImmJ J : 1RLRLRLR L RLRLRLR L RLRLRLR L RLRLRLR L

Exercise IVan 2 an 1 an 2 an

3 I 3 I3

I3 3

r3 I 3

r 3

t J :!I : J J J J J J J J J J J JIJ J J J J J J J J J J J

R L R L R L R L R L R L R L R L R L R L R L R L

a n 2 an an 2 an

,1 I I ,1 I ,1 I I 3 s I I 3 s I 3

~:J J J J J J J J J J

JJ

IJ J J J J J J J J J J J

: 1 1n L R L R L R L R L R L R L R L R L R L R L R L



60

Exercise V

1 an 2 an 1 all 2 illl 1 an 2 itn ,,1 all 2 itII

I 3113 13 II 3 I I 3 II 3 I I .) I'-I --:-3--'

!1i II:£)mmlJ) mfflliJ mmliJ mIt$uR L RLHLRL R L RLRLRL R L RLHLRL R L RLRLRL

Exercise VI

1 an 2 an-duh 1 an 2 an-dub 1 an 2 an-duh 1 an 2 an-dub

I 3 I I 3 I '3' 3 I

21 I I : n J J J In J J J In J J J IB J J J : 1 1R L RL R L R L R L R L R L R L R L R L

Exercise VII

1 an-dub 2 an 1 an-dub 2 an 1 an-duh 2 an 1 an-duh 2 an

I 3' I 3 I I 3' I 3 '

,:II:J J J .FJ IJ J J £]I J J J .rJ IJ J J £]:11R L R L R L R L R L R LR L R L R L R L

Exercise VIII

RLRLRL RLRLRL RLRLRL R13 II 3' 13113 If 3 II 3 1'--1---'

1 5 # J J F J J I ~ J J F J J I ~ J J F J H I F(r r r r r r\__1 2 3 4 1 2 3 4 1 2 3 4 1- :'dark time with foot.

L 83 cont

L R L R L

3I I

3 I

II

?J J• J

: 1 1r r2 3 4

R L R L RI 3

,

t): f I I : F F FJ Jr

1 2 3 4

Exercise IX

L R L R L RLRI 3 I r -- , - -: - -- -.

I F F ~ # r J I ~ F F123 4 123

L R L R L R L

3 I I3

I

J J I F F FJ J : 1 1r rI

4 1 2 3 4

Exercise X

R L R L R L R L R L R L R L R L R L R LI 3 I ,

3 I I 3,

I 3,

21 I : F ~ ~

F F I F

~ ~

F~

I F

~ ~

F FI~

~ ~

F ?: 1 1

r r r r1 2 3 4 1 2 3 4 1 2 3 4 2 3 4



,

6

READING EXERCISES

The following nineteen exercises are given here mainly for reading purposes. They are to be

played in strict "hand tohand" style.

These exercises contain no involved or "tricky" rhythms, merely straight, simple rhythms.

Itwill be noticed that the counting is only indicated on the first line ofeach exercise; thismethod

of counting, however, applies to all the lines in the exercise. The large encircled numerals, inthe counting system, refer to the measures, and not necessarily to the beats.

r . . ~ . . . ...;:J»( Exercise I .

Count

C Dut loud. 2 3 4 ® 2 3 4 ® 2 3 4

Ij

2 3 4

LINE ~~

t

~ , J J J J ,J J J J J J J: 1 1- 2 : til:

2 - 2 : I I : J ~ ~ l I J J J J I J J J l

I

J J J J : 1 1

3 - ~ : I I : J J l J I J J l J I J J I J I J J l J: 1 1

4 - 2 : I I : J l ~ J I J l J J I J J J J I J J J J: 1 1

I) ? I f : lJ J

J IlJ J J

I IJ J J

I lJ J J

: 1 1

6 ~ ~ : I I : J t J J I J l J 1 I J l J l I J l J l: 1 1

'1 _ 2 : I I : t J l J I l J l J I 1 J l J I l J r J : 1 1

8 !): I I : J J J J 1 l J J J I J l J J I l J J J : 1 1

9 - 2 : I I : J J l J I J l J J I J J l JIJ J J

J : 1 1

10 - 2 : I I : J l J I I J J l J I · l J J J I J J J J: 1 1

11 !l: I I : J J J~ I t J J J

IJ l J J I J l J l: 1



I .

62

-~,..~

Co u n t rr- rrl' /S'\ 17'\out loud. \.1) an 2 a .n 3 an 4 an ,-2) an 2 an 3 an 4 an \.3) an 2 an 3 an 4 an \.4)an 2 an 3 an 4 an

LINE I I I I I I I I I I I I III I I II.~

.1 . : :_i I

2 ?I ) J J J J J I J J J J J J I J J J J J J I J l J I1 1

3 2: I I : J J J J J J I J J J J J J I J J J J J J I l J I J : 1 1

' " _ ~ I I :n J J J In J J J In J J J I J J J J J t : 1 1

6 •~):I I : J n J J I J n J J I J n J J In J J ~ : 1 1

7 2 1 1 : J J J a I J J J a I J J J BJ J J l : 1 1

10 - 2 1 1 : J n J 3 3 J I J J J J J J I J n J J In J J I 1 1 \

~



63

- - -

Count C Dout loud. 1an 2 an 3 an 4 an @an 2 an 3 an 4 an @an 2 an 3 an 4 an @n 2 aD 3 aD 4 an

L~E ?I II:J JJ jaI J n J n IJ B J B I J a J . J : 1 1

2 -fJ1-t- a J I I J B I a IJ I J B i t n J J : 1 1

3 2: II:J £l J J J 3 I J Jj J J J J I J £l n JJ I J nR J : 1 1

4 ~:II:J na,IJn t alJ IJ J J Jll nf3J:1

5 frlll)J J JAJ IJ J J JBJ IJ J J JnJ IJ J J J J J :II

6 . 2 1 1 ) JJ J f3 t IJ J J J I J IR t B J II n J J :1

'1 ? II:£l J J J J J In J J J JJ In J J J J din J n J : 1 1

8~ II:n J n tin J i n In IJ J J J II J n J : 1 1

9 ?II)J J J J nlJ J J J J B IJ J J J J n lJJJJJ J:.

10 ~ II) J J J J I IJ J J J In In I J R II of) J J :.

11 ?II:J nnJ IJ naJ IJ RaJ IJ nnJ:1

12 2 5 1 1 : J JJ n I I J n IJ I J t n J II n n J :1



64

.... --~

\

Exercise IVCountout loud. C D 2 3 4 @ 2 3 4 ® 2 3 4 ® 2 3 4

L~E? t i l : J J J J I J J J J I J J J J I J J J J : 1 1

2 -'): I I : J J - I J I * J I - J J I J J J J : 1 1

3 ~ I I :J ~ t J I t J J t I J J i J I J J J l : 1 1

4 , ')= I I : J n J n I J n J n I J n J n I J n J J : 1 1

5 .2! I I :J n - I J t t n 1 - J n I J n J l : 1 1

6 ~2f : J I I n 1 * f)J * I J JJ IJJ I J J J J I : 1 1

7 ~ 2I) J J J J 1J J J J J J I J J J J J J I ~ J J J J { I I

8 - 2 I I : J J J J - In i , J I - J J I J J J J J , : I I

9 21:n, l J I t DJ t I J J J J , J I J J J J J H I

10 ~ I I : J f)l J I J l D J I t n t n j J n J H I

1 1 f ! j : J R n J I t R n l l n l at I t n J l : 1 1

12 .~ I : B, - I'n- In J J , I , n - : 1



6

. r ~ 1 6 0 ~~~VCoant (!) uh-an-duh2 uh-an-duh3 uh-an-dub4 uh-an-duh®uh-an-duh 2 uh-an-duh3 uh-au-duh4 uh-an-duh

L I ; : , ° ; j i i d i l : J A A JJHI aAJJJJ 1

Wuh-an-duh 2 uh-an-duh 3 uh-an-duh 4 uh-an-dubG)uh-an-duh 2 uh-an-duh3 uh-an-duh4 uh-an-duh

l'b) ~ J 0 0 JJ J J 1 0 J J J J J * : 1

2 t). I I ) J J J J J n I J J J J J J n I J J J J J J J I J J J J J U J J J * : I I

3 ~ I I : J J J J J J J J J J I J J J J J J f f lJ I J J f f lJ . J I@ I J J J J J n J = I

4 ! ' J : I I : J f f lJ J J f f l I J a a J Ianan J J J J J J J j : 1

5 ., I I :n lmn.mJ1 JmJJ n J J j J I J m J J - IJ J a J * : .

6 -J I l : n J J J J J J I J n J J J J J I J J n J U J J I J J J J J J * : 1

7 2 1 1 : J m a J 3 J J ln J J j J J f f ln I J J J J J m J m " J m J J * : 1

8 !t I I :1m

nanI

nnn1mI J J J J J J J a J J I

nad : 1

9 ! ' J : I I : n J J J J n J I IJ J J J J J J I J J J J J J n I J J J J B J · t : 1

10 t): I I ) J J J £ J J * I * J J J J J * IJ J J J J * J J J J I J J J J J J * !I

11 ~ 1 :J3J J * J J J J * 1 * J J J J * J J J J I J J J J J * . D I J J J J I J J * ; 1



66

.~

xerclse VI

Count l.\ R.tId \ . . ! l uh-an-duh2 uh-an-duh3 uh-an-duh 4 nh-an-dub ~uh-an-c!ub 2 ub-an-dub 3 ub-an-dub 4 ub-an-duh

L1;!,'~i1 : 3 jjJ jjJ n J f : J I J !O J Jj J Jj J n I

2 211:fflnWnlfJJ1HJffll'£lL£i1m!JlnrnJ * : 1 1

3 f) : II:mrnJJJJIJJJJmmlfflmn JJlwn JJ J : 1 1

4 ! J : II:rnJJnw iJJ rnm nlm nrnrnlfflnJ ~: 1 1

5 ! J : l I :mnmnl 'nmnmlJ J m f f l lmB J ~ : 1 1

6 ! ' J : II:nmmEJlmnJJmlmmn aJlmJ J~: 1

'1 ?II:a.eaaIJmmaI!II!Jmmnl.manu*:1

8 ~):II:I!saJUiIMJlJJ1S!la.emm l£J SJN

9 ~:II:JRJJHrnlmnJ JpU3fJl8J IJJJJEJJn

10 ' ! J II:JIJan fflln!oS am I.rEam JI!llJjJJ ~1 1

11 ! ' J : 11:JJ5aJJ5.ela!Jj~Jj!IDJIJ,mlmBJ ~:11

12 ?II:m~wt lfJ5mt mit JJJJoFJaJmrnJ i : 1 1



6

Co unt G) an 2 an :'I an 4 an @ar. 2 an 3 an 4 an @ an 2 an 3 an 4 an ® an 2 an 3 an 4 an

L l ; E " i j ; I i l : J J J J J J J J I J J J J J J , J I J J J J , ill I J J , J n ) '1 : 1 1

2 ~ I I :J J ~ J J J , J I "@ J I J J , J J J !J I ; illj,,. * : 1 1

3 ~: II:"illJ m I 'Jmn )y I' m ,m IJ J , J j,,. * :1

-I fr} I I : r n m J n J lfflJEJJ 'J J lm , . . . G J J , J j i £ l h E i J , n " 1

5 v : I I : m n J J , . i J 1m , j,ffi I I . . G d 'E J J , i J lm , ) J ] J : 1 1

6 7): I:fflaffl J i J , . i JIaLlh.r;:J Im S!kJiiJ I 'D!,. jJ:J J • •

'1 7): I I :J J 'I J ~mI J J 'I J ~ W I J i J , J J iJ , J I J J J Jm;n ,.1

8 fr} II:Jffl, J , , . )JJjjIJm d';;31 a im dn.fJ,)I'DEn n )'1

9 fr} 11: ,£;J@ ,) ,)JJ j" rn ') ;@ IJ J h)IEdIRJ Jmn-\a

10 fr} I p i I l ,.fly . b m 1 1 J ! J : h . b y J i : J 1m,)ffl,1 m - n ) '1

11 ~: I I } J ' I J J d J I , J ] , n ) ' I J " J J d i J I J J J J I E n J : .

12 2 1 1 :J J J J ) . , n , i J lm a , ) J I m m J J , J I J t l J J J J ) , * : 1



68

Exercise VIII

This exercise illustrates the gradual development of a Long Roll, when played to a whole

note, in four-four tempo.

A whole note Roll is generally written in this manner:

The three short lines, placed over the note, indicate that thirty-second notes are to be played

to the time-value of the note. (See line D.) Sixteenth notes are indicatd by placing two short lines

- =ver the note, in this manner: " (See line C.JWhen eighth notes are to be played, one short

i J 1 I

line is placed over the note, in this manner: II (See line B.J

The above abbreviations also apply to notes of other value, such as half notes and quarter

notes. In rare cases, sixty-fourth note Rolls are played but this, of course, depends entirely upon

the style and tempo of the composition.

In the following exercise, each line clearly illustrates how a whole note may be divided into

notes of different value. The student is advised to practice these four lines in succession, with-

out a pause, and tomaintain a slow strict tempo throughout. Counting out loud isextremely essential.

In perfecting the Roll, this exercise is of great value.

Count

out loud. 1 an 2 an 3 an 4 an

A 2 : 1J J J J

Fingering. R R L L

1 an 2 an 3 an 4 <In

B ~: ~ ~ ~ ~ ~ ~ ~ ~ 4R R L L R R L L

1 an 2 l!n 3 an 4, an

2: J J J J J J J J J J ~ J J J J J 1•-

R R L L R R L L R R L L R R L L

D ~:

1 an 2 an 3 an 4 an

J J J u ! a 3 J J j J J J J 3 J d J J J 3 3 3 3 J J J J J J 3 3 ~RRLLRRLLRRLLRRLLRRLLRRLLRRLLRRLL



6

LI NE •

1 . :

2 y o I I : J J bJ I J J 'i) J J l=;J I J bJ * : .

3 ~ 1 = I I : J bJ J I J LJ J I J J=J J I J LJ * : 1 1

l!=it) ~ ~ ~ ~

4~ ~

r f

I

4 2 : I I I ~ I : 1=<

<:> .- <

I

II

~ ~ ~ ~ ~ ~ ~ ~5 ! J : I I : J ~ I I I I : 1 1<--=" '" <==>'

,( ~ <

6 ' ) : I I :~.s: I ~. ~ I ~. ~ I t ~ I : 1 1-==--< 2 2

'1 '): I I : ~. ~ J J I 1 4 ~ I e J J J I : 12 J 2~ .....

J ; 7 1 : I I : bA§~

9 ~: I I :

twA:_ J

J J: 1 1

J: 1 1

: 1 1

lll"=,)

! J'> 2

J I : 1 1

: 1 1



70

C(;llnt f S Exercise X(Jut loud. (Dan 2 an 3 an 4 an 2 an 2 au 3 an 4 an 3 11 2 an 3 an 4 an @an 2 an 3 an 4 an

L~E ?iI : J J ,tJ 1 J J 'I tJ I J J , ( c d I j ,iJ l : 1 1

F t f f '

2 ?I : J , tJ J I J , t J J I J ,LJ J I J d , o l d : 1

S '1 :I:' tJ , id I ' ; , J , t J I' t J 'I t J I 'I tJ d i : 1 1

4 _ ' 1 1 ' e'i'iiJ '! I ' e

'1'l

B ' 1 ' 1D 'I 'IB , I ' e'I

J n l~I t- ~

5 21 :1 .:) , {) , ILJkJ IV, ' 1 £ J lId, t L 1 1

6 ?I: '1 j.J {d I J e d ,tJ 1 ' 1 . v Id I ;fd ,LJ : 1

10 ?t d LJ J I)' le d t i d I z - d f I)1 J e d i :1

11 ~~ I I : d £~) I)' L) IJ b.J I) '1 L J : 1 1

12 ?I: J t _ j) t _ A) t _ 1) , Ld i : 1



1I

~

. ~ : : : : - J 3~! 4 = : - = = rU- xercise XI '

COUll t 11\ f7l\ R\ r:t\out loud. ~ an 2 an 3 an 4 an ~ an 2 an 3 an 4 an0n 2 an 3 an 4 an ~ an 2 an 3 an 4 an

LrE'lII,J 3 J 3 JlJ IJ J 3 3 Qd Id 3 3 J n J IJ 3 J t d l :

7

2 2 1 1 : J JJ in did3 3 ind IJ 3 J indIan J l ~

3 - 2 : 1 1 :ann J I 'Q_n n d I Q D n diD fJ d h A l

4 . 7 J 1 1 :anw lanRJ ID_B Q J IQQd t :

~?I:an B J Ian D d Ian B d IB IV ~:

6 2 = II:8R Q d IBn Q d 1 ' 5 1 n QJ I iJ n d t :.

7 ?I:Daan ,8!lan IBQJ1)J In B d t : 1 1

8 'JII:t)an I!~J.,an Ian I~J InQd t~

9 2: I : R_ad {bJ bd IaQJ RAJ., t}.,:

tl 2: II:LQJ""4J!l I~M} ILD_&Jl, I_a B :

12 2 = 1 1 : Qd t' b J l n . f u n J Itn L?qJ tQJ : 1



721 -

~\~Z. Exercise XII

co•• ' r" h\ ii ~ut loud. \l; 2 3 4 ~ 2 3 4 3 2 3 4 4 2 3 4

L r E ? f I I :tJ J J J J J I'tJ J J J 3 d J JUS;) J J J 3 {g

2 ?: J V JJ J3 I J tJ J J J J IJ ld J J J J IJJ J J {;JI 1

8 :?I I :J J V 3 J3 I J J tJ J J J IJ J V J J J I tJ J J J J I]

4 2 : 1 1 :J J J J Q ) 1 1 J l n Q i f f l R I H _ i f f l f t n I J J J J Q J

q

5 -?=I I :JJ !J tJmIJ lJm.aJmIQJWQ-I ' ! f f lD j I1 1

e ~ I I ; J m J l J f f l A J m a J m & a J l D ! J J I t l f f l J i : 9

'1 : ? I I : ( J J J J l J J J J I , f _ J J J J J l j S J J I J 3 J J L J J J U q J J H { J q

8 2 : 1 1 : Q a im J J J J IQ Q J J J J R r Q J J J J t q Q I f f l J q

9 _ : ? I I :t;JJJ J UnL&JJ J J D)J4J J U J QJ I1

10 •?I I :La4 J J J nDfi ILJ J J S il:fR D_J It

1 1 f J ! I I : t J J J J J J J a p b ! J i i J q J J J J J Q J J J J I J J J J J J J J Q J : 1 1

·



173( z_ ,b

...J::- t ' J ~ . i lE.- ..---~ : ; : ; : : ' ; : 0 c» ,.; ~,,"',

~ Exercise XIIICount C Dout loud. 1 2 3 4 @2 3 4 3 2 3 4 G 2 2 3 4

L ~ E ~ I I I : ' t ; n J J J J I l : : J J J J n I f t J J U J 1qJ J J J ru 1:1 1

2 ; 2 : 1 1 :LQJJHlrbJJJJ & Q J J J J J g J J J J O J ':1

3 2 = 1 1 :J J J ~ J J J W Im : l l f l J J J J IU l J J t l J J J 3 p U iJ ; 1 1

4 :~,nliLJ 1 J L,B 1 J ( , ) J J J 1a b J , '1 1

5 : 2 = 1 1 : J lq.J J lq, J J J J J J !q.J J 1_~1 :.

6 : 2 1 1 1 : , 19J , 1 9 < J • J J J J L q . J l t o P '1 : 1 1

'7 ; > : II:J J g,lJa.rlJJ J J J a J ttJ 3 J J W t ~

8 ~ltnJm4.umQIB '1$Dn I J J J J W , :1 1

9 2 : 1 1 :j t J J J J , inlun'I t J J J J 1 R Ui1 9 t J m J : 1 1

1 0 2 : 1 1 : J m ' 1 tM,ttn '1 ttmJlt.~tan I' _ J 't

1 1 0 2 : II:,LJ '1 f4JJ J J '1 truJ J J ID .fq R J J g a '1 lJ :.

12 2 2 1 1 : f _ J J J J Q p J , J , t_JJ3J 1LJ J J J%J J J J , b ' : 1



74

Count M\out loud. 0uh.~n.duh 2 uh-an.duh 3 uh-an-duh 4 uh-an-duh ~uh-an-duh 2 uh-an..duh 3 uh- an.duh 4 uh-au-duh

L1~! ) j }U , JB ~qJ J J n ky J J IJ q JJ i,' JJ J y B t q J J I_-_(I 'K "" ~ _ c _ · _ _, _ ' / - - j !

. .-~ ~ - - -//./ @ uhvan.duh 2 uh-an-duh 3 uh.an.duh 4 Uh-an.du~ uh-an-duh 2 uh- an.duh 3 uh-an.duh 4 uh .an.doh

i~ : q J & t ' : s ; P t . , ? 4 : q J J ;? : ~ :1 1

2 ~: 11: .s , . , I¥ ,[email protected] ~ i :11II .~ _ .! 'r \, ;, X ' ; X . " , i< ,

3 ~ I I :SJW1GGIJiJFI i?JiI.w ?,GG I@ JW:J ~:1 1• y, ~ ._ X I ;( • '., 4 1 < " X' .'l!~,/".. I '

4 2:II:Jm 'J i5ffiIJ J :J Jm J IGO O £lm IJ Jda ~ :1 1· · X 'x. )(~ X . X; ¥.. I 1(

5 ~ 11 :.;?@ Jm ~ 1.rm ~ Jm Jp jj_* ~ ~ J * :11II .....:. _ ~ /' , Y l O ' . . _ , • _ / ~ , x , " , ~ .

T ' / \__ _ -.- _ _ ..' I

6 ~)!II:! .Am 'I.t# l~ ~ lm ;p J !.m 'I.J * :1 1• 7 - • X''?: • ;-' # r : " >:. IX

7 2:II:m vf~ IJ lm y ffi,m J IJ i?Q q J jJn lqm m ,J j:1 It il J< & ,:' If )i' X # X, » :>

8 f):

II:£ l@-O l m fllm~ Ilm J@ ~ ImWm J

IIII ,... II }< I .~., f # X, 'X"

9 ~ II:IJ lW J@ ttq lfJ J ,g J ll m qIJ l lI! J !l'ffll-w m JH• -;:. • /i f 'f ,)( #. . t )< • ;K "'X

10 9: 11 :•• - 2 IfJ J rm ~ IJ i? JW ,m J J Iqm qJ jJ J* :11t )( • :--. , r, f ,)( ," )(. 7 ' - - - . . . . . ~ ,

II ~11:J j '9!~ !@~ .enme 1 , ! ¥ " Jm~ J Jm§ ! J t : 1• • 'f.,,, ~ ~ t t)"-, ! "... •~

I



2 ~ I I : J J J J J . ) 1 J J J J J J IJ J J J J . J ,n J . )I J : 1 1

3 ftll:n J . J ain J . J IB In J . )In I J . J n J : 1

4 '): II:annn, n J3 n n£ 1 n J J J ,£] n J ~ : 1

5 ~} II:£]n Inn IJ . J J J JJJ im n IE n IJ . JB J :1

6 ~:II:nJ . )I£ ]IJ J J J J J I£J 'hJ 1JEUEU,B BJ I : 1 1

'7 ~J=lI :JEUJJ J I'fmJ . J lB IDJ J iaBJ J J J lq J J J J J J J J * : 1

8 ~:II))' '1 J IJJ J J J n IJ rnFJ £]J , J lIJ J ~J ;J J JJl : 1

9 !):II:JJ JJ Jm . , )lrnJ3+:ffl8,J J . ) ln~m EJJ I : 1 1

10 9: II:m + : J l n u m IJ !+ :J lm MIJ !+ :J · J l £ J 5 100m qJ I : 1 1

11 !J I I :JJ~Jn., ) 1 " J@ ?)lJ i]I!W !i?,J ., J I JmBJ I : 1 1

- f "'I

' ; : f 12 ~: 1 1 : . tm r J d ; J IJ ·Janplyffl@ +:m@ l'flil+:ruJ {:1



76

Count

out loud. < D 2 3 4 @ 2 3 4 @ 2 3 4 @ ) 2 3 4

LI~E 2 : I l l l ~ J J I J c : J J J I J J::) J I J J J I ~ I I

2 ?I : 8n J J J J Ian J J J J I J J J a d J J J I J J J J J ~ : 1 1

3 ? I I : J an J 1 ! l D n J J I J LJ J J J I D n J l : 1 1

4 ?I) J J tJ J J J I JJ J u J I J J J .u J J J I J J ;U J l : 1 1

I) ? I I :J s £ J n J I !bE n J I J n.QJ I JJ J t) J : 1 1

6 ?I : J Jd J J J I J J ; ; : ; J J J J I J ruJ J J I J J J Jj l : 1 1



Il

IjI

I

. I

11t

77

Exercise XVII

C0u n t r>. f,\'\ r::;-. n-.out loud. \jJ an 2 an 3 an 4 an \.0;tn 2 an 3 an 4an ~ an 2 an 3 an 4 an ~an 2 an 3an4an

Ll~E ~:!II:J]j£1jIJ I~IJ J IaaIJ J I£JiiljJ l . : 1 1

2 ~:I)ffia£JJ I!m£l5 J 3 J IJ J J ;tfllB J IJ J J itWJ~ :1

3 ~:II:;mJUlJ3J 1~£lJ 1~£lJ I_ J~ :1

~ ~: II:enS£J IJ f f l J 3 JmjJ I~ .,g;:;J I@J3 J * :1

5 ~:II:,mgnJ ly~JJJ lyffl)mnJ 1:j.J~ : 1· * " ' \ » c ,x '\

6 ~ J = I ! ) J J J J JfflJ I J J J r t J Q? l J Im v n w Ig;JJJ t : 1

'1 ~: II :Jj j jnH!JlI.rmJJHWJIJm£innel.m'in J * : .

8 ~: II'am aJ jJ IJ))J'J am IaJj3f f l J ! J 1.rJim J t :1

9 ~ II:M5JljffjjlilSJJiJfflIJ:.ii)mJJJ.j! p r n _ J t : 1 1

10 f r ) : II:!.mDJaJll 1.rmJlJ!WJI.aJ! J j ' J Q f ] J I.muae J t :.

~ 11:.tm)1.lnJ Ina.Q,ffflnl!mam BlymJJ!J t :.

12 O J II:J j J J £QmIm IJQJjJ BI£!1m .rJW!nl.rnDSii : 1



78

xerCisex~evant

out loud. C D 2 3 4

~~ ryti"""T' IJI~ ~~

2 V : II:m rn J J IIE IE J J Iill IE J J 1 rn m J HI

'31 r"T' ~ '3 I3 '3 J'3I

3 2: II) m J m IJ m J rn IJ m J IEIJ m J L i B

r-;ro 1"3' 131 f""3I '3l f"3l r:fI

4~: II:m J m J Iin rnJ Irn J m J im J J I1 1r-:ro rJI ~ ~ rJ"I rJI f""3I ~

5 2 = 1 1 ) mmJ ImJ J illlJ J rnmlmmJ f : 1 1

~ ra--t r:fI ~ r:fI

6 ,2 : II:J J n Ell J J JJ JJ Jm IJ J J no; m IJ ; JJ JJ ; : 1 1

r:f' 1"3' f " " "3 ' r.fI r:fI ra-. r:f' r:fI

7 'V : II:J .p@ IJUJ J;IJ J !J mJ J IJmJ mJ J IJJ J J JmJ ' : 1 1• 1 ¥ ...

)r:fI r-;r-t f3! '31 ~ Is t""JI

8%1') JmJ Jd,J JdJ JmlJ JdJ J ffllJ mJ 1 : 1 1

r:11 ~ rJ r:fI r-:ro '3 '3

921 JmJ J d; IJ JUJ ; J dJ IJmJ JmJ IJmJ Jq

rJI '3 f3 IJI r-y-t

10fJII: J J J J3 3 I; ; J J J3mJ IJ J m J m 3 I; J mJ J :I

'3 r:fI . '3""1 f"""J1 r r= '3 ~ f3

11 t n l : mJ .mJJ J ,m 3 Jm J J I""ru Jm J J IJ ifIlOOJH'- X .. X

'31 r:f' ~ '3 7 ~ f"""31

12 9: II:; -fiE J 00 1m3 J n o 3J IJ o f f l J d Jm 1 '1 m ; Jq



•f

'"3' r:r r:f' r;ro r;r-J '3 '3

2 _~:I I :JJJmJJJmlnJmnJEln;mn£mlnmJ I:.

r.fI r - a - o T r:f' T f3I r-:f' '31 T7

3 ~ 1 1 : £ m J J ! J J mlDlJJ!n D!IJDJEnm,JEnJ l:1

r:f' ~ ~ '3"' r-:fI '3 f " " " " 3 l '"3'

4 _~ II)m n n J m lJER n £J !IJmJJ iil JE IJmJJ !J i:117 ~ '3 r-:r '3 r:f' f""3'

5 ~iq}mnmJnJjjJnm Jn1 m 3 n. J i l I ' J m IJJ ( : 1 1

r:f' 7 r-.r r:f' ~ r--a- ' r:fI

6 7 1 : 1 1 : ! i lJm nJm In mJ n §I'IlJm n Jm In m : l J 1 : 1

r-:f' r:fI '3 r:r r:r ry o f""3l rJ"1 r-:rt '91'3' r;r ra r rr:'1 '11:JE.r.m!DJEISJ:m.mJJID IJELlmJJ!3IJEmJJ l:1

ry-l '3 ~ r;r '3 '31 r.f1 f " " 3 1 r;r r-a' '3 '3ry-. 7

8~: II:W 3 mJJm£mIJJJJl3JJloC!j.mJoE.D!J]jI.mJ£lJ 1 : 1

'3f""31 r:f' '31 ryt ry1.. rr 71 r:f1 r.fJ '3T r.r t " " " J '

9 2: II:D llJmJJ !l.mJ lmmJaJmI£ !l.mJamJ IJJ !J ! JJ i : 1

r - - - y - o Ta' '3' r;jI r.r r-:fI '3' '3' T31 ~I '3 r:r

10 f ) : I I : m J Jm .mJ a IJm m§Jm ljjJ J EJ jjJ JmIJm Jm J I:.

'3 r;r '3 r"'3' ~ '3 l'"3I

112: II:mn mJ i31#!n mJR IfmnmJ n I'J~n J {;I

T r - - - - : f ' ~ rr: 7 ~ ryr

12~: II:JjjJ~JJllnm 3 n J m n 1m n J mJJ I Jm IJJ 1 : 1 1



80

_ f ~ l~V'~~

Exercise XX ;

f""'31 r:fI fT1 r;r~ fJI r-:fI '3"l ~ f"3I '3 f"T1

: < . ?11:ImJmJ J l.r:mmJ IlJ Ill'fmmmml'!EmJ 1:11

f"31 r -a -' r -a -' f3 " I r - a o r-:r r:r ~ r - a - o 131 f"31 '3

a?II: JJ llJmJ J In il;mmmlm3J!8mm lmJ J llJ 1:11

ryt~ '3'~ ~

4 211:JJ J J J J lrnmJ J J J lmmnn 1mB d 1:0

~ 7 r-a--' ra 7 r:f' 7 r:f' r.f' ryo T ry

5 'J II:JJ m .rm lmmJmmlwmHJmlmJmJ 1:11

r;r r:fl r:f' f3r-a' f""3 ' '3f3I r:f' '3 r:fI ~

6 ~H)J JmJmIJ l lmJWJmlmJl lJUJ.mJ 1J ll.m3d 1:11

rJl f3 f3 '31 ~

7 _~II :oDJn J IBm£J£El In mn ffilnm J Hf""8' t ' J " " 1 r:fl7 '3~ f3r;r rJ1 r -y r ~ ~

s?ll)md JJ!JImmmmlmmJJ!JllIIm£EJJl:Ilr:fI r - - a - o r:i' r-:r r:fI ~ r:f' r--a'.r;r 13' r--:f' r:fI

9 ?11:m: lJJm J IJJ llIJ J .mJmIJmJ Il;mHiJ IJmmJ ':11

~ r--:1l '3"l I"""JI r--:rt

10 ~II:J oDd£J Im nffiBiron mBlmn Jq

~ 7 1"3' '3'3 '3~ '3'3 r:fI '3 '3

11 2:II:JJEJJllil1wmmJm,J l l JJ !JJ300 lff iJmJ H

~ '3 '31~ '3rr: 77 '"3' rr: ~ f3I

12 tn:J Jmd mJ IJ llJmmm ,J llJmmJ !J lffiJm J q



8

ExerciseiiJ')Count f1\out loud. ~an2an3 an 4 an ®an a an 4 an @an2 an 3an4an

.' 1 3 .'1.'1 / 1 3 3

U ; E 2! II: J §;Jm IJ J Jjjj Jm IJ J Jm Jm IJ m J J ~ :

/1.J 3 3 / 1 9 3

2 211:JJJJJm Jm IJJJJJjjJ JS J I J J J JJj! jJ Jjjj IJ J JjjJ J~:

33 33 33 9

3 211:naJmJmIJiJJi !Jm.mJIJiJaJiIJJmI.JmJ~:11

3 3 3 9 3 9 3

"I ! f f ' II:nmJ mlf!31 UflmJ •• IJj!mJ.5 In.mil J~:

/J 9 3 9 3 a 3

8 2 II:JUlofJ !BmJ IJDJJ !J l!E IJmmJJ !itJ J !I.5 J~:1

33 33 a 3 93

9 211:•• IJ !.mJI.J !jJmJ J lJ I.JmJ :F!mJIJEJ jjJ J ~:1

33 33 33 3

10 211:mJm •• I£l!J!J.JJ!I£l!Jj jJ"IJDJEJ~:11

3 33 3 3 9 9

11 ! t11:.mJEmlam.ml.amJEmlJJ!mJ':11



82

EXPLANATORY REMARKS CONCERNING EXERCISES EMPLOYING RUDIMENTS

The following ten exercises include all of the rudiments that are necessary in military drum-

ming. The student is advised against attempting to practice any of these exercises, until he has first

mastered all of the previous rudiments in this book.

As the rudiments employed in these exercises are not marked with any signs of identification,

the student must be able to recognize them at sight, whenever he encounters them; and he should

play them exactly as he has learned them. He will find this excellent practice in sight reading,

which will offset any difficulties he might have later on, in the event he is called upon to play

military drum parts.

Each line of these exercises should be treated as an individual problem. In fact, a good system

to follow is to take one exercise at a time and play each line repeatedly, in a moderate tempo, until

it is committed to memory; then play the entire exercise of ten lines from memory.

As a rule, the notation for military drum parts isslightly different from those of orchestra drum

parts. In military music, it has always been the custom not to abbreviate the rudiments, especiallythe Stroke Rolls. In the latter, every stroke is written (usually in small notes) as played. (See exam-

ples given below.) However, it is a comparatively simple matter to learn to read either notation.

Militarynotation.

Abbreviatednotation.

Military

notation.

Abbreviatednotation.

Militarynotation.

A bb rev iatednotation.

Excerpt from

"THE THREE CAMPS"

ls_t Camp. &s 8 11 ~5 EiiI 5 11

j ·, r r r I' r r r r

Ietc.

·L-...:' I-...:' r

Excerpt from

"THE BREAKFAST CALL"

7 5

Excerpt from

"THE DINNER CALL"

7 - - J:II c::I - I!!!II 9.I. . . .

r - I r

< ( ' t e .

~ -_

. . . . . . . . . . . . - . . . ..• . .l' r if'

, .



8

EXERCISES EMPLOYING RUDIMENTS

I i : : : { c : ; 2- Exercise I

Count ® a\out loud. C D 2 3 4 2 2 3 4 ® 2 3 4 ~ 2 3 4

Ll~E ~f I I : ! ' J ~ J j t J tJ I ~ J j J J " J j t J I j t J j t J p J t > J I j t J j t J t > J , ! I I



84



85

bPA~~

r . ; t : ( b f J - - ) 44-t?

Count f7\out loud. C D 2 3 4 @ 2 3 4 ® 2 3 4 ~ 2 3 4

L1~E ~')] I I : D J J J J IJ nJ J J 1 J J nJ J InJ nJ " J *: 1 1

,

t



86

Co u nt

out loud. G) an 2 an 3 an 4 an ®an 2 an 3an4an ®an 2 an 3 an 4 an @an 2 an 3an4an



· '

r ~, s- I t ~ /L .... ~

r-EXel"cise v )Count ~~out loud. C D 2 3 4 ® 2 3 4 @ 2 3 4 @ 2 3 4

L~'E?t I I } J , = o J Jl iJqJ ~ J tiJ funw

q iJ l_j q

r:i"l f31 r:f1 r:f1 131 131 '31

5 ~: I I : ~ ill:JJJ t J ] I N J p J ] l \ . O J ~ I p - J ) A C N J J J \ D J I w - . \W J t : 9

r-:f"1 '3 r:fI r:f1 ~ 131

6 t J : I I : ! W J W J P i D N J J 1 N J J 4 I J J N J J i l l IN j A W w F J J J Iw p J J N 3 N g

r:f"l ryl r:fl r:f1 r.fI

'1 p : : 11:;JJNJNJJ~w:J J l J ' I N J A r h J J J ~ l t@ f J ] N I ; 1

rJl '3l rat fa1 'a' f3' ~ . f31 f31 r.f1 131

8 ~ I : : J j J J J m !W r J ] I N J J J J m J lJ J J lN J J I ~ . J :m I ~ t J J m th t

r:fI 131 r-J1

9 ~Jj N J ~ J r J ] p J J N J 1 ; ] I ) J J I J n J J t J j j \ j J A i J J N J h J J 1 { Jrt

rJl I.fI fJl t.fI

10 ~: I I :till .tIN i& .a J j · m futffi ! ~EJ11~J)d I1



88

r ~ 104 -~

Exercise VI

Count C D f,;\ a-.out loud. 1j 2 3 4 5 6 _ 4 5 6 ~ 2 3 4 5 6 ~ 2 3 4 5 6

LI~E h ~ ~~~ ~ ~ ~ ~ ~.EE ~~. ~~ ~1 '): 1 1 : · - · - I - · - p C - J - I J - .r ., ., : 1 1

9 ~: I I : N J J j J J J J IN , 3 j J J 'J J I j J _ J J J j J J J J Ij J J 'f J J 'J : 1



8

6 ~ I I : J . J j t J J j j I J . 0 J ~ J j j I J . 0 J J . 0 J I t J J J J . J l 'I !~

9 9 9 9

8~ II: ) I ~ ) Q J . n O J n J . n O J InJlt)bJ · n O J n ) 'l ! l :1 1

7 7 7 7

9~): I I : ~JtJ t t J J J ~ J j j I~ J tJ t J J J J JHJ 'I : g

10 ?: I I I tJ J J 'f

n I p J J J 'In I tJ J j 'J f3 I ' J n;llJ , : 1



90

3456023456

13

¥

l·-==-"p J J J J ~ J ¥ : 1 1

5 5 5 5 5 7

2 ~; I I : t J . . . . . . .. . . . . .tJ ¥ I t q ; J i ltJ i 1 9 ; J J J ~ ~ i f ; p J ¥ : , - , J > ¥ !j :I I

3 3 3 3

6 ~ I I : n J ' _ n l J " " I ! ' ! ! I I I I ! t J j ~ JJ nm J I n J J J J J nJiJi I n J n J J J J n J J jmJ I n J J J J J J , : 1 1

8 ':11: J e e J I J J V J 4J V O J Ie J ~ £1J , : 1 1

9 ~ I I : n J 'l n J , I J i l J J J J , I l l J J J 'ln1 '1m I E 'I : 1 1



I ~ / 2 - ( ;._..... .r-----..._

•... ,- r ~

.Exercise IX



{~IOO'"

-···.- .•'M.~~....~

'-'-"'''~,

Exercise X ;

92

3 3 3

8 ! J : I I : J . n S J I t t l n J J J J I > 4 t I~f3p J J J J I y: I ~ m pm 1 1 ' JI : 1 1



9

BUDDY RICH IN AC'nON

Buddy Rich

using the after beat.

After all of the rudiments and exercises in Uusbook have been thoroughly learned, the studentmay then practice them by holding the stickstimpani fashion, as shown above.



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inJ ~ J l ; t B J

iIB

J ~ J : 1 1

r R LRL R LRL R L H LRL R LRL R LL RLR L RLR L R L RLR L RLH L R

l>:: -l c - ,

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DIES

'3' la' '3' ra'

2. 2 1 1 1 :t J J J J t I J J J J i J I ~ J J J J i 1m J ~ J : 1RLRLRL RLRLRL RLRLRL RLRLRLL RLRL R LRLR L R L RLRL R LRLRL R

3. t l l l l : t J J J J J g lJ J J J J J J I i J J J J J i IJJ3J J 2 J : I IR LRLRL R LRLRL R L R LRLRL R LRLRL R LL RLRLR L RLRLR L R L RLRLR L RLRLR L R

~f I H P JJ J g n I d J J J J J J J I ~ J J J J i J J 1 2 J J J J d J / I IRLRRLRLL RLRRLRLL RLRRLRLL RLRRLRLLLRLLRLRR LRLLRLRR LRLLRLRR LRLLRLRR

5. tF l I I : d J lJ J J d J 1 4 J J J l 3 d 3 t 2 ) d J J 3 J 3 1 4 J 3 3 2 J 4 3 : 1 1

RLRLRRLR LRLLRLRL RLRLRRLR LRLLRLRLLRLRLLRL RLRRLRLR LRLRLLRL RLRRLRLR

6. ~ I I I : In d JJ J J I J J n d J 2 3 1 4 B d JJ 0 1 J lJ J 4 J 2 3 : .RLRLRRLR LRLLRLRL RLRL RRLR LRLLRLRL

LRLRLLRL RLRRLRLR LRLRLLRL RLRRLRLR

7. ? I I : J J J a i J J a ~ J J J 2 J J J Ii a 2 J J J 2 J i J a J 4 J 2 J : 1 1

RLRRLRLLRLRRLRLL RLRLRRLRLRLLRLRLLRLLRLRRLRLLRLRR LRLRLLRLRLRRLRLR

8.~~~~~~~RLRRLRLLRLRRLRLL RLRLRRLRLRLLRLRLL R L L R L R R L R L L R L R R L R L RI L L R L R L R R ~ R L R

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, , O J

5 J . ! f 1 1 1 : t J J J J J I l J J J J D I B J i J I l J J J t J J J i f iI V RLRRL R LRLLR LR LLR L R LRLLRLRRl~ L R L L R L R L R R L R L R R L R L R L R R L R L L

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12. ?III:i J J t I:J d J J J I d J J d I:J l J J J :l> U R L L R L L R L R R L R R L R R L R L

~. L L R L L R L R L R L L R L L R L RS 3. ~ R R L R R L R L R L R R L R R L R L

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. ~ ? ~ I ~ I I : ~ . d ~ J ~ J ~ J ~ i ~ J ~ J ~ J ~ J ~ 2 ~ J ~ J I ~ d ~ J ~

' V I 1ll. 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 LRLR L RLRL RLRR L RLRL R LRLR LRLLL RLRL R LRLR LRLL R LRLR L RLRL RLRR

'3 i r' 3 113 113 I 13 11// II.~ 113 I

15. ! f f I I : i J J J J J l J J J J J I i l J J J J J i J J J J J :

RLRLRLRLRLRL RLRLRLRLRLRLLRLRLRLRLRLR LRLRLRLRLRLR

13 II 3 11311 tJ 1: /1 11 3 II.~ 11 3 I

16. _ 2 1 I: g J J J J J l J J J J J I i l J J J J J l J J J J J :HLRLRRLRLRLL RLRLRRLRLRLL



I.

96

I a 113 113 113 "3 " 3 " 3 113 ,

17. 7 1 f I I ) J J J J J J J J d J J I J J J J J J J J J J J J : 1 1RLRLRRLRLRL L RL RLRRLRLRLL

13 13 113 1'3 1'3 1'3 r 3 113 I

IS. , f I I : J J J J J J l J J J J J I J J J J J J d J J J J J : 1 1R L R L R R L R L R L L R L R L R R L R L R L RL R L R L L R L R L R R L R L R L L R L R L R L

I3 I I 3 I I 3 I 3 I I .1 I I .1 I,3 I s I

9: f I I : J J J i J J r J J d J J , J J J i J J J J J i J J19.~

: 1 1R L R L R R L R L R L L R L R L R R L R L R L R

L R L R L L R L R L R R L R L R L L R L R L R L

13 13113 11// 113 113 13 II 3 I

20. 2;! I I : d J J d J J 3 J J J J J fi J d J J 2 J J J J J : I IRLLRLLRLLRLR LRRLRRLRRLRL

I 3 I I 3 I 3 I I 3 I 3 I I 3 I 3 I :J

21. t ? 1 1 1 : d

I J J J J J J

dJ J J

IiJ J J J J r ~

lJ J J

" • : · 1 1R L R L R L R L R L R L R L R L R L R L R L R LL R L R L R L R L R L R L R L R L R L R L R L R

'3 3 1'3 II 3 1'3 113 II 3 113 I

22. 'III: J J J J J ~ J J J J J J IJ J J J J J l J J d J J : I IRLRLRLRLRLRL RLRLRLRLRLRLLRLRLRLRLRLR LRLRLRLRL RLR

I 3 1.1 I 3 I I .1 I f 3 I I 3 I I 3 I 3

23. !}t i l : i J J J J d J J J 4 J J I J J 4 J J J i J J l . . . . . . . .- - . J : 1 1RLRLRLRLRLRL RLRLRLRLRLRLLRLRLRLRLRLR LRLRLHLRLRLH

J 3 1 I 3 I I 3 1 I.~ f 3 I I .1 t I :J I I i/ I

24. 9:1 I I : i J J d J J J d J J J J I ~ J J d J J J d 3 J J J : 1 1HLRLRLRLRLRL RLRLRLRLRLRLLRL RLRLRLRLR LRLRLRLRL RLR



97

I 3 I I 3 I I 3 I I 3' I 3 I I 9 I I 9 'I 9 I

25.. ~ IH I J J J J ~ J J i J J I iP J J J g J J l J J J : .RLRLRLRLRLRL RLRLRLRLRLRLLRLRLRLRLRLR LRLRLRLRLRLR

19 119 1'9 119 119 119 113 113 ,

26. ~ II : d J J d J J J l J J J J It J J J J d J J 4 J J J :IRLRLRL RLRLRL RLRLRLRLRLRLLRLRLR LRLRLR LRLRLRLRLRLR

I 3,I 3

I 3 I I 3,

9 I I 9 I

27. 21 I I :

iJ J J J J J i J J I J J J J d J J J J J

: 1 1

R L R L R L R L R L R L R L R L R L R LL R L R L R L R L R L R L R L R L R L R

r-:i'r-:i' r:i"--y-l I 9 I r:fl r-:i' I 9 ,r--:Jlf9

28.~f If:gJmJJ lp3mJ ffllmJJ J I mmmm : 1RLRLRLR L RLRLRLR LRL RLRL R L RLRLRLRLRLRLL R L R L RL R L R L R L R L R L R L RL R L R L R L R L R L R L RL R

I 9 I I 9 I I 9 I I 9 I

29. ,. ill: J J J ) a o j ) I J J J ) t )1J J J j i )1 J J J ) ~ j:.

RLRLR L RLRLR L RLRLR L RLRLR LLRLRL R LRLRL R LRLRL R LRLRL R

30. t):f I I :JJ. iJ J J J IJ J J J J a J IJ J JJ J i JI.in J J a J IIRLRLRL R LRLRLR L RLRLRL R LRLRLR L

3I 3

81. :2:1 I I : J J J 1 7 1 J J J 2 I J J J § J J iI lR L R L R L L R L R L R L R L L R LL R L R L R R L R L R L R L R R L R

I 9,

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82.21 I I : JJ J

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IJ J J

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98 .. , ~ , , - -:~:'-;.:;~-:.;:_~~~~:.:.:.

.:::_,' . I 3 I , 3 I , 3 I I 3· I r 3 I

3 3 , 0 ' I I I :m o Q J J J 2 Im .q J J 3 d l m q m a @ l m n J J J ~ : 1l : : ' RLRLRLLRL RLRLRLLRL RLRLRLRLRL RLRLRLLRL

LRLRLRRLR LRLRLRRLR LRLRLRLRLR LRLRLRRLR_

3

34. 21 I I : l· !J J J J l J J Ii J 4 J J l J J: 1 1

R L R L R L R L L R L R L R L R RL R L R L R L R R L R L R L R L L

I 3 I

35.

21I I :

t9 J J J J

4

J J 1 4 J J J

dJ J J J

dJ 3

: 1 1R L R L R L R L L RL RRLR L L R L R RL R L R L R L R R L R L L RL RRL R L L

,3 r I 3 I

36. t f f I I : i J J i t J J d 3 I J i t J 3 i J J J J J : 1R L R L R R L R L R L L R L R L R LL R L R L L R L R L R R L R L R L R

3'7. 21 I I : d J J 2 J J l J I J i J J i J J J J J J J : 1 1l.R L R L R R L R L R L L R L R R L R L L2.L R L R L L R L R L .R R L R L L R L R R3.R L R L R R L R L R L L R L R L R L R L.4. L R L R L L R L R L R R L R L R L R L R

3S., ~ II:i J J J i J J J J J d 3 d J d 3 1 4 J J 3 d J J J J J g J i l J 4 J : 1 1RLRRLRLLRLRLRLRL RLRRLRLLRLRLRLRLLRLLRLRRLRLRLRLR LRLLRLRRLRLRLRLR

,. 3 r r 3 I

39. ~ II:J J J i J J i J J J J J J 3 Ii J 3 3 i J J J J d J J ,II IRLRLRLRLRLRLRL RLRRLRLLRLR R

I iL R L R L R L R L R L R L R L R L L R L R R L R L L ;'

ilI'

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99

. I 3 I I 8 I

1 40. 22 I I : d J J J Q n d J J J , J d J J J J J J J J • •\ R L R R L R L L R L RR L R L L R L R L R L

L R L L R L R R L RL L R L R R L R L R L R

• 41. '2 I I : d J J J .F] ,)i J J J lEi !j )1 i J J J .r3. : 1 1

R L R R L R L R L R R L R L R L R R L RL R L L R L R L R L L R L R L R L L R L

I9

42. 21 I I :

dJ

2J J

iJ J

I

J

dJ J J .

2

J J J : 1R L R L R L R R L R L L R L R L RL R L R L R L L R L R R L R L R L

R L R R L RL RL L R L

L RL R R L RRLRLL RL

L R L R R L R L LR L R L L R L R R

44. ~ f 1 1 : / n J J , o S J ~ n I d J d J J d n , J i J J d ~ 'IR LRL R LRL R LR LRLRLRLL RLRRLL RLR L RLR L RL RLRLRLRR LRLLR

I 9 I ~ '3 I r-:i"I '3'1'31rJ1r:iIr:fI

45. ~ 1 1 1 : d mJ d ImJ d ffijiWm m m ,m m t ~ 1R LRLR L RLRL R LRL RLRLRLRLRLRL RLRLRLRL RLRL R LRLR L RLR LRLRLRLRLRLR LRLRLRL

46. "1 I I : d J J J J J dR L R L L R LL R L R R L R

R L R R L R L R L LL R L L R L R L RR

t J : i J J J : t i J J J J l J J IiJ J J i J J J t f : 1R L R R L R L L R L R R L R L L R L R R L

L R L L R L R R L R L L R L R R L R L L R

<-.



100

MUSICAL TERMS

Accelerando - accelerating, growing faster.

Adagio - slow, leisurely.

Ad libitum (ad Iib.) - atwill, at pleasure.

Affettuoso - with emotion.

Agitato - agitated.Allargando - growing broader.

Allegretto - moderately fast; slower thanallegro.

Allegro - brisk, lively.

Amoroso - amorous, loving.

Andante - moderately slow.

Andantino - slower than andante.

Animato - animated.

Assai - very; used to intensify a tempo mark,as allegro assai - very fast.

Ben - well; as ben marcato - well marked.

Brillante - brilliant.

Brio, con - with fire.

Cantabile - in a singing style.

D.C.(da cspo)> from the beginning.

D.C. alCoda - from the beginning to the coda.

Dolce - sweet.

D.S. (dal segno) - from the sign ~D.S. al fine - from the sign ( ~) to the word

Fine.

Energico - energetic.

Espressione, con - with expression.

Espressivo - expressive.

Fine -end.

Forza, con - with force.

Furioso - furious, passionate.

Grandioso - grand, pompous.Grave - grave, heavy.

Grazioso - graceful.

Gusto, con - with taste.

Larghetto - rather broad, slightly faster thanlargo.

Largo -large, broad.

Lento - slow.

L'istesso tempo - the same time.

Ma - but; as allegro, ma non troppo - fast, butnot too much so.

Maestoso - majestic.

Marcato - marked.

Meno mosso - less speed.

Mesto - melancholy.

Moderato - moderate; at a moderate pace.Molto - much; as molto allegro - very fast.

Morendo - dying away. growing softer andsofter.

Moto, con - with motion.

Non troppo - not too much.

Pesante - heavy, ponderous.

Piacere, a - same as ad lib.

Piu mosso - more speed.

Poco -little; poco a poco -little by little.Pomposo - pompous, dignified.

Prestissimo - very quick.

Presto - quick.

Quasi - as if, like.

Rallentando (tell.) - gradually slackening thepace.

Ritardando (rit.) - retarding.

Ritenuto - holding back.

Scherzando - in a playful style.

Segue - follows.

Semplice - simple, plain.

Sempre - always; as sempre staccato.

Smorzando - fading away.

Sostenuto - sustained.

Spirito, con - with spirit.

Stringendo - hurrying.

Subito - suddenly.

Tempo - time; a tempo - return to the originaltempo.

Tenerezza, con - with tenderness.

Tenuto - held; a note so marked should begiven its full time-value.

Vivace - vivacious, lively.

Vigoroso - vigorous.

Volti - turnover; voltisubito(V.S.J - turnoverquickly.

Documents

Buddy Rich's Modern Interpretation of Snare Drum Rudiments