INTRODUCTION The MINI MONSTER BOOK OF ROCK DRUMMING contains hundreds of exercises to develop the basic drum techniques necessary to cope with various forms of rock music. There are two main sections — the first half deals with two, three, and four-way coordination, while the second half focuses on various approaches to playing rock breaks. Many of the pages that deal with coordination have exercises notated with a steady eighth-note rock cymbal rhythm. 4 After mastering the exercises as written you can gain even greater coordination by replaying them with a straight quarter-note cymbal rhythm as well as a cymbal rhythm with continual upbeat eighth-notes. a oo bbb) i i 4 In order to keep the pages uncluttered and as easy to read as possible a hi-hat part has not always been notated. After mastering the exercises as written I suggest you replay them and incorporate the hi-hat in each of the following four basic ways: & 42 itt tA Peete td NOTE: This edition has been revised and greatly expanded with new material — it is now almost double the size of the original edition. TABLE OF CONTENTS Pages ‘One Measure Rock Beats with 1/4 and 1/8 Note Patterns in the Bass (Snare on Two and Four) — 1-2 Two Measure Combinations .. 3 1/8 Note Variations for Snare Drum .. 4 1/16 Note Variations for Snare Drum 5-7 1/16 Note Patterns for Bass Drum .. 8-11 1/16 Note Patterns for Snare and Bass 12-15 1/16 Note Triplet Patterns for Snare Drum ..... 16 - 18 32" Note Drag Patterns for Snare ... 19 Variations for The Rock Beat With Single Paradiddles . 20-23 Three against Two for Rock Drumming 24-26 Three against Four for Rock Drumming 27-28 1/16 Note Cymbal Beat with One Hand (For Slow Tempos) 29-31 1/16 Note Hi-Hat Beat —— Alternating Hands (For Medium Tempos) 32. Shuffle Rock Beats 33 Rock Beats in 3/4, 5/4 an 34-37 Rock with a 6/8 or 12/8 Feel . 38-41 Rock Coordination Phrased In “Eighth” Time .. 42-45 Coordination Between Hi-Hat And Bass 46 Four-way Coordination ........ a7 Hi-Hat Splashes .. 48-57 Rock Breaks .. sane 58-81 ©Copyright 1981, by Joel RothmanONE-MEASURE ROCK BEATS (The Snare on Two and Four) Seas po oe. © Copyright 1981, by Joel Rothman ipoe. an a ann. t+ -onon. ppt orn oye ti -popop, SOP -popon. tor ooo, ott poAon. otto e pl Aan. TotsTWO-MEASURE COMBINATIONS ee fA ‘ og Pt eo ot -oOmpon opoy eo PO AO GAG ye Pot et tt pO OA OA rot ot ot POA OA pp ee pop op oA A _ Pee ono ono tg OAR CAO ae ar ot ot —O pop apn Sa Ae ee Sn ne Oop oO to1/8 NOTE VARIATIONS FOR SNARE DRUM ea aaa" POA oOo, pBAoao, tt rt et POP AA, 2 ples A. Tr OE PAGO es pA IE a =1/16 NOTE VARIATIONS FOR SNARE DRUM (Bass Drum Part Omitted) EG Gy ye POLY pROOAy =» pom, (DADO y » pom, py » pO MOM, pA Ty oe POLLO1/16 NOTE VARIATIONS FOR SNARE DRUM (Bass Drum Part Included) oe i 7 Siete jee 4 oor TS OMA» ~-O oO. el Fee Se Bat ar LAA Ga | ym 4 JOT 4 od aor Om, = ;oym, TP “ ae tel ¢ tt 4 Mo Geea joe qe f of 5 ee a a a “a e. I rot1/16 NOTE PATTERNS FOR BASS DRUN - IN 2/4 TIME (Snare Drum Played on the Count of Two) pt Dg mt FD Fg om $I mt SF ick Age Ae E qeyp tg np ep Se ae lh eee es1/16 NOTE PATTERNS FOR BASS DRUN - IN 4/4 TIME (Snare Drum Played on the Count of Two and Four) j~Opoo, = ~poos bot eT ST E ge pS A. rH = fp Sp IT, OOo ee poo. myo se =i SOOO, e oOo upon,» ,;pAoA po Lo, ge POR oS. Seo Fee POW Oey es Peas. oot © PoP oR, ppAoe, TT Jos 7 oy oe ae) foo ey OA Sa FSSA= errr poeoAy s pees reas eepoe eA ew Sele. Se = eee ot eg ge pe Cros . crs 7 poet Bay we po Cr tor Fa Te pe peer Fee SOOO ee poo Er a = Baro Cymbal Cymbal1/16 NOTE PATTERNS FOR BOTH SNARE AND BASS (IN 2/4 TIME) 7 Re, oF crt ff. ore - 8, 12, pon, or = = ek a gg gaz £33 5 ets Efe os 858 352 Ge os bGS re goats ofl, er f a pee or Cai ef TH SE Soanapaey Goan eee ee ea at ahahas stabsFea Snare 3. ih 3 ort : Saf = pry Gym. ass I: oe cys Snare ass op FL al ree ¢ jy Lae pg on cote cys ‘Snare ff ce =} a m 1 cys Snare ass rr 13 3] "Eh SH5e o5e i > | iT Lie i) med j bi | Bass ass i Ly J yon : Eo — aes NS LJ p1/16 NOTE PATTERNS FOR BOTH SNARE AND BASS (IN 4/4 TIME) (eo LA ee POU, r rors CO Toe r rot - “oti poe ay ey PSE. or eer] Ty ts “= “Cre CSF RT, 2 ATS LAL ; POA ee BO Tot Foe PR, = BERS pow Ay ee poe Toor pow se E ae me teh etee —_ more Rea POA ey PO ES, too FE RS oa Ape po Besos at © Fees Snare Pee se ry 2 Jd pon cep ae Fe Cymbal = om Ebay Cymbal ey poe1/16 NOTE TRIPLET PATTERNS FOR SNARE DRUM Precede each exercise with 1 bars of an ad-lib rock rhythm. ee er ee =isLA ot hae et Pret a 5 tei, = pS ee1/16 NOTE TRIPLET PATTERNS FOR SNARE AND BASSPARTS OF 1/16 NOTE TRIPLETS BETWEEN THE SNARE AND BASS 3 3 33 3 33 i. 3 Cymbolg cymbal FE “|p Snore Snare [fz 7 7 pe ara EE area a a 3 3 3 3 3 3 3 i iy TL, SE eee et 3 3 J g * 3 a 3 “oe ier Bass 33 3 eee a a oe > 2 cymbal 9 Snare HW bas32"° NOTE DRAG PATTERNS FOR SNARE ‘As Written As Played Le Ru We As Written As Played 1 +4 14a Ie RU R el om = r =e 7 ae tor =eVARIATIONS FOR THE ROCK BEAT WITH SINGLE PARADIDDLES A single paradiddle consists of two alternating strokes and a double stroke — the para is the alternating strokes, and the didle is the double stroke. SAY IT AS YOU PLAY IT Pa ra di ddle Pa ra di ddle RLRR L REL THERE ARE FOUR BASIC SINGLE PARADIDDLES. PARADIDDLE A PARADIDDLE B DIDDLES AT THE END DIDDLES AT THE START PARADIDDLE C PARADIDDLE D DIDDLES IN THE MIDDLE CONNECTING DIDDLES {In order to bring some variation to playing basic rock time you can simply divide the single paradiddles between the cymbal and snare. Play the right hand part of the paradiddles on the cymbal, and the left hand part on the snare. Ad-lib Rock Time PARADIDDLE (AJR RR CRE L RLERR ERLE 1 il zz : ; TST "S rr en PARADIDDLE (B)R_R LR LE RL RALR LLAL NAA A Ze Z sl} rot F cr pes s PARADIDDLE(C)RL LR LRR LE REER ER RE nA rots 3 iyi i] of oT 7 tor ot ttVARIATIONS WITH COMBINATIONS OF SINGLE PARADDIDLES Ad-lib Rock Time ate SWAN nukes ie Cans pi (A So, b 0 rr a ae A + c RUERR LRLL RLLRLRRE IN} N B + RRULRLLERE RERRERIL i 7 Fy : SOT ort Dp i i H a ySPLITTING SINGLE PARADIDDLES BETWEEN THE SNARE AND BASS IN COORDINATION WITH BASIC ROCK TIME Important: The right-hand part now represents the bass drum, while the left-hand part is played on the snare. Note: On previous pages the snare part was beamed together with the cymbal. In order for you to see the single paradiddles more clearly the snare partis now beamed together with the bass PARADIDDLE A PARADIDDLE B : qo E tort & E 4] iti veubonad manana raianiooute a em 1 os 4 ao The following exercises show how you can incorporate the splitting of single paradiddies between the snare and bass while you're keeping basic rock time. Ad-lib Rock Time Paradiddle Variations L] ct = JF rt UB Fu Ee RU UR Fo WE nt E I aCOMBINING THE FOUR FORMS OF THE SINGLE PARADIDDLE BETWEEN THE SNARE AND BASS IN COORDINATION WITH BASIC ROCK TIME Ad-lib Rock Time Paradiddle Variations | SS ee Tt poe oe a a, ro a ae eae 2 oS eee po SSS oa Se SS ee———a COORDINATING THREE AGAINST TWO FOR ROCK DRUMMING The following examples demonstrate how to play eighth triplets (three notes to a beat) between the bass drum and snare, while simultaneously playing the rock cymbal rhythm as regular eighth notes (two notes to a beat). As Written cymbal Bass or Snare The exact positioning of the eighth-note triplet rhythm in relation to the cymbal beat in the example above can be made clearer if you relate it to parts of a sixteenth triplet. 1/8 TRIPLETS WRITTEN AS 1/16 TRIPLETS As Played, As Counted e2 Ih J ep J ! r ' Cif iti 1 wey Vana Lt] : oS Note that each eighth triplet is worth the value of two sixteenth triplets, so it should now be perfectly clear, from examples two and three, where precisely the eighth triplet falls in relation to the regular straight eighth notes in the cymbal part. ‘As Written. = ‘As Counted and Played ten Ban {cymbal “TI Bass or Snare The following exercises will develop the skill to apply this concept of three against two for practical use within the framework of slow fo moderate tempo rock music. 24PRACTICAL APPLICATION OF THREE AGAINST TWO of an ad-lib rock beat before each exercise. Play one measure © A FOUR CUR Ht 4 oe Catt Ctr tH CH OH CUE GR Cae GH Gas Gis Gr CAE 7 fs &§ tL, fe fl ae abe ee A ee et he [B cis te c/s tS ie |p ct AR 8 § RO ORTHE “INSIDE” THREE AGAINST TWO You have seen how downbeat eighth-note triplets can be coordinated against a straight eight-note rock cymbal rhythm (three against two), and how the eighth triplet can be thought of as the 1% 3°, and 5” of six sixteenth-note triplets. As Written = As Played ex:t Phe AD cymeat TL snare Boss As Written . By simply playing the 2”, 4", and 6" of six sixteenth-note triplets you wind up with what | choose to refer to as the "inside" three. ee2 eae os SPLITTING THE “INSIDE” THREE BETWEEN } THE SNARE AND BASS Precede each exercise with 1% bars of a slow advlib rock beat. ome 3 of dd) ee t ¥ “TI ‘toss IF fe ass — Cymbal Ff ‘Snare Bass eymoa te a ad yma 32 qe Eston dl ek Bass 26THREE AGAINST FOUR The concept of two different rhythms being played simultaneously within a rock framework can be further extended to playing three against four. Instead of eighth triplets the three in this case is a quarter triplet (three notes over two beats) being played between the snare and bass, while the “four’'is fwo groups of straight eighth notes played on the cymbal As Written. cymbal Bass or Snare The exact positioning of the quarter triplet rhythm in relation to the cymbal beat in Example 1 is made clearer by relating it to eighth or sixteenth triplets as in the following examples 1/4 TRIPLETS WRITTEN AS 1/8 TRIPLETS As Played = or As Counted Note that each quarter triplet is worth the value of two eighth triplets. Another way of showing the position of the 1/4 note triplet is as follows 1/4 TRIPLETS IN RELATION TO 1/16 TRIPLETS Each quarter triplet is worth the value of four sixteenth triplets The next group of exercises will develop facility for applying three against four (slow to moderate tempos) in rock music. 7PRACTICAL APPLICATION OF THREE AGAINST FOUR Play one measure of an ad-lib rock beat before each exercise eos —— 2b aa eee pee Og es PSL, Tit ret TWO AGAINST THREE COMBINED WITH THREE AGAINST FOUR | Sel Oe teas ee ee E t fst oS ss alas KOT a a Th * esas tr ft ee ee ee cae * Sree er1/16 NOTE CYMBAL BEAT WITH ONE HAND (For Slow Tempos) pee eee poe ee l Cymbal Aerrreeer’ I Cymbal [ee tr a peg SSE ese 2 = FB om en Th, yma [ee FE i] Sree IE ef Seare IE 7 ag , Hees FE CJ tr r + tf neantann Repay xc execs wit th folowingeymbal tyohm. aad foto d 29VARIATIONS ON THE 1/16" NOTE ROCK CYMBAL RHYTHM Cymbal it Snare + Bass op WITH ONE HAND ‘Cymbal By ‘Share cymbal & Snare ] Bass om Cymbal = cymbal Snare Bass Bass . YT f ‘Snare I eT . s seep oom Jd FEEL Snare FI] Seare I 7 cymbal cymoal sare [] Snare [! Bose Bass Snare Boss Cymbal 20 f TF cymbat 3 ‘Snare + yl Bass tHe Sometimes tempos are not quite slow enough to comfortably play continual sixteenth-notes with one hand These next two pages address the problem by demonstrating just some of the possibilities for playing a sixteenth-note cymbal beat with one hand by dropping off some of the sixteenth-notes. This will give your hand a slight break while still maintaining the overall feel of a sixteenth-note cymbal rhythm. A suggested bass drum Part is included, but after playing the exercises as written play your bass in any manner you feel is appropriate and comfortable. Be sure to precede each exercise with two beats of a slow ad-lib rock beat For example ) / 7 30VARIATIONS CONTINUED1/16 NOTE HI-HAT BEAT - ALTERNATING HANDS (For Medium Tempos) i wee PEE FEEL ne i To — woe IEE ay : 5 ° poy tt poe te (a i FO = roe : vem © wm * od FRED a . al] swe [E . il] see [E : 4 F rte pores wie TE FEE gn pe a, - Hts Fp 8 Bass a Atnin ne ts 1 1s ee Ea ie Fes ES ser YES ro a] see L. : 7 mont mune ws » ot ste ater mare ee f a d] 22° IE si pie 7 au tnuae aetnunar one Le i r sw ESO hunneacn nein ins ewes = 2. E oa a > Note: The last five beats are not with alternating hands, Bass f f ‘on the large ride cymbal rather than the hi-hat. 32 tos They have a strong Latin flavor, and should be playedJad SHUFFLE ROCK BEATS Lipsy pi, ep a pana, r f i —— Toe GHplii fl, Liplalfl, pill pl, Ee eo or rere ero ep ey ore poled Hiflplifiblfilehi fll fl, er ree er ee ep er pel pl fl gll 1 fll 1 fy ree errr rer HP li Phil Li Lr fl, Ee ee er oe eye pol GL 2 PPL pNP ei, TT Perr “Tr : fap} el s [4 p E f UMD gS f aa f 4 HE a IMPORTANT: Replay exercises 1 ~ 15 with a straight quarter-note cymbal beat (1 2 + » ). 33ROCK BEATS IN 3/4 TIME (WITH JUST 1/8 NOTES) ott ; eae on a 2 oe Af. “ty “od Coe ADO 18, TT cymbat a1 Rt treeROCK BEATS IN 3/4 TIME WITH 1/16 NOTES IN THE SNARE AND BASSA TASTE OF ROCK IN 5/4 TIME fee Sd T tT Tt pf FT TP. pT Aan. AAA, zl TT r hh eee = mmomn, tot co tT ost cymbal pot is r f YS Ie Note: Exercises 13-18 are for faster tempos —— the snare part is played with the left hand 36A TASTE OF ROCK IN GAD poapf, TOOT OT ——— ll 7/4 TIME rl LLG OBA ALG. er pancueeee reat Fe HOA4A AL, =. "tT Feo vee ror cr co! pon TT aa aa eS tT ES r 1 a Note: Exercises 11-16 are for faster tempos.ROCK WITH A 6/8 or 12/8 FEEL BASIC CYMBAL PATTERNS1/16 NOTE PATTERNS FOR SNARE DRUM Cymbal Sr bal Cymbal Snare fff:1/16 NOTE PATTERNS FOR BASS DRUM | coors = 2 crn Lid tg dl od rs - Sy 4 4 Pt “ pe TL, amt cynoa & peel Ss: pis ; IT) JT gm 3 4 es Pd SE A SE pd FT yo oe PTL, oe Posto a Sven dd ‘Genta a cae q oz IE. _ i see IE. Crna am Saba 2 IT) PT cymes 2 eyr 2 Fp aici VE Fa Cymbal cymbal 27+ Ege Pa? ; Ser dE = 7 Soare FE 401/16 NOTE PATTERNS BETWEEN THE SNARE AND BASS Cymbal 3 Snare Snare ff 7 cot Bas ty a Cymbal Cymbal Snare rare an pt = wie) Cymbal Srare I, — = i ee Cymbal rae or ty cymbat 18: Spare ee aoe Cymbal ‘Snare =ROCK COORDINATION PHRASED IN “EIGHTH” TIME WHILE THE BASIC BEAT REMAINS IN 4/4 TIME The following pages show how to bring some variation to the basic rock beat by constructing one-bar phrases of coordinated rhythm uncommon to 4/4 time. One bar of 4/4 time contains the equivalent of four quarter-notes or eight eighth notes, with the quarter-note representing one beat Since the phrasing of the coordination will be in eighth time, however, the time signature will be changed from 4/4 to 8/8 time for one bar. This will establish the eighth-note rather than the quarter note as the basic beat, and should make the coordinated phrases in eighth time easier to see, read. and understand. (Notice the two bars look exactly alike and are played the same changed.) only the count is Cout:1 + 2 + 3 + 4 + 12 34 5 6 78 ex: 4] all] cymbat A TI Snare In the next two examples | have simply regrouped the eighth-notes in the second bar and changed the count according to the grouping. Count:t_+ 2 4 3 + 4 4 2 F to? 39 ta ex2 4]. all] cymbat if TI snare Cout:t_+ 2 + 3 + 4 + 1.203 12 3.4 5 ee 4f. cymbal r TI Snare In Example 2 you can see there are two possible groups of 3/8 and one group of 2/8 that fit within ‘one bar of 8/8 (4/4) time. Or, in Example 3 you can see there is one group of 3/8 and one group of 5/8 that fit within one bar of 8/8 (4/4) time. Important: Be certain you understand that the groups of three eighth-notes are NOT played as triplets. They are played as straight eighth-notes, exactly the way they are played in 4/4 time — only the count changes, giving the feel of a 3/8 phrase. ‘The following pages show three bars of a coordinated rock beat in 4/4 time, followed by a one-bar variation in 8/8 time where the coordination is phrased 2/8, 3/8, or 5/8. The same phrasing concept is employed in the next section with rock breaks 42ROCK COORDINATION PHRASED 3/8, 3/8, 2/8 Ad-lib Rock Time Count: + 2 + 3 + 4 + count: 1 23 1 2 3 1 2 fr 5 TI) ger pr i: a 2 Cymbal % Ki ae soae Tht + Cymbal or ot I Zz x FA yooe hoe Pere ute aoe EG — aa cee ea % Z oT fjstee Ct ae Z Zz FTL perm TS a ‘| LE tT = e that the cymbal beat remains as steady eighth-notes throughout. The coordination en the snare and bass is what brings out the variation in phrasing. 43ROCK COORDINATION PHRASED 3/8, 2/8, 3/8 Ad-lib Rock Time joe on Sa, rot tt ; ap np ee TO L tT joo on, 7S, tT Tf or a ti 5 ao, or ROCK COORDINATION PHRASED 2/8, 3/8, 3/8 ek lib Rock Time jo np : GF m | te pp eT | pee sey Tey ot a0 gol Th ih 1 ttt pF ies Op Fe x a A J J ir i ! | rt tt torROCK COORDINATION PHRASED 3/8, 5/8 pe ere ck Tires Sar ocean ot on : joe i a J ri oT Br —$ noo a Se (ee ,~ooo a ae pp Sor ROCK COORDINATION PHRASED 5/8, 3/8 HHA Gore or tot r Tr All : x ea + ! ‘a Lp oy Ly ot in a a oar re ee ee conn we BE tcCOORDINATION BETWEEN HI-HAT AND BASS rn to ashes.” Please limb. On this page you will lea jelopment of hi-hi si ese exer drum, th a fully indeper ck beat in 4/4 time Pro r oo not been developed as Until now the left foot has cs @ hi J] it «1 Fi 1 1 cee | fl of cr of cr oot 4 al dor I Ae tf Hf # Stet i a cto oT o_O cr [ oO ; Fe rH _ a al] ff Fl ttetty Hf i tli 1 fo oO aro = Hi Hat; Bottom Line = Bass Drum rE [— if | a if: «J 1 fo or ur “J ) 7 to tt ora cori ore cep corer HE I: TI Gor ae I: tf = Et Ee oo cee Note: Top Line = Ride Cymbal; Middle Line td Ly oti wb a Er oo drs TO : ot + co oo Ei L tit Gory poe “to auag t 46FOUR-WAY COORDINATION BETWEEN THE RIDE CYMBAL, SNARE, HI-HAT AND BASS DRUM IMPORTANT: In each exercise there is one note in parenthesis. First play the exercise with all the notes, then replay it leaving out the note in parenthesis. Note: Top Line = Ride Cymbal, 2” Line = Snare, 3° Line = Hi-hat, Bottom Line = Bass Drum. fe ; : OG UB [ Ea i + ast Ch EF ap fo eb ma a a th oH E: ne EY ag HE 10 Eb ue ] ef dl a [, i bd ie ps ee Ee | le a oT H hi i i a T I + I: -—-| FF Et re * | ed Na [ Le An Eh a ia i, Fs Bo Bo an 3 ee The above exercises are appropriate for double bass by substituting a second bass drum in place of the hi-hat part. For an in-depth study of this topic | suggest my book, FOUR WAY INDEPENDENCE FOR ROCK DRUMMING. i 47HI-HAT SPLASHES Hi-hat splashes are commonly used when playing a basic disco feel with a steady eighth-note cymbal rhythm close close close close to teted eer In the example above the drummer opens the hi-hat on the upbeats and closes it on the downbeats creating a splash effect for the duration of the eighth-note. (Note: The 0 above a note indicates when to open the hi-hat cymbals in order to achieve the splash effect. Keep the hi-hat cymbals closed on all notes without an o sign.) Play your bass drum on all downbeats. | suggest you first play the hi-hat part alone in order to develop the ability to get a good “splash ‘sound. Once that has been achieved, incorporate the snare on two and four as notated. As you play try singing the sound ‘ti’ when you strike a closed hi-hat, and “tss" when you “splash” the ‘cymbals. Doing this is especially good if you're not practicing at an actual set — it gives you a sense of the sound and brings a more musical feel to your practicing. I've indicated these sounds in just the first three exercises. SPLASHES ON UPBEAT EIGHTH NOTES Sieg tiyow tow ow SS woo oo vu out 4h Ooh qe LOL gn OT, Snare ‘Snare pono, pao, ,- Ton, Tom y 48SPLASHES ON DOWNBEATS 1/8 NOTES pTTLTD gon CTT yon LOE g Snare pUeTAy ,~pTATAy pT, poy ,-Toon, ,WAo, pooh, ~FaoRy poo, SPLASHES ON COMBINATIONS OF UPBEAT AND DOWNBEAT 1/8 NOTES TTA y -TNYy po ponGhy -oRoRy jay PUPA, , TAT, ,TAo y py poo, pooh y pony ,oNTy -IOo,DOWNBEAT 1/4 NOTE SPLASHES COMBINED WITH UPBEAT AND DOWNBEAT 1/8 NOTE SPLASHES th) OOD gj DAT geil ANG Poa, pl nahy planny jpldoh, jLabh, plala,y polo, pon, poalan, I: Al ofpy I: Aj Ag rl po Of y ponl oy poolpa, pool py UPBEAT 1/4 NOTE SPLASHES COMBINED WITH DOWNBEAT AND UPBEAT 1/8 NOTE SPLASHES sped jaa deh DDT D gene 4 LIN, pail, qian, pwd y poy y pid dy 50BASS DRUM VARIATIONS WITH THE HI-HAT OPENED ON THE UPBEAT OF TWO (IN 2/4 TIME) pO gee pe Oe ie iE eS Se a A ee ete ne re BASS DRUM VARIATIONS WITH THE HI-HAT OPENED ON THE UPBEAT OF ONE oe. Ay wife une eo p eo Ay a ok = ee OP es ao Da ee Beet Peel Py Eases RSDBASS DRUM VARIATIONS WITH THE HI-HAT OPENED ON THE UPBEATS OF ONE AND TWO iF Fad Ss tS i Pi kt oD et Heal ear Pet atl ett rl BASS DRUM VARIATIONS WITH THE HI-HAT PLAYED ONLY ON THE UPBEATS i aa Flint as i ty etal la tt chines tech let bet ite a ne paUPBEAT 1/8 NOTE SPLASHES INTEGRATED WITH SNARE DRUM VARIATIONS porno Ay jE Ag ym 4 I ;mcnm cn, nian, pmo, mommy, js TAM ia i I: (mM Chm Ay I: ; CAL A, Tommy oO mo oA, poi © Ty pomino, po TA TA, ;Omeo, I po 1 Al Ay roo, po TA OR, " 2 2 2 2 Try to accent the snare on two and four, and play all o ther snare paola ch, th less force, as “ghost” notes.SPLASHES ON THE UPBEAT OF ONE INTEGRATED WITH VARIATIONS FOR SNARE AND BASS ELL ae aD, Bs 1" ee AAs re ae A § (GR a he pe pe bd bape EaP i pana ka H ‘ 2 :| SPLASHES ON THE UPBEAT OF TWO INTEGRATED WITH VARIATIONS FOR SNARE AND BASS PPP mg ia MBCA Ge. POO Ro gE rag +0 AL pochs pea. iain $i ea # PA fo co S is 4 4 ay ayy = 3 “ah Ley v 4 betel tlt ERTSPLASHES WITH A 1/16 NOTE HI-HAT RHYTHM Played With One Hand For Slow Tempos RRARR RRRR ge og pT oe pT Too Po tO TS “ py p tot oo , tos ‘Snare BassRLRL RLRL Hi 2) snare Ba SPLASHES WITH 1/16 NOTE HI-HAT RHYTHM With Alternating Hands For Medium Tempos a roe ww *_td oe r Hi-Hat HiHat Snare Snare Bass BassROCK BREAKS ROCK BREAKS WITH 1/16 NOTES Play one measure of an ad lib rock beat before each exercise. (OOO Py ee pO OAR = RLRLERL me RLALR FOP FRAY = j po Ay ee: LO oLRERE pL LoLRLR pO AAA LRLR RLR oan ;o I Gore’ : POCA Ay x i 1 RUERL LALA RLRL LALA 19. a Cymbal : a i RLRL RLR RLAL ALA R RLALALA RLARLAL 2. 2 PIR Ay F “Snare RURLA RLARLR RLRL RURLRLALALALALRE For the next two pages play your bass drum in any manner you feel is appropriate and comfortable. 581/16 NOTE ROCK BREAKS WITH TIES Play one measure of an ad lib rock beat before each exercise. : jp OL RY oe 4 RU URL bore : : pool Ay oe pO AR , poo ee pp OL. i a “| Snare ~~ ‘I . ae LO LRURLRE LC URLRLR Ly on OL RLRLR LReL RLURLR LR 2 — "| ‘Snare 5 SS . RL LR LR1/16 NOTE ROCK BREAKS FEATURING THE LEFT HAND Play one-bar of ad-lib rock rhythm before each exercise. Cymbal jp LTO RLLL Snare cymbat nao py Pf) JT pee. Lt bees : = t Snare cymbal Snare cymbal Snare cymbal eel LR jo OTA LRULLERECRE LERLLEL Snare cymbat Snare cymbat Share Cymbal Snare cymbal eed cpr LURERLEREL Snare cymbal Snare cymbal PateatertietcRreie Snare FT Ay RLUERLERELRLERLER Play the bass drum together with the right hand part in most of the breaks on this page 60ROCK BREAKS WITH FLAMS Play one measure of an ad lib rock beat before each exercise, 1 sl} cymbal a3 ‘Snare RLRL TRLRERL RULL pL O_O cymbel aa a yma Cymbal |. : Snare o RLALARLRL RLRL RLRL HARTA oy pT Y ROLRL RLR LAL RELA LAL 7 3 3 . 18. 3 3 — 5 ‘Snare e ~~ ~ “I 1 3. 3 wm 3 3g 3 pO spay ee i RLORL AL RULR LURE RL RLRL REL CRE LER ELE 61ROCK BREAKS WITH 1/16 NOTE TRIPLETS NAF t v7. ss f RURLRERERE RE RRLRRURRLR RE LRERURL RRURRLR cymbat ‘Snare cymbat ‘Snare cymbal Snare cymbal Snare Cymbat ‘Snare Cymbat ‘Snare cymbat ‘snare cymbal ‘Snare cymbal Snare cymbal Snare 62 10. 12. 3 RLRL RLERLRLR LRL pos 16. TF A nalantaal RURURLRLREROCK BREAKS WITH 1/16 NOTES AWD 1/16 TRIPLETS Precede each bar with one bar of ad lib rock time. pO FL Ae Ty 3 “a 3 2 e\fovooaif |. *T] seare IF J U LRURRL UL RRL POLO per} A _ RURURRE care ni 4 3 . | Jevmoaif |. | TH Sore fF m= RLRL L RRL RLERULRLERRL 1. pl 3. 12. 3 Oe RURRLRL 17 . 3 i 3 |. _{Jcymbaif}. rr I] Soare [TF ze LO RURRURRERL Ro LC RRERRERL ~ > = > > 33 18. i 3 20. = 7 cymbal] |. , r snare ff : Rite Cire Cree Reeere CL RRLR LU LRRL 63ea ROCK BREAKS WITH HANDS TOGETHER AND BASS KICKS Play one measur | ire of an ad-lib rock beat before each exercise Cymbal ‘Snare cymbal poe ee Ty pe ee oT pa. ‘Snare Bass Cymbal ‘Snare Bass omon, r tT = Jd Seal ss : pod Ty Cys ta cymbal - | & 3 perp * I] Cymbal ‘Snare (oma, it rT _ Bass Tt Cymbal Snate Bass po Sr to Replay each exercise and flam the notes that are written for both hands together. 64ROCK BREAKS WITH ALTERNATING HANDS AND BASS KICKS Precede each exercise with one-bar of ad-lib rock rhythm. cymbat 7 |. Snare [fe TReRtRER Bass TRt tr ; cymoat_ fi . | Snare TRERT GRC Bae cymbat ‘snare Bass cymoar_ fh Snare Bass 1 cymbal Snare Bass Cymbat Snare Bass cymbal 1 Snare Bass cymbal f Snare Bass r cymbal Snare Bass 65ROCK BREAKS WITH 1/16 NOTE TRIPLETS AND BASS KICKS (FOR SLOWER TEMPOS) Precede each exercise with one-bar of ad-lib rock rhythm. bo 3 : = fe: : ymbal » A J z AN Sore Y _ Pott r af) TRERT DY I Bass y tRp tre Li3 3 + ii a ip cymbor - tH Snare y Tre ptRt Bass ne Wan = oe TT _ 5 . i .Precede each exercise with one-bar of ad-lib rock rhythm, cymbal Snare Bass cymbal Snare Bass cymbal Snare Bass cymbal Snare Bass An in-depth presentation of this topic can be found in my books, THE TURTLE FACTOR, and THE COMPLEAT ROCK DRUMMER. 67ONE-BAR ROCK BREAKS WITH SINGLE PARADIDDLES FOUR BASIC SINGLE PARADIDDLES Play one bar of an ad-lib rock beat before each one-bar break. . PARADIDDLE B (DIDDLES AT THE START) PARADIDDLE A (DIDDLES AT THE END) ” PARADIDDLE C (DIDDLES IN THE MIDDLE) 4 PARADIDDLE D (CONNECTING DIDDLES) COMBINATIONS OF BASIC SINGLE PARADIDDLES + B A + Soeebrethreciccelt . RURRURCGRRUERE ERY | RURRURTGUREERER RY 7 B + A z B + c RRLRLUERGURLRRLRLLG | RRERLERURLERERRY c + A c + B Sel be ee COMBINATIONS OF PARTS OF THE BASIC SINGLE PARADIDDLES 14 Lay a AY RERRUERRUERERRERRG I He ee : | LA Try spliting the paradiddles between the drums by playing the right hand part on any tom tom, and the left hand part on the snare Important: | suggest you sing “ba’ as you play the right hand part. This will bring a more musical feel to the one-bar Play your bass in any way you feel is comfortable and appropriateONE-BAR ROCK BREAKS WITH SINGLE PARADIDDLES SPLIT BETWEEN THE SNARE AND BASS FOUR BASIC SINGLE PARADIDDLES Play one bar of an ad-lib rock beat before each one-bar break PARADIDDLE A PARADIDDLE B , ice Hf yon ; il Jd i i= | Note: The right hand part of the paradiddle is played with both hands together on the cymbal and snare, while the left hand part is played with the bass foot PARADIDDLE C PARADIDDLE D te Ie oe RLLRERRL RLRLLRLR COMBINATIONS OF THE 4 BASIC /PARADIDDLES TEST AT I RITE, 3 COMBINATIONS OF PARTS OF THE 4 PARADIDDLES Pe aay = Sap, pap SR Ay os pp aa, 69BREAKS WITH 5 STROKE ROLLS (OPEN DOUBLE STROKES) Precede each exercise with one bar of ad-lib rock rhythm. 1 2 3 { “Al. al RL Tree lll RE URL RE URURURL RL RL rl - 8 9. i Ht. ne Rtacrie Rill RURLRO URL panoR RURL aid CRLR | RL CRURLRERL wetter RURLRE URL v7 1s A. All 4 Rtrecrer ll PURER RE RL Rtae cRiRe Note: All the above breaks either started or ended on the count of one (the downbeat) or “an” (the upbeat). The remaining breaks feature what | choose to refer to as “ or end on the counts of “E” and “D". TRURC URL side” fives —— they either start 3 URURURERE RUERERERL CLG Gig GAG CRERURERL 70 RURLRL RLBREAKS WITH 7 & 5 STROKE ROLLS (OPEN DOUBLE STROKES) Precede each exercise with one bar of ad-lib rock rhythm. PLD pai [SO Oe LT Ane CRURERURL AR = i i CRER OATH x ; ; a ? s + 12, lI. URoRr Ree Ul 5 Tan tk aARA4 RUR L Hf TRERERL LLL aa PRERM ERE ORR ERERERERL! , | ’ fy ore i (erste 07 7 TER | 7, - = 28. fF — 7 RUERL Ree PERU CRERE r TReirt il RURERT URL F 9 > 3 1h RURLSPLITTING THE DOUBLE-STROKE IN ROCK BREAKS When double-strokes are used in rock breaks, and divided between the snare and small tom tom, most drummers will play either four strokes or two strokes on each drum. (Four Strokes On A Drum) (Two Strokes On A Drum) 1 bis bis RRECRRUL 2 ‘Small Tom Tom | Snare RRLURRLL The double itself, however, is rarely split. You do this by playing the first of the double strokes on the small tom tom, while the second stroke is played on the snare. (Splitting The Right Hand Double) _ (Splitting The Left Hand Double) (Splitting Both The Right Hand And Left Hand Double) 12 Bk = fie RRUL The next two exercises show the double stroke split between the large tom tom and snare. This is more difficult because the distance from the large (floor) tom tom to the snare is greater than the distance between the small (bass) tom tom and the snare. Note: Only the right hand double-stroke can be split between the floor tom tom and snare ——it's not possible to do with the left hand. Snare Large Tom Tom ‘Small Tom Tom | RRLLRRLL At first glance Exercises 3 - 7 look deceptively easy, but try playing them from behind a drum set, ata speed that can be used in a rock break, and you soon discover just how difficult it is. First practice the exercises as written, then try playing them as one-bar rock breaks by playing one bar of an ad-lib rock beat before each exercise. Obviously, they can be used in longer solos, as welll as in the jazz idiom. Once you're able to split the double strokes between the snare and tom toms during actual performance you join an elite club of relatively few drummers who have achieved this skill 2py RLRLAL j-OO_ SOLO hy RLLRL RRURL RRLAL pO am amy RLRLR RLALR RLRLALALALAL RL LRLAL LAL URL RLALRL RURLARLALR 19, 5s a a Cymbal ‘Snare Cymbal ‘Snare Cymbal ‘Snare Cymbal ‘Snace Cymbal ‘Snare Cymbal ‘Snare Cymbal ‘Snare (Cymbal ‘Snare Cymbal ‘Snare Cymbal ‘Snare 73 ROCK BREAKS WITH A 6/8 or 12/8 FEEL RLLALL RL URAL 8 r mtetidetd | 10 RLLR RL LR 4 2 F RULALLALLALL 1 F RULARLRLLARL ws LRURLLRAL 5 RRLAL A ALAL LRLAL RROCK BREAKS WITH 3 STROKE RUFFS (32"° NOTES) As Written As Played As Written As Played |TV | FTE Play one-bar of ad-lib rock time before each exercise. cymbal J. . Snare [fF 5 CRUERUERR RL Cymbat Snare cymbat Snare IRE RRL jo FR A ee Lo So AA. RRL R IRL RLRL RLRIRL 1 12. . al) cymoat ||. A “snare IF RLRIRLALRIRL RLRIRLALR cymoat ‘Snare RLR aR RR RL | TATA oo ff RIRL RIRL IRL RIRL Although not indicated, play your bass in any way you feel is appropriate and comfortable. 74,ROCK BREAKS WITH THREE-STROKE RUFFS AND BASS Precede each exercise with one-bar of ad-lib rock rhythm 1 th cymbal ‘Snare —e cymbal ‘Snare Bass No ies KICKS ie t iy sym A | a = 1 cymbal be a | ——— 4 ga itt 1 Jd i, e,é 4 | | Pap apar oes IP 5 Meat par 5ROCK BREAKS WITH 4 STROKE RUFFS As Written As Played As Written As Played 3 | Frm.571 1 | An Fm | 3 RLR L RLRLRL Rt RL RLRERE Play one-bar of slow ad-lib rock time before each exercise pe hy oe oa PLAT. OE Ay RURL cymbal Snare : oo OC Cymbat Share nari, cymbal Snare Cymbal Snare cymbat ‘Snare cymbal Share 18. elf cymoar UL. A Snare | RURLR LRUERLRE RURLRLRL RLRL Play your bass in any way you feel is appropriate and comfortable. 76ROCK BREAKS WITH FOUR-STROKE RUFFS AND BASS KICKS Precede each exercise with one-bar of ad-lib slow rock rhythm. ie Lit Z 34 ate je fi, Sy sos TF ERP PEE PBs iP Oe . ste fo Aas je i iS 4 p Bass 4 Bp TRLR BARE 3 cymbal = snare fle Bass + Ru P ALY 3 cymbal Snare , Bass ¥ ® R RiRt 5 a3 > 33 i. » ce 5 st Snare z 1 TRER URL TE Bass 4 URER URLR ERL : > 1s Cymeat Ie p Peel Sate os Piaf es , 3 2 x 1 ] ‘Cymbal a] Share 4 RRL Gircrk Brin Bass, Al sticking is optional. If you feel more comfortable changing the sticking, by all means do so. 7ONE-MEASURE ROCK BREAKS PHRASED 3/8, 3/8, 2/8 ‘Ad-lib Rock Time ou 45678 cont: + 2+ 3+ 4+ 1 Count:4_2 3 2 fA 12 -TEEREEPEREEEPERED| Sea te| ph aay st a 4 RURL RRL RRULR — RRLEL AR ILR (9 stroke open rolls) 33 33 | 3 t 3> > 3 >> RURURL > a> t 3 ais| zi ue CRRERL LRRLRE velONE-MEASURE ROCK BREAKS PHRASED 3/8, 2/8, 3/8 Ad-lib Rock Time Cut:1 23 4 5 67 8 Break com:1 + 2+ 3 + 4+ 1S Be ee Se 2g iii {iJ TA , > : > 1+ 2434 1424142434 , PBS Ay. TIA WT at v vet car ve ,op np ted MZ at 8 : let ie A) A) A 4 { a . RRURRER RRUER RRERRER | POD oe SEE ONE-MEASURE ROCK BREAKS PHRASED 2/8, 3/8, 3/8 Ad-lib Rock Time count:1 23 4 5 67 8 2a eee Cost + 2+ 442+ 3414+ 243+ Poo Aw $2 EDL) 4)» Ra ee (ORE ae TE $HOA SA tp GAGAd-lib Rock Time nt: 1234 ONE-MEASURE ROCK BREAKS PHRASED 3/8, 5/8 56748 Count: + 2 + 3 i+ 2+ 34 46 POA Ay (OAD A 4.4 jOFL0 D4 .4. FH (DOD. .ghn a4 ONE MEASURE ROCK BREAKS PHRASED 5/8, 3/8 Ad-lib Rock Time Count:1_+ 2+ 3+ 44 Count: + 2+ 3+ 4+ 5+ 1+ 2+ 3 tt 2 23456 78 DE nt Ay I RUERCRERERERERURE OAD A 4.4 Fe PRESB) oy EE, yt ih LAO TTA SyROCK BREAKS WITH 1/16 QUINTUPLETS (SLOW TO MODERATE TEMPOS) Ptey one-bar of ab rock rhythm before each exercise 1 2. ef . cymbat : : a Snare TREK | Rtn URERE § s 4 ‘ s . AJ cymoa: I: 4 r L R RUERRL aa RUERLRLER ut t RRURE ReR CRG TRERCRER CRERRUERERE RURRURL RRL I ® 7 te 3 : Tn | RUA RCR UE CRERCERCRE RRUCRR UC CRRECRLERRE ROCK BREAKS DOUBLING 1/16 QUINTUPLETS (10's) (SLOW TO MODERATE TEMPOS) f 10. . al] cymbat = ‘snare Thar tL RR CL RURUCRURRELRRLL | 3 ig 10. a & Z Z Z Cathe | ROCK BREAKS WITH 1/8 NOTE QUINTUPLETS OVER TWO BEATS Rock Break doubling the 1/8 note quintuplet Count:t +2 ¢ ae 2 cymbal. / Snare fF 5 TRURCRLRERE ROCK BREAKS WITH SEPTUPLETS A 1/16 note septuplet within A.1/8 note septuplet over two beats for one et for slow NemOGE moderate Remmges Count: 1+ ia siz a4 sea Cymbal Snare TRERLRL CRURUERE An in-depth presentation of this topic is presented in my book, ROCK DRUMMING WITH QUINTUPLETS. 81DRUM BOOKS by JOEL ROTHMAN STUDIES FOR ROCK DRUMMING Catalog Number (1) Basic Rock Beats (2) Mini-Monster Book Of Rock Drumming (3) The Rock And Roll Bible Of Coordination (4) Rock And Rolls Featuring “The Inside Story” (5) The Turtle Factor (For Rock Drumming At A Snails’ Pace) (6) 3,5, 7, 9, Rock! (7) Four-Way Independence For Rock Drumming (8) Hardest Drum Book Ever Written (9) Paradiddle Rock (10) Splashdown (Hi-Hat Splashes For Rock Drumming) (11) Rock Drum Solos To Develop Coordination (12) Rock Breaks In A Nutshell STUDIES FOR JAZZ DRUMMING (13) The Jazz Bible Of Coordination (14) 3, 5, 7, 9, Jazz! (15) Four-Way Independence For Jazz Drumming (16) Jazz Drum Book (17) Easy Drum Solos For Jazz Coordination (18) Take A Break (19) Jazz Breaks In A Nutshell (20) Country Drumming STUDIES FOR AROUND THE DRUMS (21) Rudiments Around The Drums (22) A Quartet Of Recipes Around The Drums ACCENT STUDIES (23) Fun With Accents Around The Drums (24) Accents And Solos For Rock And Jazz Drumming STUDIES FOR TECHNIQUE (25) Easy Drum Solos To Develop Technique (26) Basic Drum Technique And Beyond ROLL STUDIES (27) Roll Control (28) Rolls, Rolls, Rolls STUDIES FOR BASIC READING (29) Teaching Rhythm (30) Clap Your Hands SPECIAL FEATURES (31) Basic Drumming (32) Basic Drumming Made Easy (For Snare And Set) 7ls7realoiera! STUDIES FOR ORCHESTRAL READING Catalog Number (33) Fundamental Studies For Snare Drum (34) Musical Studies For The Intermediate Snare Drummer (35) Intermediate Duets For Snare Drum (36) Rhythmic Patterns Of Contemporary Music MALLET STUDIES (37) Fundamental Studies For Mallets (38) Recital Pieces For Mallets ‘TIMPANI STUDIES (39) Fundamental Studies For Timpani (40) Musical Studies For The Intermediate Timpanist STUDIES FOR SHOW DRUMMING (41) Drum Arrangements (42) Cut-Time Parts (43) Show Drumming (44) Big Band Drum Charts MISCELLANEOUS TITLES (45) Beats And Variations (46) A Quintet Of Coordination Patterns (47) Shuffle Rock (48) Rock Drumming With Quintuplets HARDCOVER DRUM BOOKS (49) The Compleat Drum Reader (50) The Compleat Show Drummer (51) Around The Drums Completely (52) The Compleat Rock Drummer (53) The Compleat Jazz Drummer MUSIC FUN BOOKS (54) Rock-N-Roll Word Finder (55) Music Word Finder (56) Easy Music Crossword Puzzles Book One (57) Easy Music Crossword Puzzles Book Two (58) Musical Crossword Puzzles (59) Super Quiz Of Music (60) Super Quiz Of Opera HUMOR BOOKS (61) Name The Instrument (For Children 3-7) (62) Musical Ants (63) Music Lovers’ Jokebook (64) Jokes And Pokes At Opera (65) Top Of The Bops (66) Ha Ha Ha Haa! NEW PUBLICATIONS (67) Reading, Rudiments, and Rock Drumming (68) Rock Breaks Around The Drums (69) Reading, Rudiments and Marching Cadences (70) Drumming And All That Jazz SEND FOR FREE CATALOG 2.R. Publications ¢/o Charles Dumont & Son, Inc. $14 1085 Dumont Drive, P.O. Box 1017, Voorhees, New Jersey 08043 $1485 4 Phone: 1-800-257-8283 or 1-856-346-9100 FAX: 1-856-346-3452