George Shepherd - Foundations in Groove (Book 2) - Time Travelers

1
FOUNDATIONS IN GROOVE
BOOK 2
TIME TRAVELERS
George Shepherd
Author
If you give a man a sh, it will feed him for a day. But if you teach a man to sh, it
will feed him for a lifetime. - A great sage
This book is dedicated to the memory of Ed Kaspik.
Special thanks to: Ed Kaspik, Casey Scheuerell, Skip Hadden, Dave DiCenso,
Berklee College of Music, The Shepherd Family, The Himes Family, The Hiroki
Family, Sarah Lewis, Jim Pease, Tennis, Andy, Mike, Wolf & Holly, Bones, Sabian
Cymbals, Premier Drums, Roland, Elmer, Neale Donald Walsch, Baird T. Spalding,
Paramahansa Yogananda, Mark Shulman, Deepak Chopra, and everyone else
whom could not be mentioned here.
Copyright © 2000 George Shepherd

Carpe Diem International Publications
www.cdipublications.com
WARNING: Any duplication, adaptation or arrangement of the compositions

contained in this collection, without the consent of the owner, is an infringement
of U.S. copyright law and subject to the penalties and liabilities provided therein.
ALL RIGHTS RESERVED

©2000 CDI Publications FOUNDATIONS IN GROOVE TIME TRAVELERS By: George Shepherd
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ABOUT THE AUTHOR
George Shepherd, Alumnus of Berklee College of Music (Boston, Massachusetts) has studied with
greats such as Casey Scheuerell, Jamey Haddad, Ed Kaspik, Skip Hadden, Victor Mendoza, Dave
DiCenso, Bob Tomagni and Richard Jensen.
After winning the respect of teachers and fellow students at Berklee, George was selected to be
one of the rst Ambassadors to represent Berklee College of Music abroad.
George has appeared on over 50 albums, jingles, television and radio spots. He has worked with
the likes of Steve Rochinski, Kyler England, Chasing Gray, Janke, The Big Creak, Lisa Karp,
Miranda Sound and the Northern Kentucky Symphony.
Creating the Foundations in Groove Performance Workshop in the spring of 2000, George has
traveled the country presenting drum clinics and performing workshops to inner city schools
and other organizations. George has taught classical, contemporary percussion and drum set at
Bowling Green State University, MARS Music, Roland Hayes Division of Music, Goshen, Simon-
Kenton, Finney Town and Newport-Harbor High School.Currently, George is the Percussion
Caption Head of the drum & bugle corp MYSTIKAL and an active clinician.
Continuing to win the respect of his students and professional associates, George Shepherd is
taking the art of drumming into the new millennium.
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INTRODUCTION
The studies in this series were designed to take the reader beyond where the average book
ventures. These exercises are to be completed in their entirety. The idea of leaving no stone
unturned when beginning a new study topic, allows for the student of this text to gain a complete
understanding of the material contained herein.
The goal of this series is not to just teach the student rhythms, exercises or fancy licks, but to
broaden their sense of what we are capable of.
“If you give a man a sh, you will feed him for a day, if you teach a man to sh, you will feed him
for a lifetime.”
Hidden within these lessons are the seeds of creativity. The students that are ready will most
denitely see them. The students that are not yet ready will subconsciously learn of their existence
and recognize them when the time is right.
Some of the thoughts and exercises may not register in your mind at the present. Everything that
you see, hear and do will affect you in some way in the future. All the material here is meant to
have a positive effect. Furthermore, if studied correctly, the journey of the study could hold the
most valuable lessons of all.
The Foundations in Groove series is the beginning of an evolutionary process. It is the rediscovery
of one’s self. It is a window to the past and doorway to the future! Study this material as fast or
as slow as needed. Don’t cheat yourself! You are held accountable for your deeds alone. Live and
love life…
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NOTATION KEY
Ride Cymbal Bell
#
/
Half-Open Hi Hat
Cowbell G
! À
/ /
Crash Cymbal >
Hi Hat
À
À /
/
Open Hi Hat o Rim Click/Sidestick
À
/ / À
Accented Note
Ride Cymbal
>
À À
/ /
Slightly Louder Accent
Hi Hat Pedaled with Left Foot ^
/ À À
/
Snare Drum
/ Ï Note:
Small Tom When a group of notes are close together and

the accent pattern becomes hard to read, an x
Ï
/ is substituted for the notehead as in the above
rim click symbol. Only play as a rim click/
sidestick if it is clearly marked as such.
Floor Tom
/ Ï
Bass Drum
/ Ï
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TABLE OF CONTENTS
Section Page
INTRODUCTION...........................................3
NOTATION KEY..............................................4
WHAT IS TIME?...............................................6
DISSECTING TIME.........................................8
PROGRESSIVE STUDIES..............................10
PROG. STU. (TRIPLETS)...............................13
PROG. STU. (SIXTEENTHS).........................19
PROG. STU. (QUINTUPLETS).....................24
PROG. STU. (SEPTUPLETS).........................27
PROG. STU. (a rudimental approach)..............30
CREATING THE VEHICLE...........................32
BEYOND THE PHYSICAL.............................34
REAL OR SURREAL.......................................35
A PARADIGM FOR
THE NEW MILLENNIUM............................36
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WHAT IS TIME?
The question of the origin and function of “Time” has been a topic of study that has inspired
humanity’s greatest thinkers. Time can be described as a Linear progression from one second to
the next and so on... “Time” can also be viewed as a baloon that expands innitely from it’s origin
and that we perceive it only on the surface. In reality, it is probably a device that we have not yet
accurately dened.
The fascination with time and how we, as humans, manipulate it has been though to be
contemplated by only the brightest intelects. How ironic would it be that the mastering of time
could be achieved by such a persecuted intelect as that of the DRUMMER? We, as drummers,
have an obligation to dissect and interpret “Time” and meter for the artists in which we work
with. Music as always been the most inuential force in the expression and evolution of humanity.
This music that we create has inspired the scientists, mathamaticians, engineers and philosophers
that have been the catalysts for change and the basis of what we are to believe reality is. So, in
reality, all of what we as humans are, has originated from our music and more specically, the
mathematical equasion that has held the “Time” together known as the DRUMMER.
It has been the subject of plays, motion pictures, novels and scientic research papers. Why is time
travel such an infectious subject? If you had the ability to manipulate time and the ow of time,
would this not release you from fear and limitation? If you had to pick a specic career that dealt
everyday with the manipulation of time, what career would you pick?
If you picked something other than drumming, you should get your head examined.
Since we began playing this instrument, we have studied the subdivision and dissection of time.
How to get from point A, at one tempo, to point B at the same tempo or an alternate tempo is the
subject of continuous study.
Can we slow down or speed up our perception of time? Can more than one level or plane of time
exist simultaneously? Can you bring time to a halt without losing where you are? The answer is a
resounding, yes!
There are those among us that hold the secret to unlocking this ancient mystery. If science can
crack the code to DNA, then why can’t it do the same for the mystery of time? There is more
information pertaining to this subject than we could t in all the world’s encyclopedias. So, I leave
the task of unraveling this mystery to those of you who have the patience and integrity to see this
study through to completion.
On the next page are two exercises to test and heighten your perception of where and how time
exists.
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WHAT IS TIME?
Exercise #1
First you will need either a metronome that you can turn the sound off without stopping the internal
clock, or a metronome that you can visually see the beat without actually hearing it.
Set your metronome to a desired tempo. Start by trading small increments of time between the
metronome and yourself. Play along with the click or light for 1 measure, then let one measure go
by without observing the tempo of the metronome. Keep track of where you are in time and reenter
where you feel the pulse should be. Check yourself against the click.
Remember, the click doesn’t lie! Slowly increase the length of measures that you trade, observing
the same instructions. Keep the measure lengths even until you have a strong enough internal sense
of the ow of measures, then begin to experiment with odd phrase lengths.
Try to feel the space between downbeats as part of the music. If you can perceive the space as
time that is full of silence, instead of time that is just empty, the ow of space will have a new
characteristic.
Exercise #2
Get a clock or watch that has a moving second hand. Place it in front of you at eye level and
observe the second hand moving around the dial. Now, try to imagine the second hand slowing
down as you continue to watch the hand move. Really try to get inside the time. You should feel
as though the seconds are slowing down or even coming to a stand still.
How did these exercises make you feel? Did you feel as though you had a certain amount of
control over the ow of time? Well, believe it or not, you do!
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DISSECTING TIME
In order for us to control the ow of time, we must rst establish what and where time is. Time
generally stands for the movement from one moment to the next in a linear fashion. We have been
taught or programmed to believe that time cannot be manipulated. We all must grow old and die.
You cannot turn back time or travel therein.
Do you remember earlier in book 1 when I mentioned that thoughts are things? If you or I can
perceive time as changeable, stoppable and manipulatable, then manipulating it must be possible.
We were not put on this earth to just be pawns in the game, well wait a minute, maybe we were?
Think about this, in the game of chess, once a pawn is freed from it’s limitations and reaches the
other side of the board, it is free to become whatever it wants to be. It is the same way in real life!
Once we defeat our adversaries or what I like to call the “fear” that stops us from reaching our
goals, we can be free to accomplish whatever we wish. The one thing that is the hardest for us to
realize is that we are our only enemy!
The only thing that is standing between you and your dreams is yourself. If you realize this, then
you must also see that nothing can stand in the way of a mind that has been freed! How does all this
relate to time and drumming? If we are to progress to the next level, we must alter our perceptions
of what we were told to accept as truth. If time exists only as the time we create at every second,
then we are free to create and manipulate time as we see t. Before you can create time, you must
understand the complete and total dissection of it.
Time, to the common person, has been broken down into years, months, weeks, days, hours,
minutes, seconds and milliseconds. All these levels of time exist simultaneously. Yet, people are
not aware of the passage of time on all these levels consciously and simultaniously.
Have you ever noticed that sometimes your mind wakes up just before the alarm sounds in the
morning? I used to think that my mind was just programmed to wake out of habit.When my
schedule started to change and I needed to wake and sleep at completely different times from one
day to the next, I noticed that this phenomenon stayed consistent. I began to wonder about my
previous conception of how my mind perceived the ow of time. I decided to take a risk and test
a theory that my mind keeps track, at all levels, the passage of the linear time that I had been
using. I gave the alarm clock that I had been using, back to my roommate. Just before I slept each
night, I looked at my pocket watch and reminded myself of what time I needed to wake the next
morning and how long I intended to sleep. I did this for a year! And still to this day, No problems…
I did discover that exposure to chemicals such as alcohol or other such substances that affect your
thinking, also affects the ability of your mind to keep track of time.
If my mind keeps track of time on a daily basis unconsciously, why can’t it also keep track of the
different levels of time in my playing? I was opening, not just a can, but an ocean of possibilities.
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DISSECTING TIME
The space from one bar line to the next can be dissected almost innitely. Not only are we dealing
with time, but also space. How many notes that can be placed between the two lines has a direct
relation to the tempo at which we attempt to play them.
I learned quickly that I had to play the space, as well as, the notes. The space between each note
was actually more important than the note being played.
In this section, we will progressively explore the relationship of space to time. We will also
experiment with the layering of poly time! Once you have worked through this material, you will
not need to think consciously about the time. Time will just happen! You will be free to dissect it
in any way you see t, without dropping a note.
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PROGRESSIVE STUDIES
a linear approach
In this rst study, we will explore the triplet note rate as it applies to groove embellishments,
soloing over bar lines, metric modulation and creating poly time. Pay close attention to the feel of
each phrase as it interacts with the ow of linear time. These phrases contain groupings of three,
four, ve, six and seven. Try to make these phrases as musical as possible by employing the use
of dynamic contrast and creative orchestration. Do not rush through this material. Focus on the
Quality of your study as opposed to the Quantity.
The formulas to follow will help you develop a progressive approach to dissecting and creating
time. These formulas can be applied to any note rate, as you will see. Before you move on to the
next phrase, put each phrase through all the formulas listed. Do not skip any! This will allow you
to have solid ownership over the material contained within each phrase. Keep the unaccented notes
at a ppp dynamic level. There is a blank page added to the end of each section for you to create
your own unique phrases. This study will require concentration and dedication.
The order in which to approach the following formulas is to rst play the accent phrase using the
formula on the snare. After that, orchestrate the phrases around the kit as written, using creative
sticking and dynamics to make the phrases breathe and come to life. Once you have nished with
the Triplet note rate, use the same formulas with the sixteenths, quintuplets and septuplets.
When playing these phrases, either play the quarter note pulse (notated below as the bass drum)
on the limb that is not active or when all 4 limbs are playing, speak the quarter note pulse out loud
with your voice. A good habit to get into is to count the subdivisions out loud while you are playing
them. It is very difcult at rst, but very benicial later.
Formula #1
Play each accent phrase as written on the snare drum rst by alternating the sticking. Once the
phrase feels comfortable at a variety of tempos, orchestrate only the accents to the cymbals and
toms while keeping the unaccented notes on the snare. Next, orchestrate the phrase between
your hands around the kit using your own tonal choices. Be sure to make the accented notes
distinguishable from the unaccented notes.
> >> > >>> >>> >> > > >> > > >
/ ÀÏ ÏÏ ÀÏ À Ï ÏÏÏ À ÏÏ À À À ÏÏÀ À À Ï ÏÀ À À ÏÏ À ÏÏ ÏÀ À ÏÏÀ ÏÀ Ï ÏÏÏÀ. Î.
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
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PROGRESSIVE STUDIES
a linear approach
Formula #2
Play the accents as alternating single strokes. Double all the unaccented notes between the accents
keeping within the triplet note rate. If there is an uneven amount of unaccented notes between the
accents, end the doubles with an unaccented single stroke. Be sure that the doubles and singles
between accents are at a ppp dynamic level. Make the accents stand out at an ff dynamic.
> >> > >>> >>> >> > > >> > > >
Î.
/ À ÏÏÀ À ÏÏÏÏÀ ÏÏ À À À ÏÏÀ À À ÏÏÀ À À ÏÏÀ ÏÏÏÀ À ÏÏÀ ÏÀ ÏÏÏÏÀ.
R L L R LR R L L R L L R L R L L R L R L L R L R L L R L L R LR L L R L R L L R R L
Formula #3
Play the accents on the bass drum and double all the notes between the accents on the snare drum,
just as in Formula #2. Remember the dynamics! Once you have done this, repeat the exercise but
play the accents on the high hat instead of the bass drum.
> >> > >>> >>> >> > > >> > > >
.
/ Ï ÏÏ Ï Ï ÏÏÏÏ Ï ÏÏ Ï Ï Ï ÏÏ Ï Ï Ï ÏÏ Ï Ï Ï ÏÏ Ï ÏÏÏ Ï Ï ÏÏ Ï Ï Ï ÏÏÏÏ Ï. Î
B L L B B R R LL B L L B B B L L BB B L L B B B L L B L LR B B L L B LB L LR R B
Formula #4
When you see more than one accent in a row, play the last accent in the series on the bass
drum. Keep the accents distinguishable from the unaccented notes. You won’t be able to use this
formula on every phrase. Substitute the high hat for the bass drum once completed and repeat the
exercise.
> >> > >> > >> > >> > > > > > > >
Î.
/ À ÏÏÀ Ï ÏÏÏÏÀ ÏÏ À À Ï ÏÏÀ À Ï ÏÏÀ À Ï ÏÏÀ ÏÏÏÀ Ï ÏÏÀ ÏÀ ÏÏÏÏÀ.
R L L R BR R L L R L L R L B L L R L B L L R L B L L R L L R LB L L R L R L L R R L
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PROGRESSIVE STUDIES
a linear approach
Formula #5
Play single accents in a series on the snare and double accents on the bass drum. If there are
more than two accents in a row, play the last two on the bass drum only. Play the accents before
the bass drum notes on the toms.
> >> > >>> >>> >> > > >> > > >
Ï Ï Î.
/ À ÏÏ Ï Ï ÏÏÏÏÀ ÏÏ Ï Ï ÏÏ Ï Ï ÏÏ Ï Ï Ï ÏÏÀ ÏÏÏ Ï Ï ÏÏÀ ÏÀ ÏÏÏÏÀ.
R L LB B RR L L R L L T B B L L T B B L LT B B L L R L L R B B L L R L R L L R R L
Formula #6
Play the accented notes as single strokes on the snare and the unaccented notes between the accents
as doubles. If the series of double strokes on the unaccented notes ends in a single stroke, play that
single on the bass drum. If the series of doubles ends in a double stroke, play the last double stroke
on the bass drum. Substitute high hat for bass drum again, once completed.
> >> > >>> >>> >> > > >> > > >
Î.
/ À ÏÏ À À ÏÏ ÏÏ À ÏÏ À À À ÏÏ À À À ÏÏ À À À ÏÏ À ÏÏ Ï À À ÏÏ À Ï À ÏÏ ÏÏ À.
R B B R LR R B BR B B R LR B B R L RB B R L R B B RL L B L R B BR B R L LB B L
Formula #7
Orchestrate the accents as bass drum and hi-hat notes by your own creative choice. Keep doubling
the unaccented notes between accents. Be creative, mix up the bass and hi-hat as your ear dictates.
Only orchestrate the accents and keep it in the pocket with the note rate.
> >> > > >> > >> >> > > > > > > >
.
/ Ï ÏÏ Ï Ï ÏÏÏÏ À ÏÏ À Ï À ÏÏ Ï Ï À ÏÏ Ï À À ÏÏ Ï ÏÏÏ À Ï ÏÏ Ï Ï À ÏÏÏÏ Ï. Î
B L L B B R R L LH L L H BH L L BB H L L B H H L L B L L RH B L L B LH L L R R B
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PROGRESSIVE STUDIES
a linear approach
Formula #8
Ready for this! Displace each phrase by one note and the entire phrase changes. Move the accent
pattern backward, taking the rst note and adding it to the end. Once the new pattern is created,
play the new pattern using all the formulas. Do this until you return to the beginning of the phrase.
This will create many more patterns to work through. If you do not explore all the possibilities,
you can never become a master!
Original Pattern
> >> > >>> >>> >> > > >> > > >
/ ÀÏ ÏÏ ÀÏ À Ï ÏÏÏ À ÏÏ À À À ÏÏÀ À À Ï ÏÀ À À ÏÏ À ÏÏ ÏÀ À ÏÏÀ ÏÀ Ï ÏÏÏÀ. Î.
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
New Displaced Pattern
>> > > >> >>> >>> > >> > > >>
/ ÏÏÀ À ÏÏ ÏÏÀ ÏÏÀ À À Ï ÏÀ À À ÏÏ À À À ÏÏÀ ÏÏÏ À À Ï ÏÀ Ï À ÏÏ ÏÏÀ À Î.
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï. Ï
Formula #9
Improvise on each phrase using random formula and sticking combinations. Use dynamics and
stickings that allow creativity to ow through you. You may orchestrate these phrases as you see
t. This is your time to shine!
Now that you have worked through all the formulas and phrases, you should have complete control
over the triplet note rate, a new sense of the interplay between limbs and a fresh taste of your own
creativity. Freedom is an amazing feeling!
Now, use the same formulas against the Sixteenth, Quintuplet and Septuplet note rates. Don’t
forget to use a metromone to help keep the odd notes rates clean & consistant.
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PROGRESSIVE STUDIES
a linear approach “TRIPLETS”
1 > > > > > > > > > > > > > > >
¡. À Ï Ï À Ï Ï À Ï Ï À Ï Ï À Ï Ï À Ï Ï À Ï Ï À Ï Ï À Ï Ï À Ï Ï À Ï Ï À Ï Ï À Ï Ï À Ï Ï À. Î...
/ ¢. Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
2 > > > > > > > > > > >
Î.
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3 > > > > > > > > >

Î.
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4 > > > > > > > >

Î.
/ ÀÏ Ï Ï ÏÏ Ï Ï ÀÏ Ï Ï ÏÏ Ï Ï ÀÏ Ï Ï ÏÏ Ï Ï ÀÏ Ï Ï ÏÏ Ï Ï ÀÏ Ï Ï ÏÏ Ï Ï ÀÏ Ï Ï ÏÏ Ï Ï ÀÏ Ï Ï ÏÏ Ï Ï ÏÀ. Ï
5 > > > > > > >

Î.
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6 > > > > > >

Î.
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7 > >> >> >> >> >> >> > > >> >> >> >> >>
.
/ ÀÏ Ï À ÀÏ Ï Ï ÀÏ À Ï ÀÏ À Ï ÏÏ À À ÏÏ À À ÏÏ Ï À ÀÏ Ï À ÀÏ Ï Ï ÀÏ À Ï ÀÏ À Ï ÏÏ À À ÏÏ À À ÏÏ Ï À ÏÀ. ÏÎ
8 > >> >> >> >> >> >>

.
/ ÀÏ Ï Ï ÏÏ Ï Ï ÀÏ À Ï ÏÏ Ï Ï ÏÏ À À ÏÏ Ï Ï ÏÏ Ï À ÀÏ Ï Ï ÏÏ Ï Ï ÀÏ À Ï ÏÏ Ï Ï ÏÏ À À ÏÏ Ï Ï ÏÏ Ï À ÏÀ. ÏÎ
9 >> > >> > >> > >> > >> > > > > >
.
/ ÀÏ À Ï ÏÏ À Ï ÏÏ À À ÏÏ Ï À ÏÏ Ï À ÀÏ Ï Ï ÀÏ Ï Ï ÀÏ À Ï ÏÏ À Ï ÏÏ À À ÏÏ Ï À ÏÏ Ï À ÀÏ Ï Ï ÀÏ Ï Ï ÏÀ. ÏÎ
10 > >> >> > > > > >> > >> > >> > >> > >> > > >
.
/ ÏÏ À Ï ÀÏ À Ï ÀÏ À Ï ÀÏ Ï À ÀÏ Ï À ÏÏ À À ÏÏ À Ï ÀÏ À Ï ÀÏ Ï À ÀÏ Ï À ÏÏ À À ÏÏ À Ï ÀÏ À Ï ÀÏ Ï À ÏÀ. ÏÎ
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15
PROGRESSIVE STUDIES
11 > >> > > > > > > >> > > >>
Î.
/ ÏÏ Ï Ï ÏÏ À Ï ÏÏ À À ÏÏ Ï À ÀÏ Ï Ï ÀÏ Ï Ï ÏÏ Ï À ÏÏ Ï À ÀÏ Ï Ï ÀÏ À Ï ÏÏ À Ï ÏÏ Ï Ï ÀÏ Ï Ï ÀÏ À Ï ÏÏ. Ï
12 >> > > >> > > >> > > >> > > >> >
Î.
/ ÏÏ À À ÏÏ Ï À ÏÏ Ï À ÏÏ À À ÏÏ Ï À ÏÏ Ï À ÏÏ À À ÏÏ Ï À ÏÏ Ï À ÏÏ À À ÏÏ Ï À ÏÏ Ï À ÏÏ À À ÏÏ Ï À ÏÏ. Ï
13 >>> >>> >> > >>> >>> >>> >>> > >> >>>
Î.
/ ÀÏ À À ÏÏ Ï À ÀÏ À Ï ÏÏ À À ÀÏ Ï Ï ÀÏ À À ÏÏ Ï À ÀÏ À Ï ÏÏ À À ÀÏ Ï Ï ÀÏ À À ÏÏ Ï À ÀÏ À Ï ÏÏ À À ÏÀ. Ï
14 > >>> > >>> > >> > >>> > >>> >
Î.
/ ÀÏ Ï Ï ÏÏ À À ÀÏ Ï Ï ÀÏ Ï Ï ÏÏ À À ÀÏ Ï Ï ÀÏ Ï Ï ÏÏ À À ÀÏ Ï Ï ÏÏ À À ÀÏ Ï Ï ÀÏ Ï Ï ÏÏ À À ÀÏ Ï Ï ÏÀ. Ï
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20
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/ ÀÏÏÏÏÏÏÏÀ ÏÏÏÏÏÀ ÀÏÏÏÏ ÏÏÏÀ À ÀÏÀ ÏÏÏÏÏÀ À ÏÏÏÏÏ ÀÏÀ À ÏÏÏÏÀ ÏÏÏÀ ÏÏÏÏÏÀ Ï ÀÏÀ ÏÏÏÏÀ À À ÏÀ ÎÎ
36 > > >>> >> > >> >> > >> >> >> > >
/ ÏÏÀ ÏÀ ÏÏÏÀ À ÀÏÏÏÏÀÏÀ ÏÏ ÏÏÀ ÏÏÏÏÀ À ÏÏÏÏÏÏÏÏÀ À Ï ÏÏÏÏÏÏÏÀ ÏÀ ÀÏÏÏÏÏÏÀ À Ï ÀÏÀ ÏÏÀÏÏÏÀ ÏÏ ÎÎ
37 >> >> >> > >> >> >> > >> >> >>> >
/ ÏÏÏÀ À ÏÏÏÏÀ ÀÏÏÏÏÀÏÀ ÏÏ ÀÏÏÏÀ ÀÏÏÏÀ ÀÏÏÏÀ ÀÏÏÏÏ ÏÏÀ ÏÏÀÏÏÀ ÏÏÏÀ ÏÀ ÏÏÏÏÏ ÏÏÀ À À ÏÏÏÏÀ Î
Ï ÏÎ
38 >> >> > > >>> >> > >> > > >>> >
/ ÏÏÀ À ÏÏÏÏÏÏÏÏÀ À ÏÏÏÀ ÏÀ ÏÏÏÏÏÏÏÀ À À ÏÏÏÏÀ ÀÏÏÏÀ ÀÏÀ ÏÏÏÏÏÀ ÏÏÏÀ ÏÏÀÏÀ À Ï ÏÏÏÏÏÏÏÀ ÏÏÏÏ ÎÎ
39 > > > >> > >> > >> >> >> >>
/ ÀÏÏÏÏÏÏÏÀ ÏÀÏÏÏÏÀÏÀ ÏÏ ÏÏÏÏÏÏÏÀ ÏÏÏÏÀ À ÏÏÏÏÀ Ï ÏÏÏÏÀ ÏÏÀ ÏÏÏÏÏÀ ÏÀÏÏÏÏ ÏÏÀ À ÏÏÏÏÀ À ÏÏ ÎÎ
40 > >> >> > > > >> >>> >> >
ÏÏ ÏÏ Ï ÏÏ À Ï ÏÏÏÏÏÀ ÏÏÀ ÏÏÀ ÏÏÏÏÏ ÏÀ À ÏÏÏÏÏÀ À À ÏÏÏÏÏ ÏÏÀ À ÏÏÏÀ Ï Î
ÏÀ À ÏÏÏÏÀ À FOUNDATIONS
Ï TIME
Ï TRAVELERS
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www.drumgalaxy.ru
23
PROGRESSIVE STUDIES
41
Î
/ ÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏ ÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏ ÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏ ÏÏÏÏÏÏÏÏÏÏÏÏ Î
42
Î
43
Î
44
Î
45
/ ÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏ ÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏ ÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏ ÏÏÏÏÏÏÏÏÏÏÏÏ ÎÎ
46
47
48

www.drumgalaxy.ru
24
PROGRESSIVE STUDIES
a linear approach “QUINTUPLETS”
1 > > > > > > > > > > > > > > >
¡. ÀÏÏÏÏÀÏÏÏÏÀÏÏÏÏÀÏÏÏÏ ÀÏÏÏÏÀÏÏÏÏÀÏÏÏÏÀÏÏÏÏ ÀÏÏÏÏÀÏÏÏÏÀÏÏÏÏÀÏÏÏÏ ÀÏÏÏÏÀÏÏÏÏÀ ÅÎ Å.
/ ¢. Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï .
2 > > > > > > > > > > > > > > > > > > Å Å
Î
/ ÀÏÏÏÏÀÏÏÏÏÀÏÏÏÏÀÏÏÏÏÀÏÏÏ ÀÏÏÏÏÀÏÏÏÏÀÏÏÏÏÀÏÏÏÏÀÏÏÏ ÀÏÏÏÏÀÏÏÏÏÀÏÏÏÏÀÏÏÏÏÀÏÏÏ ÀÏÏÏÏÀÏÏÏÏÀÏÏÏ Ï
3 > > > > > > > > > > > > > > > > > > > > > > > >
ÀÏÏÀÏÏÀÏÏÀÏÏÀÏÏÀÏÏÀÏ ÏÀÏÏÀÏÏÀÏÏÀÏÏÀÏÏÀÏÏÀ ÏÏÀÏÏÀÏÏÀÏÏÀÏÏÀÏÏÀÏÏ ÀÏÏÀÏÏÀÏÏÀÏ ÅÎ Å
/ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
4 > > > > > > > > > > > >
ÅÎ Å
/ ÀÏÏÏÏÏÏÏÀÏÏÏÏÏÏÀÏÏÏÏÏÏÀÏ ÏÏÏÏÏÀÏÏÏÏÏÏÏÏÀÏÏÏÏÏÏÀÏÏ ÏÏÏÏÀÏÏÏÏÏÏÀÏÏÏÏÏÏÀÏÏÏÏÏ ÏÏÀÏÏÏÏÏÏÀÏÏÏÏ Ï
5 > > > > > > > > > > >
ÀÏÏÏÏÏÏÀÏÏÏÏÏÏÀÏÏÏÏÏ ÏÀÏÏÏÏÏÏÀÏÏÏÏÏÏÀÏÏÏÏ ÏÏÀÏÏÏÏÏÏÀÏÏÏÏÏÏÀÏÏÏ ÏÏÏÀÏÏÏÏÏÏÀ ÅÎ Å
6 > > > > > > > > >

ÀÏÏÏÏÏÏÏÀÏÏÏÏÏÏÏÀÏÏÏ ÏÏÏÏÀÏÏÏÏÏÏÏÀÏÏÏÏÏÏÏ ÀÏÏÏÏÏÏÏÀÏÏÏÏÏÏÏÀÏÏÏ ÏÏÏÏÀÏÏÏÏÏÏ ÅÎ Å
7 > > > > > > > >

ÀÏÏÏÏÏÏÏÏÀÏÏÏÏÏÏÏÏÀÏ ÏÏÏÏÏÏÏÀÏÏÏÏÏÏÏÏÀÏÏÏ ÏÏÏÏÏÀÏÏÏÏÏÏÏÏÀÏÏÏÏÏ ÏÏÏÀÏÏÏÏÏÏÏ ÅÎ Å
8 >> > >> > >> > >> > >> > >> > >> > >> > >> > >> > >
Å Å
/ ÀÏÀÏÏÏÀÏÏÀÀÏÏÏÏÀÏÀÀÏÏÏÏÀ ÏÏÀÀÏÏÏÏÀÏÀÀÏÏÏÏÀÏÀÏÀÏÏÏ ÀÏÏÀÀÏÏÏÏÀÏÀÀÏÏÏÏÀÏÏÀÀÏÏ ÏÏÀÏÀÀÏÏÏÏÀÏÏÀ ÏÎ
9 > >>> > >>> > >>> > >>> > >>> > >>> > >>> >
Å Å
/ ÀÏÏÏÀÀÀÏÏÏÏÏÀÏÏÏÀÀÀÏÏÏÏÏ ÀÏÏÏÀÀÀÏÏÏÏÏÀÏÏÏÀÀÀÏÏÏÏÏ ÀÏÏÏÀÀÀÏÏÏÏÏÀÏÏÏÀÀÀÏÏÏÏÏ ÀÏÏÏÀÀÀÏÏÏÏÏÏÀ ÏÎ
10 >> >> >> > > >> >> >> >> >> >> >> >>
Å Å
/ ÏÏÀÀÏÏÏÏÏÀÀÏÏÏÏÏÀÀÏÏÏÏÏÀ ÀÏÏÏÏÏÀÏÀÏÏÏÏÏÀÀÏÏÏÏÏÀÀÏ ÏÏÏÏÀÀÏÏÏÏÏÀÀÏÏÏÏÏÀÏÀÏÏÏ ÏÏÀÀÏÏÏÏÏÀÀÏÏÏ ÏÎ
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25
PROGRESSIVE STUDIES
11 > > > > >> > > > >> > > > >> > > > >> > > > >> > > > >> >
Å Å
/ ÏÀÏÏÀÏÏÏÀÏÀÏÏÀÀÏÏÀÏÏÏÀÏÀ ÀÏÀÏÏÀÏÏÏÀÏÀÏÏÀÀÏÏÀÏÏÏÀÏ ÀÏÏÀÀÏÏÏÀÏÏÀÏÏÀÏÀÀÏÏÏÀÏÏ ÀÏÏÀÏÀÀÏÏÏÀÏÏÏ ÏÎ
12 >>>> >>>> >>>> >>> > >>>> >>>>

Å Å
/ ÏÀÀÀÀÏÏÏÏÏÏÏÏÏÏÀÀÀÀÏÏÏÏÏ ÏÏÏÏÏÀÀÏÀÀÏÏÏÏÏÏÏÏÏÏÏÀÀÀ ÀÏÏÏÏÏÏÏÏÏÏÀÀÏÀÀÏÏÏÏÏÏÏÏ ÏÏÀÀÀÀÏÏÏÏÏÏÏÏ ÏÎ
13 >> > >> >> > >> >>>> > > > > > > > > >>>> >
Å Å
/ ÏÏÀÀÏÏÏÏÏÀÏÏÏÀÀÏÏÏÏÏÀÀÏÏ ÀÏÏÏÏÏÀÏÀÏÏÏÏÏÀÀÀÀÏÏÏÏÀÏ ÀÏÏÀÏÏÀÏÏÏÀÏÏÏÀÏÏÀÏÏÏÀÏÏ ÏÏÏÏÀÀÀÏÀÏÏÏÏÀ ÏÎ
14 > > > > > >>> > > > > > > >>>>
Å Å
/ Ï Ï ÏÏÏÏÏÀÏÏÏÏÏÏÏ ÏÏÏÀÏÏÏÏÏÏÀÏÏÏÀÀÀÏÏÏÏÏÀÏ ÏÏÏÏÀÏÏÏÏÏÀÏÏÏÏÏÀÏÏÏÀÏÏÏ ÏÏÏÀÏÏÏÏÏÀÀÀÏÀ ÏÎ
ÀÏÏÏÏÏÏÏÀ
15 >> >> > > > >>> >>> >>> >>> >> >> >> > > > >
Å Å
/ ÏÏÏÀÀÏÏÏÏÀÀÏÏÏÏÀÏÏÀÏÏÀÏÏ ÏÏÏÏÀÀÀÏÏÏÏÏÏÏÀÀÀÏÏÏÀÀÀÏ ÏÏÀÀÀÏÏÏÏÀÀÏÏÏÀÀÏÏÀÏÀÏÏÀ ÀÏÏÏÀÏÀÏÏÏÏÏÏÏ ÏÎ
16 > > > > >> >> > > > > > > >> >> >>
Å Å
/ ÏÏÏÏÏÏÏÏÏÀÏÏÏÏÀÏÏÏÏÏÏÏÏÀ ÏÏÀÏÏÀÏÀÏÏÏÏÏÏÏÏÏÀ ÀÏÏÏÏÀ ÀÏÏÏÏÀÏÏÏÀÏÏÀÏÏÏÏÀÏÏÏÏÀÀ ÀÏÀÏÏÏÏÏÏÏÀÏÏÀ ÎÏ
17 > > > > > > > > > > > > > > >>>> > > > >>>
Å Å
/ ÀÏÏÏÏÏÏÀÏÏÏÏÏÀÏÏÏÀÏÏÏÏÀÏ ÏÏÏÀÏÏÏÏÀÏÏÀÏÏÏÀÏÏÀÏÏÏÀÏ ÀÏÏÀÏÀÏÏÀÀÀÀÏÏÏÏÏÏÏÏÀÏÏÏ ÏÏÀÏÀÏÏÏÏÏÀÀÏÀ ÏÎ
18 > >> > >> > >> >>>> > >> > > > >>
Å Å
/ ÏÏÀÏÀÀÏÏÏÏÏÏÏÏÏÀÏÏÏÏÀÀÏÏ ÏÏÀÏÀÀÏÏÏÏÏÏÏÏÏÏÀÀÀÏÀÀÏÏ ÏÏÏÏÏÏÏÏÏÀÏÏÏÏÏÀÀÏÏÏÏÀÏÀ ÏÏÏÏÏÀÏÏÏÀÀÏÏÏ ÏÎ
19 > > >>>>> >> >>> >>>>> >> > >>> >>> >>> >>> >
Å Å
/ ÀÏÏÏÏÏÀÏÏÏÀÀÏÀÀÀÏÏÏÏÏÏÀÀ ÀÏÀÀÏÏÏÏÏÏÀÀÀÏÀÀÏÏÏÏÏÏÀÀ ÀÏÏÏÏÀÀÏÀÏÏÏÀÏÀÀÏÏÏÏÀÀÀÏ ÏÏÏÀÀÀÏÏÏÏÏÀÏÏ ÏÎ
20 >>> >>> >>> >> > >>> >>> >>> > > >> >> >>
ÀÀÀÏÏÏCDI
ÀÀÀÏÏÏÀÀÀ ÏÏ ÏÀÀ ÀÏÏÏÀÀÀÏÏÏÀÀÀÏÏÏÀÀÀÏ ÏÏÏÏÏÏÏÏÀÏÏÏÀÏÏÏÏÀÀÏ ÏÏÀÀÏÏ ÏÏ ÏÀÀ ÅÎ Å
/ Ï©2000Ï Publications
Ï Ï FOUNDATIONS
Ï Ï ÏIN GROOVE Ï TIMEÏ TRAVELERS
Ï Ï Ï
www.drumgalaxy.ru
26
PROGRESSIVE STUDIES
21
Å Å
/ ÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏ ÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏ ÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏÏ ÏÏÏÏÏÏÏÏÏÏÏÏÏÏ ÏÎ
22
Å Å
23
Å Å
24
Å Å
25
Å Å
26
Å Å
27
Å Å
28
Å Å
29
Å Å
30
ÅÎ Å
/ ÏÏ©2000
ÏÏÏÏÏCDI
ÏÏÏÏÏÏÏÏÏÏÏÏ
Ï Publications ÏÏ ÏÏÏ
Ï Ï FOUNDATIONSÏÏÏÏÏÏÏÏÏÏÏÏ
Ï Ï Ï IN GROOVEÏÏÏÏÏ ÏÏÏÏÏÏÏÏÏÏÏ
Ï ÏTIME TRAVELERSÏÏÏÏÏÏÏÏÏ
Ï Ï Ï By: GeorgeÏÏÏÏÏÏÏÏÏÏ
Ï Shepherd
Ï Ï ÏÏ
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27
PROGRESSIVE STUDIES
a linear approach “SEPTUPLETS”
1> > > > > > > >
¡. À ÏÏÏÏÏÏÀ ÏÏÏÏÏÏÀ ÏÏÏÏÏÏÀ ÏÏÏÏÏÏ À ÏÏÏÏÏÏÀ ÏÏÏÏÏÏÀ ÏÏÏÏÏÏÀ ÏÏÏÏÏÏ
/ ¢.
> > > > > > >

/ À Ï Ï Ï Ï Ï Ï À Ï Ï Ï Ï Ï Ï À Ï Ï Ï Ï Ï Ï À Ï Ï Ï Ï Ï Ï À Ï Ï Ï Ï Ï Ï À Ï Ï Ï Ï Ï Ï À ä. Î ä. ..
>
2 > > > > > > > > >
/ À Ï ÏÏÏ ÏÀ Ï ÏÏÏ ÏÀ ÏÏ ÏÏÏ À ÏÏ ÏÏÏ À ÏÏ Ï ÏÏ À ÏÏ ÏÏÏ À ÏÏ ÏÏÏ À ÏÏÏ ÏÏÀ ÏÏÏ ÏÏÀ Ï
> > > > > > >

/ Ï Ï Ï Ï À Ï Ï Ï Ï Ï À Ï Ï Ï Ï Ï À Ï Ï Ï Ï Ï À Ï Ï Ï Ï Ï À Ï Ï Ï Ï Ï À Ï Ï Ï Ï Ï À Ï Ï ä. Î ä.
>
3 > > > > > > > > > >
/ À Ï ÏÏÏ À ÏÏ ÏÏÀ ÏÏÏÏ À ÏÏ ÏÏÀ ÏÏÏ ÏÀ Ï Ï ÏÏ À ÏÏ ÏÏÀ ÏÏÏ ÏÀ Ï ÏÏÏÀ ÏÏÏ ÏÀ Ï ÏÏÏ À
> > > > > > > >

/ Ï Ï Ï Ï À Ï Ï Ï Ï À Ï Ï Ï Ï À Ï Ï Ï Ï À Ï Ï Ï Ï À Ï Ï Ï Ï À Ï Ï Ï Ï À Ï Ï Ï Ï À Ï Ï Ï ä. Î ä.
> > > > > > >

4 > > > > > > >
/ À Ï ÏÏÀ ÏÏÏ À ÏÏ ÏÀ ÏÏ ÏÀ Ï ÏÏÀ ÏÏÏ À ÏÏ Ï À Ï ÏÏÀ ÏÏÏ À ÏÏ ÏÀ Ï ÏÏÀ Ï ÏÏÀ ÏÏÏ À ÏÏ Ï
> > > > > > > > > > >
/ À Ï Ï Ï À Ï Ï Ï À Ï Ï Ï À Ï Ï Ï À Ï Ï Ï À Ï Ï Ï À Ï Ï Ï À Ï Ï Ï À Ï Ï Ï À Ï Ï Ï À Ï Ï ä. Î ä.
> > > > > > > > > > > > > > > > > > >
5
/ À Ï ÏÀ Ï ÏÀ Ï ÏÀ Ï ÏÀ ÏÏ À ÏÏ À ÏÏ À ÏÏ À ÏÏ À ÏÏ À ÏÏ À ÏÏ À ÏÏ À ÏÏ À ÏÏÀ ÏÏÀ ÏÏÀ ÏÏÀ Ï
> > > > > > > > > > > > > >
/ Ï À Ï Ï À Ï Ï À Ï Ï À Ï Ï À Ï Ï À Ï Ï À Ï Ï À Ï Ï À Ï Ï À Ï Ï À Ï Ï À Ï Ï À Ï Ï À Ï Ï ä. Î ä.
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28
PROGRESSIVE STUDIES
>>>>>>>>>>>>>> >>>>>>>>>>>>>>
6
/ À Ï À ÏÀ ÏÀ Ï À ÏÀ ÏÀ ÏÀ ÏÀ Ï À ÏÀ ÏÀ Ï À ÏÀ Ï À Ï À ÏÀ ÏÀ Ï À ÏÀ ÏÀ Ï À ÏÀ Ï À ÏÀ ÏÀ Ï À ÏÀ Ï
> > > > > > > > > > > > > > > > > > > > > >
/ À Ï À Ï À Ï À Ï À Ï À Ï À Ï À Ï À Ï À Ï À Ï À Ï À Ï À Ï À Ï À Ï À Ï À Ï À Ï À Ï À Ï À ä. Î ä.
> >> >> >> >> >> >> > > >> >> > >> >> >> >
7
/ À Ï ÏÀ À ÏÏÀ À ÏÏ À À ÏÏ À À Ï ÏÀ À ÏÏÀ À ÏÏ À À Ï ÏÀ À ÏÏÀ À ÏÏ À ÏÏ À À ÏÏ À À Ï ÏÀ À ÏÏÀ Ï
>> >> >> >> >> >> >> >> >> >> >>
/ Ï À À Ï Ï À À Ï Ï À À Ï Ï À À Ï Ï À À Ï Ï À À Ï Ï À À Ï Ï À À Ï Ï À À Ï Ï À À Ï Ï À À ä. Î ä.
> > >> >> > > >> >> > >> >> > > >> >> > > >> >
8
/ À Ï ÏÏÀ ÏÀ À ÏÀ À ÏÏÏÀ ÏÀ Ï À À Ï À À Ï ÏÏÀ Ï À À ÏÀ À ÏÏÏ À ÏÀ ÏÀ À ÏÀ À Ï ÏÏÀ ÏÀ Ï À À Ï À
> > > >> >> > > >> >> > > >> >> > >
/ À Ï Ï Ï À Ï À Ï À À Ï À À Ï Ï Ï À Ï À Ï À À Ï À À Ï Ï Ï À Ï À Ï À À Ï À À Ï Ï Ï À Ï À ä. Î ä.
9 >> >> > >>> > > > >> >> >> >> >> > >
/ ÏÏ À ÏÀ ÏÏÏ ÏÀ À ÏÏÀ Ï ÏÀ À À ÏÏ ÏÀ Ï ÏÀ Ï Ï ÏÀ ÏÀ À ÏÏÀ À ÏÀ À ÏÏ À À ÏÏ ÏÀ À ÏÏÀ ÏÏÀ Ï
> > > >>> >> > > > >> > >>>>
/ À Ï Ï À Ï À Ï Ï Ï Ï À À À Ï Ï Ï À À Ï Ï Ï À Ï Ï Ï À Ï À Ï Ï Ï Ï À À Ï Ï À Ï Ï À À À À ä. Î ä.
10> > >>> > >>> > > >> > > >> >> >> >>
/ ÏÀ ÏÀ Ï À À À ÏÏÀ ÏÏÏÏ À À À ÏÀ Ï ÏÏÏ ÏÏÏ Ï ÏÏ ÏÀ Ï À À Ï ÏÏÀ ÏÏÀ ÏÀ À Ï ÏÀ À ÏÀ À ÏÀ À Ï
>> > >> >> > > > >> >> >
/ Ï À À Ï Ï Ï Ï Ï Ï À Ï Ï À À Ï Ï Ï Ï À À Ï Ï Ï À Ï À Ï Ï À Ï Ï À À Ï Ï Ï À À Ï Ï Ï À Ï ä. Î ä.
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29
PROGRESSIVE STUDIES
11
/ ÏÏ ÏÏÏ ÏÏÏ ÏÏÏ ÏÏÏÏ ÏÏÏ ÏÏÏ ÏÏÏ ÏÏÏ Ï ÏÏ ÏÏÏ ÏÏÏ ÏÏÏ ÏÏÏ ÏÏÏÏ ÏÏÏ ÏÏÏ ÏÏÏ Ï
/ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ä. Î ä.
12
13
14
15
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30
PROGRESSIVE STUDIES
a rudimental approach
Congratulations! You have completed some of the most challenging material that you may ever
come across. Because you had the patience and perseverance to stick through this material, you
have gained the proper foundation for further study. Next, we will be introducing the rudimental
approach to the Progressive accent exercises. In Book 3, we will further explore the practical
application of these progressive studies to modulation, embellishments, polyrhythms and the
creating of Poly Time.
Through the previous studies, you should have begun to think of other possibilities and applications
of this material. The goal here is not to ”spoon feed” you all this information, but to help you to
develop the state of awareness that will allow you to progress far beyond this material and create
new material of your own. There are no limits to your capabilities! Create, Explore, Dissect and
Redene what you can give back to drumming and humanity.
Truly enlightened societies are dened by their artists, of which you are. What type of world do
you want to help create?
Formula #1 (FLAMS)
Starting with the Progressive Triplets pages, play each pattern as written and substitute Flams
where the accents are placed. Alternate the sticking. Once you have completed the triplet note rate,
progress with the same formula through the remaining accent pages. Make sure to play each phrase
as cleanly as possible.
> > > >> > > > > > > > > >>
À ÏÏ ÏÏ À Ï ÏÏÏ À ÏÏÏ ÏÏ ÀÏ À ÏÏÏ À ÏÏÏÏ ÀÏ À Ï ÏÏÏ À ÏÏÏÏÞÀ ÏÏÞÀ ÏÏÏÞÀ ÏÞÀ ÏÏÞÀÏÞÀ ÏÏÏ. Î.
j j j j Þj j j Þj j j j j j j j
ÏÞ Þ Þ Þ Þ Þ Þ
/ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ
Formulas #2 (DIDDLES)
Using the same Progressive pages, play each pattern as written but susbtitute a diddle where each
accent is placed. (A diddle is a double stroked note.)
> > > >> > >> > > > > > >>
3⁄4ÏÏ Ï À3⁄4Ï ÏÏ À3⁄4ÏÏÏ
À 3⁄4 3⁄4
ÏÏ À À ÏÏ 3⁄4
À ÏÏÏ 3⁄4
À 3⁄4
À Ï ÏÏ 3⁄4ÏÏÏ À3⁄4Ï À3⁄4ÏÏ À3⁄4 À3⁄4Ï À3⁄4À3⁄4ÏÏÏ. Î.
À
/ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
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31
PROGRESSIVE STUDIES
a rudimental approach
Formula #3
Now that you have worked through the Progressive accents pages using ams and diddles, we can
put them together to create am taps. In place of the accents, play alternating am taps.
> > > >> > > > > > > > > >>
3⁄4À ÏÏ ÏÏÞjÀ3⁄4Ï ÏÏÏÞjÀ3⁄4ÏÏÏ ÏÏÞjÀ3⁄4ÏÞjÀ3⁄4ÏÏÏÞjÀ3⁄4ÏÏÏÏÞjÀ3⁄4ÏÞjÀ3⁄4Ï ÏÏÏÞjÀ3⁄4ÏÏÏÏÞjÀ3⁄4ÏÏÞjÀ3⁄4ÏÏÏÞjÀ3⁄4ÏÞjÀ3⁄4ÏÏÞjÀ3⁄4ÏÞjÀ3⁄4ÏÏÏ. Î.
j
ÏÞ
/ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ
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32
CREATING THE VEHICLE
Why is it that most people give up on their grandest dreams?
Since my birth, I have felt a force that I cannot explain. It has guided me to the answers that I so
desperately sought. There have been far too many holes in all that I have been taught to blindley
accept as truth. For many years, I have been told to ignore what I felt in my heart and to accept
another person’s beliefs as my own for fear of terrible repercussions.
I have tried to study, as best as I could, the laws of success and the laws that govern reality as we
know it in order to dene this feeling that has followed me. What I found is that nearly all of these
laws require a certain mind set or state of perception. If we are to create a vehicle to carry us to
the destinations we wish to reach, we must rst examine the way we perceive life and what we
perceive as reality.
Do you have control of the events that shape your being? Can you attract what you want by just
visualizing it? Is your destiny dictated to you from a higher being or force?
These are questions that we all have thought about to some extent. Or at least I have. Regardless
of personal opinion, to discredit an idea or theory, you must rst honestly give it a chance or at
least explore the possibility of it being possible. Otherwise you risk joining the fraternal order of
the Ignorant masses.
Here are some of the thoughts and ideas that have shaped my life and that I believe to be some of
the natural laws that govern success.
To create a series of events in your life, you must use two natural laws that I will call visualization
laws. First you must see yourself in the desired situation. Pay particular attention to how you feel
in this zone. Visualizing your goals will help attract the desired event to you.
“Like attracts like”. I’m sure you all have heard that phrase used before in some context. Energy
cannot be created nor destroyed. This has been proven by science. Because you are putting energy
into your thought, when you release it will seek out whatever you desire and return it to you. One
very important thing to think about is the golden rule while exploring this law. “Do unto others as
you would have them do unto you!”
If you are trying to affect someone else negatively or for your own selsh gains, be prepared for
you thoughts to come back to you with serious repercussions. You will receive 10 fold what you
ask for. Make certain you are expressing love and sincerity when using this law. If you always
approach life and the future with love and compassion, all doors will be open to you.
The next visualization law is to look within yourself for what you desire. Now what I mean by
“look within yourself”, is not to look to an outside force for what you want, but to seek the divinity
that lies within each of us to produce what you desire. “Ask and you shall receive.”
www.drumgalaxy.ru
33
CREATING THE VEHICLE
We are all connected by a force that we cannot see, taste or touch. This force is very similar to the
force mentioned in the motion picture Star Wars. It dwells within everyone and everything that
surrounds us. When you look or pray deep within yourself, imagine the energy for your desired
thought leaving you and becoming part of the universe until the energy seeks out its desired
destination and returns with it. The idea that you will be looked after and will always be given what
you need, completely liberates us from all fear.
I have attached a recommended reading list to the end of this text. Most people skim through such
lists and never research the material for themselves. It is easier to take a glance and quickly classify
recommended material as not intended for me, rather than taking the time to nd out for yourself
if the material truly holds a greater wisdom. Please take to time to check into these things, for your
own benet. You are cheating yourself if you don’t!
Recommended Reading:
Conversations with God Vol. 1,2 & 3, by Neale Donald Walsch
An Ascension Handbook, by Tony Stubbs
Life and Teachings of the Masters of the Far East Vol. 1-6, by Baird T. Spalding
Ageless Body, Timeless Mind, by Deepak Chopra
www.drumgalaxy.ru
34
BEYOND THE PHYSICAL
There is a land beyond what we can see, smell, taste and touch. The only way you can know of this
place is to feel it in the pit of your soul. Each time you do something for someone else, out of the
kindness of your heart, you stand momentarily in the glory of this place.
This place has many names! It has been spoken of and written about since the beginning of time.
We, as artists, have tried to depict its beauty in our paintings, photographs, lyrics and music. At the
same time that humanity is slowly moving away from this sacred place, there is a small group of
enlightened individuals that are discovering it all over again. It is up to this group to remind others
of what we have lost and how to nd it again.
Because we are all smaller parts of a bigger picture, you are directly responsible for what this
picture depicts. Each individual is just as important to the survival of the next. To create and
explore the boundaries of what we perceive as real, allows us to move closer to this mythical
place.
I ask of you to create, anew, this world that we are living in. Push the boundaries of what we have
been taught. Discover new worlds and live in harmony with them. Become a part of the future,
and step out from under the past! We do not reside in the land of the physical, but the land of the
limitless!
This place is our true home. If you are not taking a step forward each day, you are taking a step
backward.
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35
REAL OR SURREAL
What is real? Do you think that the book you are holding is real? Is it a solid object? What denes
some thing as real or solid?
All objects are made up of matter. Matter is made up of atoms. Atoms are made up of protons,
neutrons and electrons. Protons, neutrons and electrons are made up of what? Energy, right!
Is energy solid? Not necessarily. Can you hold energy in your hands? Can you ip through its
pages? If matter and energy are the same or made up of the same stuff, then matter might not be
solid or even real if you classify solid objects as real.
What makes you think that you are actually looking at this book? If matter and energy are the
same, your eyes must be reading the energy of this text. Ready for this?
What is death? The medical denition of death is when the electrical impulses in your body cease
to exist. Didn’t Einstein prove that energy could neither be created nor destroyed? Well then, when
you die, where does the energy go? Hmmmm…
Back to the fact of the Matter… Take the distance from the tip of your drumstick to the butt end.
You may not perceive this as a very long distance, but to a child the stick might be too long to
comfortably control. How about this same distance, but from the perspective of an ant? Or even
an atom?
If atoms are made up of 99% space, then the book you are holding is not solid at all. In fact, since
your hand is ultimately made up of atoms, which are also made of 99% space, why doesn’t your
hand pass through the book?
The reality is that you have been programmed to accept limitations as true and unchangeable. You
can mold the world around you to your own reality by altering your perspective. You are a citizen
of a limitless nation…
All things are possible! Is it that difcult to believe in yourself? If you can’t see the divinity in
yourself, how can you expect to see it anywhere else? Do you want this bad enough? What are you
willing to go through to get what you desire? What would you think if I told you that you could
get all you desire without having to go through anything?
Accept that you have already acquired what it is you desire and it will seek you. If you have any
doubt, the doubt will kill the condence you need to achieve or aquire what you desire.
Remind yourself daily of your innite and limitless possibilities and you will become the truly
limitless being that you are!
www.drumgalaxy.ru
36
A PARADIGM FOR THE NEW

MILLENNIUM
The past century has brought us countless masters in the art of drumming and the art of living.
These teachers have redened the way we think about rhythm, music and the world around us.
Although many of these teachers have come and gone in what has seemed to be the blink of an eye,
they have forever left an impression on all who were to come after them. Because time and our
collective awareness are rapidly changing, we must be one with the ow of new ideas, thoughts
and the challenging situations that lie ahead.
We have been blessed with a multitude of printed materials, videos, recordings and live study
situations. Have you heard the saying, “ You can’t see the forest, through the trees.” This phrase
directly applies to not being able to see drumming and the art in drumming through all the
rudiments and exercises that are presented to us throughout our lives. Now, I’m not saying that we
shouldn’t read and study all the material that we have available to us. That would be taking several
steps backwards in our evolution. But, I will make the observation, that as lifelong students, many
of us pick up little things from a multitude of very different materials without ever digging deep
enough into the process to become fully aware of the true wisdom of the text.
Recently, I discovered an interesting aspect in my understanding of the process of learning. While

reading a philosophical text, I had the experience of feeling as though I understood everything.
By everything, I mean EVERYTHING, life, love, destiny, past, present, and future. How Naive!
Anyway, I had the urge to put the book down without reading the closing thoughts, thinking that I
already knew what it was going to say. However, something told me to read on. So I did... I shortly
thereafter discovered the real meaning of the 1,000+ pages that I had been reading for the past 4
months. Only then, was I exposed to the texts greatest truth. I had actually been taken out of the
trees for a moment so that I might view the magnicence of the forest! It was then that I realized,
what I had been lacking in my perception of the process of studying. I had been rushing to get
out of the forest without taking the time to really study the complexity and beauty of the trees
surrounding me.
At present, I have seen the forest. I know now, that there are innite levels of understanding to be
experienced! It is up to you to decide just how knowledgeable you want to become.
As in the beginning of our studies we only observed the texture and the color of the immense
structures before us. Then slowly, we realized that it was a living tree we were admiring. Looking
around us we started to notice many other trees, all of which were unique to themselves. We
never realized that below us was a root system more complex and intertwined than our own
neural pathways and so imperative to the survival of the entire ecosystem. The level at which
we progressively become aware completely redenes the truths that we had previously held only
moments ago.
The trees are part of a forest, which is part of a landscape, which is part of a continent, which is
part of a planet, which is part of a solar system, which is part of a galaxy, which is part of a cluster
of galaxies, which are part of... Well, we’ll nd that out soon enough...
www.drumgalaxy.ru
37
A PARADIGM FOR THE NEW

MILLENNIUM
Now, those of you that haven’t stopped reading this will be introduced to this texts true wisdom. If
you are to continue to just pick up and skim the top of all the different materials that are available,
attempting to get past the trees as quickly as possible, you will never fully understand nor see
the true beauty in the simplicity of things. Also, you might never grasp the hidden lessons in the
material. It is within the journey of growth that we learn the secrets to living.
The student that is in such a rush to get out of the forest in order to progress to what they believe
is the next level, will only look back at the forest, never understanding the magnitude, complexity
and grand perfection of every square inch of interconnected life. Their awareness of the world
around them will be incomplete and distorted. Furthermore, for the rest of his or her life, that
individual will be expressing an inaccurate view of what they perceive the forest to be. Until that
student returns to admire the complexity and perfection of the smallest unit of the forest, his or
her words will have little or no truthful substance. It is through the process of learning that we
truly become enlightened. That means there are no shortcuts or magical secrets that will allow
you to bypass the experience of evolving as an independently creative being. Collectively, we will
progress far above our current comprehension of where we are headed. Study drumming and life
from this point of view and I promise that nothing will be unattainable ever again.... Seize the
Day...
www.drumgalaxy.ru
38
www.drumgalaxy.ru

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This book is dedicated to the memory of Ed Kaspik.

Copyright © 2000 George Shepherd

WARNING: Any duplication, adaptation or arrangement of the compositions

ALL RIGHTS RESERVED

Small Tom When a group of notes are close together and

New Displaced Pattern

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CREATING THE VEHICLE

Why is it that most people give up on their grandest dreams?

CREATING THE VEHICLE

Conversations with God Vol. 1,2 & 3, by Neale Donald Walsch

An Ascension Handbook, by Tony Stubbs

Ageless Body, Timeless Mind, by Deepak Chopra

BEYOND THE PHYSICAL

A PARADIGM FOR THE NEW

Recently, I discovered an interesting aspect in my understanding of the process of learning. While

A PARADIGM FOR THE NEW

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