. em, ~° », Sounds of the Drums Before you start playing actual beats on the drums, itis a good idea to become familiar with the sounds and characteristics of all the individual drums and cymbals which make up the dramkit. Bach part of the kit has a different tone color (called timbre) which makes it distinguishable from the other parts of the kit. In this lesson you will lea some basic note values and then apply them to all the parts of the drumkit. The Quarter Note This is a quarter note. It lasts for one beat. There are four quarter notes in one bar of § time. Count: 1 © 1 Quarter Notes on the Snare Drum The following example uses quarter notes played on the snare drum. Snare drum notes are written in the third space on the staff. There are several ways to play this example. First, alternate the hands RLRL and then reverse them (LRLR). Once you can do this strongly and evenly at a reasonable tempo, play the example with one hand at a time (RRRR etc and LLLL ete). This will help to prepare you for actual drum beats and fills, Count out loud as you play. To help you develop a good sense of time from the very beginning, it is important to use a metronome or drum machine with everything you play. Count TS aa ea Har aarti tg 123 4 rt) 2 Quarter Notes on the Bass Drum Once you are comfortable playing quarter notes on the snare drum, try playing them on the bass drum with your right foot. Bass drum notes are written in the first space on the staff. Once again, keep the notes strong and even, and count out loud as you play.3 \ \ Now try alternating between the bass drum and the snare drum. There are several ways of playing the snare drum part of this example. First, use the left hand only on the snare drum. ‘Then use the right hand only, and finally alternate the hands. Keep your counting even and listen carefully to your metronome to make sure your playing is in time with it. @:; The Tom Toms ‘The following example moves between the snare drum and the three tom toms (usually just called:toms). Notice the position on the staff of the notes indicating each of the toms. Use the Jeft Hand on the snare drum and the right hand on the toms. Small Tom Medium Tom — Floor Tom ‘Expetiment with other combinations of the snare drum and toms. In the example below, the righthand plays the floor tom, while the left hand moves between the snare drum and the other two toms. @:Rests Just as notes indicate a specific time value, rests are used to indicate a specific period of silence. When rests appear in the notation, it is important to keep counting so your timing doesn’t falter. Your counting should be the same regardless of whether notes or rests appear in the notation. : The Quarter Rest This symbol is a quarter rest. It indicates one beat of silence. Count: 1 When you are Jearning any new note or rest value, it is a good idea to become familiar with it using only one drum before moving around the kit. The following example is played on the snare drum and demonstrates the use of quarter rests. It is more difficult to keep steady time when using rests than when playing constant notes. For this reason, it is important to count out Joud, and listen to your metronome as you play to make sure your notes are in time with it. @« Count Qo2 3 4 1 Bs 4 12 23 4 1 2 3 4 e: It is important to be able to count rests comfortably while using any part'of the drumkit. This example moves between all of the drums you have learned so far. The snare drum is played with the left hand and the tomis,are all played with the right hand.g The Cymbals \ The following examples involve the use of the hi-hat, ride and crash cymbals. Each of these has a different sound and is used for a different purpose in music. Generally cymbals ring for longer than drums (except for the closed hi-hats) and are used for more sustained sounds. The example below makes use of the ride cymbal and the snare drum, Listen as you play and notice that the ride cymbal rings for a long time, while the snare drum doesn’t ring mach at all after it has been hit. (* Note - cymbals are usually indicated with an x instead of a notehead, but the whole note has been used here to show that the cymbal keeps ringing. The Whole Note This is a whole note. o It lasts for four beats. There is one whole note in one bar of § time. Count: 1 23 4 @: Ride Cymbal The Whole Rest This symbol is a whole — rest. It indicates four beats of silence. Small counting Count: 1 23 4 numbers are placed under rests. e@> This example uses both the ride cymbal and the crash cymbal which is indicated by an x inside a circle (®). The example also contains whole rests, Listen to the difference in sound between the ride cymbal and the crash cymbal. Ride Cymbal Crash Cymbal Ny oeris The Half Note The Half Rest This music note is called a half note. It has a value of two beats. This symbol is a half rest. It ‘There are two half notes in one mm indicates two beats of bar of 4 time. silence. Count: 1. 2 Count: 1 2 @ » ‘This example makes use of the half note and the half rest. Once again, be sure to count out loud as you play. All the drum notes are played with the left hand, while all the cymbal notes are played with the right hand. R L L R L R Count 12 3 4 «2 3 4 £2 3 4 123 4 11 To finish this lesson, here is a drum solo which makes use of all the drums and cymbals you have been using and all the note values you have learnt so far. In this example, the ride cymbal is indicated with an x. This is the traditional method of indicating a note to be played on a cymbal. Practice the solo slowly with a metronome until you are confident and then try playing along with the CD. Lo bk RLREL L Lo Rk RELPlaying Notes Together So far, everything you have played has involved playing one note at a time. However, when playing the drumkit it is common to play two or more notes at the same time. This involves coordinating the limbs so that the drums are hit at exactly the same time. A good way to start developing this skill is to play quarter notes on the bass drum and alternate the hands on the snare drum, as shown in the following example. As always, practice this with your metronome or drum machine and listen carefully as you play and make sure your notes are exactly together and not “split”. Once you are comfortable alternating RLRL, try starting with the left hand instead (LRLR). Then try LLLL etc. and RRRR etc. Qo Hands Ro L RL RLER FL R ERE RLAL Count 123 4 £23 4 1423 4 1234 The next thing to do is alternate your hands between two or more surfaces as shown below. In the first line of this example, the hands play only the ride cymbal and the snare drum, while in the second line, they move between several surfaces. Once you can do this one, experiment and create some of your own drum parts using this technique. Qo Hands Ro L ROL Re eee te RL RLr 18 Using the Hi-Hat Cymbals So far you have used only the ride and crash cymbals. Another vitally important part of the drumkit is the combined hi-hat cymbals. When you are playing the hi-hats, hold your left foot lightly on the pedal to keep the cymbals loosely (aot tightly) together. This will produce the best sound from the hi-hats. Listen to the following example on the recording and try to imitate the sound. All the notes in this example are played with the right hand only. It is also possible to produce other sounds by opéning and closing the bi-hat cymbals, but these will be dealt with later in the book. @. eae R RR R RR RR RR RR R RRR Once you are comfortable playing the previous example, try playing the hi-hats and adding the bass drum on various beats as shown below. Once again, use a metronome and make sure both the right hand and the right foot play at exactly the same time. For a variation, try using the ride cymbal on this example instead of the hi-hats. @:16 It is also important to practice the two hands together on different surfaces. Like the previous example, the right hand part here can be played on either the hi-hats or the ride cymbal. The left hand plays only the snare drum. Playing Drum Beats Once you can play the examples in this lesson, you are ready for some real drum beats, A drum beat (or drum groove) is a repeating pattem which is used as the rhythmic basis for a song in a band situation, Do not confuse the term drum beat with references to beats of a bar (e.g. “play on the first and third beats of the bar”). In the following drum beat, the right hand plays quarter notes on every beat of the bar, the left hand plays on the 2nd and 4th beats and the right foot plays on the Ist and 3rd beats. The alteration between bass drum and snare drum is a common element drumming in many styles of music. The use of the snare drum on beats 2 and 4 is called a backbeat. @»Here is a variation on the previous beat. The only difference here is that the bass drum is used on every beat of the bar. This means you will be using three limbs (right foot and both hands) together on the backbeat. As always, practice this slowly at first with your metronome and make sure your notes are exactly together. Qs 19 Now try this one which uses elements of the previous two beats as ‘well as some more bass drum variations.The Eighth Note Beam This is an eighth note. ‘When eighth notes It lasts for half a count. are joined. together There are eight eighth the tails are replaced notes in one bar of by one beam. Comts 3 A time Count: 1 + Counts + 2 + Two eighth Four eighth notes joined notes joined together. together. The following example shows a constant stream of eighth notes played on the snare-drum. Alternate the hands RLRL and then reverse them (LRLR). Once you can do this strongly and evenly at a reasonable tempo, play the example with one hand ata time (RRRR etc and LLLL etc). Once again, remember to count out loud as you play. @ » Count 1+ 2 + 3 + 4 4+ 1+ 2 4+ 3 + 4 + ‘The next step in gaining control of eighth notes is to play them on the hi-hat and ride cymbals with the right hand as demonstrated in the following example. It is important to keep the notes even and the sound consistent. @:It is also worth practicing eighth constant notes on the bass drum as shown in the example below. This will develop the endurance of your leg muscles and give you more control when playing beats containing eighth notes. Practice this one for short periods at first. Once again, the aim is to get all the notes to sound consistent in volume and time. @» Count 1+ 2+ 3 + 4 + Lot 2 + 3 + 4 + When you can play eighth notes evenly on one drum or cymbal, the next step is to play eighth notes on one surface and quarter notes on another surface. The next example demonstrates quarter notes on the bass drum and eighth notes on the hi-hats or ride cymbal played with the right hand, @= Count: Dt 2+ 3 + 4 + 1 +2 43 + 4 + Next try playing eighth notes on the hi-hats or ride with the right hand and quarter notes on the snare drum with the left hand. @& Beats Based on Eighth Notes Once you can play eighth notes on a cymbal and quarter notes on the bass drum or snare drum, you are ready to play some actual drum beats based on eighth notes. The example below is a basic Rock beat which makes use of the hi-hats (right hand) , the bass drum (right foot) and the snare drum (left hand). This beat has been used for literally thousands of songs. When you can play it, you are ready to begin playing with a band. @: t Saeee tees Teer @ xv Here is a common variation. The only difference between this beat and the previous one is that the bass drum is played on every beat of the bar.Creating Your Own Beats Most drum beats require the use of three limbs and sometimes all four. To coordinate all the parts effectively, you need to be clear in your mind about exactly where in each bar each limb is playing. There is a simple system for identifying any note’s position in a bar by naming notes off the beat according to which beat they come directly after. The system works as follows. Within a bar of continuous eighth notes in 4 time, there are eight possible places where notes could occur, The first beat is called one (1), the next eighth note is called the “and of one”, then comes beat two, the next eighth note is called the “and of two”, then beat three, followed by the “and of three”, then beat four, followed by the “and of four” which is the final eighth note in the bar. These positions are shown in the notation below. Count 1 @» In this example, the snare drum plays the backbeat on beats 2 and 4, while the bass drum plays on beat 1, then on the and of 2, then on beat 3, then on the and of 4. Practice the bass drum part by itself at first and count out loud as you play. Once you are confident with the bass drum part, try adding the cymbal part with the right hand. Then try just the bass drum and the snare drum. Notice how the snare drum answers the bass drum. Finally, pat all three parts together and try playing along with the CD. 4 + 2 + 3 +. 4 + and of 1 and of 2 and of 3 and of 425 Counting Drum Beats Most (but not all) Rock beats contain a backbeat played on the snare drum, However, the bass drum can be played in many different places, and there are other places the snare drum can be played too. Experiment with the bass drum on all eight positions within a bar of eighth notes. ‘When counting a particular part such as the bass drum, you need to be able to differentiate it from the cymbal part which contains constant eighth notes. The best way to do this is to accent with your voice the part you are concentrating on. This means counting all eight eighth notes, but saying the bass drum part louder, e.g. the previous example would be counted one and two and three and four and. To help you gain control of this type of counting, the following example shows the bass drum played one at a time on all eight eighth note positions within a bar of f time. ‘The bass drum counts are larger and in bold, indicating that they are counted louder. @ 2 Count: aera the treet athe a baa tee ete eer eet ete erage26 As mentioned on the previous page it is important to experiment with different placements of the bass drum. The following examples should give you some basic ideas, but try to come up with some of your own as well. Use the counting system you have just learnt until you are comfortable with each new beat. Count: Lo 2 + 3 + 4 + Loto 2 + 3 4 4 + @: > % ‘Once you can easily play a variety of one bar repeating patterns, try some two bar patterns as shown here. Take this one slowly and remember to use the counting system as you play. Count: Loto2 + 3 t+ 4 + eeLesson 6 The Dotted Quarter Note Although most drum beats are written in their basic beat subdivision (c.g. eighth notes), it is worth learning how the rhythms would be written if they were not accompanied by a continuous eighth note cymbal pattern. Some of the bass drum parts from the previous lesson involve the use of the dotted quarter note, which is shown below. A dot written after a quarter note means that you hold the note for A dotted quarter © one and a half beats. i note is | often followed by an eee paeeeae eighth note. @» Here is an exercise to help you become more familiar with the dotted quarter note. Play it with alternating hands and then with each hand by itself. Count: L+ 2 + 3 + 4 + Lot 2+ 3 + 4+ @x Now try this one which uses the rhythm from the first bar of the previous example first on the bass drum and then between the bass drum, the snare drum and the toms (played by the left hand). The rhythm is accompanied by eighth notes on the hi-hats.7 ‘The Eighth Rest This symbol is a eighth rest. It indicates half a beat of silence. 7 Here is a note reading exercise which makes use of the eighth rest. When using rests, counting is particularly important so you don’t get lost and play notes in the wrong place. @» eS, SE Eee tee eee ea Creating Variations To play the drums well, you need to be able to place any kind of note on or in between any beat with any limb independently from the parts played by the other limbs. A good way to start developing this ability is to play a basic beat and then vary one of the parts. The following examples should help you become confident with varying your snare drum parts. First try example 35 which uses only the right and left hands. There is no count written beneath this example, but you should know the system well enough by now to count the snare drum hits louder than the hi-hats. @« ,Lesson Playing Fills Once you can play a variety of basic beats, you are ready to start playing fills. A fill (or fill-in) is a musical idea that breaks away from the basic beat and leads into either a new section or a repeat of the basic beat. The easiest way to start playing fills is to leave your basic pattern and play a bar of eighth notes on the snare drum before returning to the basic beat, as demonstrated in the following example. When playing the snare drum fill in bar 2, begin with the right hand and then alternate both hands. Take care not to speed up or slow when changing between the fill and the beat. @» RLRLRULRL @ Now try this variation. The fill here is played on the snare drum and the small and medium tom toms. Once again the fill is played with alternate sticking, beginning with the right hand. When leaming to play fills, itis useful to keep the bass dram going on each beat as demonstrated here, RLURL RLURL @« Here are some examples using which should help you get comfortable playing fills around the entire kit. This first one alternates between the snare drum and the small and medium tom toms.31 @ ‘This example moves around between all three tom toms and the snare drum. @4 Once you are comfortable moving around the drums, try alternating a fill with a basic beat as shown in this example. Be sure to keep your time steady when coming out of the fill and back to the beat. Beginners often speed up when playing a fill and then lose the time slightly when they go back to the beat. Practice with your metronome or drum machine to make sure your time is even as you play this example. Another important aspect of playing fills is coming back to your basic beat after the fill. It is common to hit the crash cymbal on the beat directly after a fill. The fill often finishes with the left hand and the right hand plays the crash on the first beat of the following bar before settling back nto the basic beat. Listen to the following example on the CD to hear how effectively this works. @ «32 To finish this lesson, here is a drum part which contains several fills. Each one is slightly different, which keeps the sound interesting. The fill in bar 8 lasts only two beats. This is just as common as a full bar fill. This example follows what is known as a 12 bar Biues progression. This is a musical form which is used in many styles of music. Notice the variations in the bass drum and snare dram parts here. If you are playing in a band, listen to what the other players are doing and try to make your part fit in with theirs. Don’t be aftaid to try variations and use the crash cymbal where you think it sounds good. @ 45 12 Bar BluesLesson 8 The Triplet An eighth note triplet is a group of three evenly spaced —3— notes played within one beat. Eighth note triplets are indicated by three eighth notes grouped together by a bracket (or a curved line) and the numeral 3. The eighth note triplets are played with one third of a beat each. Triplets are easy to understand once you have heard them played. Listen to example 46 on the CD to hear the effect Count 1 trip let of triplets. @ 46 How to Count Triplets 3 3 3 3 Count 1 trip let 2 trip et 3 trip Iet 4 trip let Once you are confident counting triplets, try moving them around between the snare drum and the toms. Use alternate sticking beginning with the right hand and then reverse them. @« Now try this one which uses triplets on the bass drum (right foot) and snare drum (left hand) while the right hand plays each beat on the hi-hats. This one is tricky, so take it slowly at first. @ «34 -12 Note Positions for Triplets Ina bar of triplets in 4 time, there are 12 different positions for notes within the bar. The first beat is 1, the middle note of the first triplet is called the “trip of one” and the third note of the first triplet is called the “let of one”. The system then continues through the bar - 2, trip of 2, let of 2, etc. It is worth practicing your bass drum on each of these positions until you can do them at will. When playing this example, count the bass drum hits louder than the other notes. The right hand plays all the notes of each triplet here to help you keep good time. e-— om - Accented EicHtH Notes. Lesson 28 _ Accented eres eee Aw accent (>) ovea o@ UNDER A Note means <0 Pray Meat note LOUsER THAN CHE OTHER NOTES NOT So waaanco, ALL UNACCENAED NOTes SuouLP OE Preyer auietiy, wus THE ACCENED NOfES &HOULO Sfane OUT, Lay EACH EXERCISE AT LEAST EIGHT TIMES. 1% get = |1 CH Simply Straight Chart 1 PLAY 3xeres eres meee eee eee 31. a oe ee SS ee COMBINATION EYERCISE. > > eee ECS SS a oe TOM Tom RHYTHM Pinay cis om ame PLooR tomtom. = > > = >> > Now ‘ay This arcat TomTom RuytHm around THE S@ums. Note THe SfickKine “RRLL In tHe 26° gar, (Snaacs OFF) = > > > Se 2Track 1 Chart 2 Simply Straight CH.26, LESSON 18. MORE ROCK BEATS. 2+ s+ 4 +SECTION 1 Rock Rock is a broad category which draws influence from many other styles and hence is continually expanding. General features of the Rock style are: 1) Simple Chords \ 2) Rhythmic emphasis on beats 1 and 3. 3) Snare drum on beats 2 and 4. { Ex.1 erese. Ex.2 ' Ex.3