Learn To Play Drums The Complete Drum Method Volume 1

Learn
to Play Drums
The Complete Drum Method Volume One
Essential Drum Techniques, Grooves, Fills, Patterns and Rhythms
Published by www.fundamental-changes.com
Copyright © 2018 Daryl Ingleton

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Contents
Learn to Play Drums
Contents
Introduction
How to Use This Book
Suggestions for Independent Studying
Repetition
What You Will Need:
Lesson One – Introduction to the Drum Kit
A Brief History of the Drum Kit
Standard Four-Piece Drum Kit Components
Setting up a Drum Kit – Body Ergonomics
Introduction to Grip Technique
Matched Grip
Hand and Arm Position
Application of Matched Grip
Striking a Drum
Lesson Two – Notation, Notes and Rests, Two Hand Playing, Foot Technique,
Two Voice Playing
Introduction to Music Notation
Notes and Rests
Drum Notation
The Percussion Clef
Time Signatures
Bars and Beats
Beats
Whole Notes, 1/2 Notes and 1/4 Notes
Rests
Two Hand Playing
Foot Technique
Playing on Two Voices
Playing on Two Voices with Multiple Notes
Lesson Three – 1/8th Notes and 1/8th Note Rhythms
1/8th note s
1/8th Note Sticking Exercise
1/8th Note Sticking Exercise on Two Voices
Two-Voice Playing With Multiple Notes
1/8th Note Rhythms
1/8th Note Rhythm Exercises
1/8th Note Rhythm Exercises on Two Voices
1/8th Patterns With Other Notes
Lesson Four – Hi-Hat Technique and Three-way Coordination
Hi-Hat Technique
Hi-Hat Technique
Multiple Note Notation
Two-way Coordination
Three-way Coordination
Three-way Coordination 1/8th Note Hi-Hat Pattern Exercises
Lesson Five – Repeat Signs, Backbeat, 1/8th Note Bass Drum Grooves
Repeat Signs
Example of Multiple Repetition
Drum Grooves
Backbeat With 1/8th Note Bass Drum Grooves
1/8th Note Bass Drum Grooves in 4/4
Two Bar Grooves
Lesson Six – 1/16th Notes, 1/16th Note Rhythms
1/16th notes
1/16th Note Stickings
1/16th Notes in Conjunction With Other Notes
1/16th Note Rhythm Notation
Beaming 1/16th Notes and 1/8th Notes Explained
Playing 1/16th Note Rhythms
1/16th Note Rhythms in Conjunction With Other Notes
Combining 1/16th Note Rhythms
Lesson Seven – Fills, Playing on the Toms
Drum Fills
Playing on Toms
Floor Tom
Moving Between Drums
Top Tom Playing
Floor Tom Playing
Moving Around the Kit
Playing Groove and Fills
Lesson Eight – Simile Marks, Fills of Different Lengths, Four-bar Phrasing
Simile Marks
Playing Simile Marks
Playing Fills of Different Lengths
One-, Two-, and Three-Beat Fills
Four-bar Phrasing Concept
Four-bar Phrasing
Lesson Nine – Ride Technique, Playing the Hi-Hat With the Foot, Four-way
Coordination
Ride Technique
Playing on the Ride
Two-Way Coordination Ride Playing
Three-way Coordination Ride Playing
Playing the Hi-Hat With the Foot
Four-way Coordination
Lesson Ten – Bar Line Notation, Crash Technique, Transitioning Between the
Hi-Hat and the Ride
Bar Lines
Crash Technique
Crash Playing
Groove Playing With The Crash
Ride Playing With The Crash
Four-way Coordination With Crash and Fills
Transitioning Between the Ride and the Hi-Hat
Introduction
Welcome to The Complete Drum Method Volume 1 . This is the first volume in a
two-book series that has been created to give new drummers a guided education
through drum technique, knowledge and playing concepts.
Each book contains ten lessons that will provide you with all the knowledge and
skills needed to grow your drumming understanding and playing ability.
My aim is that, upon completing these books, you will be armed with enough
skill and technique to get serious about a career in music.
I came up with the concept for these books while I was working professionally
on the London music scene. At the time, I was talking to and performing with
many other drummers of varied experience and training. Some had a high level
of training, others had limited training and some were completely self-taught.
All of them had lots of passion for what they were doing, but I noticed that only
the drummers with a high level of training had the technique and drumming
vocabulary to truly express themselves.
When I talked to drummers who were self-taught, they would generally enquire
about the techniques and concepts I was using – which I gladly shared. I would
usually encourage them to take lessons or pursue studying through a music
school, but there were often financial barriers to this. As an alternative, I would
recommend books or online tuition videos. The usual response to this was that
they felt overwhelmed by the sheer volume of online tuition that was available
and didn’t know where to begin.
This is when I decided to create these books, to give drummers a comprehensive
knowledge of the essential techniques and concepts in a guided environment. By
the time you’ve completed these lessons, my hope is that you’ll have the
drumming vocabulary to express yourself on your instrument, regardless of the
style of music you love to play. The path to becoming a great drummer is long,
but it is incredibly worthwhile.
Get The Audi o
The audio files for this book are available to download for free from
www.fundamental-changes.com and the link is in the top right corner. Simply
select this book title from the drop-down menu and follow the instructions to get
the audio.
We recommend that you download the files directly to your computer, not to
your tablet and extract them there before adding them to your media library. You
can then put them on your tablet, iPod or burn them to CD. On the download
page there is a help PDF and we also provide technical support through the form
on the download page.
We spend a long time getting the audio just right and you will benefit greatly
from listening to these examples as you work through the book. They’re free, so
what are you waiting for?!
Head over to www.fundamental-changes.com and grab the audio files now.
If you’re reading this book on an eReader, double-tap each image to enlarge

it. It helps to hold the eReader in landscape mode and turn off column
viewing.
How to Use This Book
This book is divided into ten lessons. Each begins with a lesson plan explaining
the lesson’s objectives and how they will be achieved. They are organised to
give you information about theory and playing through exercises and repetition.
If you are a beginner…
Work through each lesson one at a time. Start by reading the lesson plan.
Understand what the objectives are and how they will be achieved. Then work
through the lesson. When you have finished one lesson, make sure you rehearse
and practice all you’ve learned before moving on to the next.
If you are already a drummer…
Read through the book from beginning to end, focusing on the parts that cover
material that is new to you. Read the text and practice the exercises in these
parts. Ensure that you rehearse the material well before you continue to the next
lesson.
If you are a tutor teaching from this book…
Read the entire book. Ensure that you are familiar with every aspect of the
content before you begin teaching it yourself. You can use this book as a
curriculum, but you will have to gauge the level of your student and adapt it
accordingly.
Right- or Left-handed…
This book series is written for the right-handed player. If you are left-handed you
have two choices:
It is possible to use this teaching just as it is presented and learn the drums as a
right-handed player. Alternatively, you will need to invert the information. In
other words, every time a RIGHT is indicated, you will play a LEFT – and vice
versa.
Remember that you will get out of this book what you put into it. Work steadily
through the lessons, complete the tasks, and keep an eye on the tips and
suggestions. Keep in mind that one of the key tools in learning an instrument is
repetition.
Suggestions for Independent Studying
Schedule Your Practice

Scheduling practice time is very beneficial for learning an instrument. I
recommend that you allocate yourself set time slots during the week for your
practice sessions. You don’t have to follow a rigid regime if you don’t want to,
but make sure you allow yourself time to rehearse, practise and continue your
development.
Playing Proficiency
Don’t be tempted to skip the text in each lesson – it contains valuable
information needed to understand that lesson. If you skim over it, you
will be missing out on necessary knowledge
If you are struggling to play something, break it down into smaller
parts. Learning the vocabulary of drums is similar to learning to
pronounce a new word. Break it down into its syllables. Do this with
all the drum parts you find difficult
Play slowly. It is important to play slowly when encountering new

ideas. Playing at a slower tempo allows you to truly understand the
task at hand. When you are comfortable at a slower tempo, only then
increase to a faster one. You cannot play something fast if you cannot
play something slow!
Play in front of a mirror. This will help you to analyse your body
movements and position. It will help to ensure that your posture is
correct and your movements are symmetrical
Record yourself. If you own any type of recording device, such as a
video camera, tape recorder, mobile phone etc., then record your
playing. Play it back and listen to it. This is a great way to analyse
your playing and keep a record of your progression
Reading and Writing Notation Proficiency

Pay attention to all the information regarding notes in this book
Practise writing notes by copying the exercises in this book
Repetition
You will achieve a higher level of proficiency in drumming if you
repeat the exercises and drum phrasing as often as possible. It doesn’t
always have to be on a drum kit – you can use a practice pad or even
tap on your legs
Listening
It is important to listen to music as often as possible. As your
drumming knowledge grows you will be able to analyse what the
drummer is doing on a record. This will give you new ideas and open
the door to more playing possibilities.
What You Will Need:
Standard Four-Piece Drum Kit
This includes:
Snare drum
Bass drum
Top tom
Floor tom
Hi-Hat
Ride
Crash
Drum stool
Hardware for these elements
Sticks
There are many sticks on the market; find a pair that you find comfortable to
hold.
Practice Pad
These are usually round and made of rubber. The practice pad is designed for
quieter practise.
Music Stand
This is for holding your music, so you can play and read easily.
Digital Metronome
Use this to practise your time keeping.
Lesson One – Introduction to the
Drum Kit
Lesson Overview
Lesson one is an introduction to the drum kit and the basic elements of how to
play. We will begin with a brief look at the history of the drum kit and how it
came to be standardised in its modern form. We’ll look in detail at every
component of the kit, examining its musical role in drumming. Then, I will
explain how to set up the kit in relation to your body.
Once you’re set up, I’ll demonstrate how to grip the sticks and how to apply grip
technique to your playing. This is a fundamental building block of solid
drumming. Finally, I’ll show you some simple exercises to get you using the
drum kit the right way.
What are you waiting for? Let’s dive in!
A Brief History of the Drum Kit
The drum kit that we know and love today did not just simply appear. Its roots
can be traced back over 150 years and evolved out of military and orchestral
percussion. These styles of music feature bass drums, snare drums and cymbals,
but instead of being played by a single drummer, there is one percussionist for
each instrument. It wasn’t until the mid 1800s, in theatre and stage shows, that
percussionists began experimenting with playing multiple drums.
Due to limited budgets in shows and bands it was unaffordable to hire several
percussionists. As a result, percussionists had to work out how to play multiple
parts at the same time, which led to a technique known as double drumming
(where a percussionist plays the snare and the bass with their hands at the same
time). This was the first step towards the development of the drum kit. Double
drumming became widespread in theatre and popular music and was used up to
the early 1900s. During this time players also experimented by adding other
elements to their double drum set up, such as wood blocks, cowbells and small
cymbals.
In the early 1900s the drum kit had a big breakthrough in the form of the bass
drum pedal. There had been earlier attempts to construct a pedal, but none
matched the impact of the 1909 release of the Original Ludwig Pedal . This
allowed drummers to play the bass drum with their foot, giving them more
freedom with their hands and enabling them to create more complicated
rhythms.
The next advancement in the drum kit was the Snowshoe , a pre-cursor to the hi-
hat. This was a pair of shoe-shaped boards, attached together with a spring-
loaded hinge, with small cymbals attached to the end of each board. When the
percussionist pressed down on the top board with their foot, the cymbals struck
each other. Despite its crudeness, the Snowshoe added a whole new dimension of
playing possibilities.
Other companies quickly copied and elaborated on the Snowshoe and soon the
Low-Boy was invented. The Low-Boy looked very similar to the modern hi-hat,
but was only about ten inches tall. It was very popular and soon drummers began
to experiment by playing it with their hands. This created a demand for taller
Low-Boys and so in the early 1920s the hi-hat was invented.
Up until the 1930s, drums were mostly used for time keeping and sound effects.
Many drummer’s setups were so large and diverse with percussive instruments
that the drum kit was referred to as the contraption ! However, this was all about
to change .
During the 1930s, big band music rose to popularity and the drum kit played a
large role in this sound. One of the key drummers of the time was Gene Krupa.
He moved the drum kit from the back of the stage and put it under the spotlight.
His ideas and playing style helped to create the modern drum kit. Krupa stripped
his kit of all extra percussive instruments and concentrated on the bass drum,
snare drum, toms, and cymbals. This became known as the stripped-down kit
and, because of Krupa’s popularity, soon became the standard set up.
Gene Krupa also worked with his drum company to help create the first tuneable
toms. Up until this point, toms were based on traditional Chinese toms, made
from non-tuneable skins pinned onto wooden shells. The new tuneable toms
quickly replaced the traditional Chinese-style toms.
Krupa also collaborated with the Zildjian Cymbal Company to develop the
modern hi-hat cymbals and helped standardise the roles and names of the ride,
crash and splash cymbals. He also developed many techniques and ways of
playing that soon became standard.
The modern drum kit has now come into existence, consisting of the stripped-
down kit, hi-hats, bass drum pedal, tuneable toms and standardised cymbals.
Since this time, manufacturers have continued to refine the drum kit’s aesthetics
and functionality, and drummers have continued to develop new techniques and
ways of playing. From the original double drummers to the drummers of today,
the drum kit has undergone a long evolution and has become a prolific
instrument which has permeated most musical genres and styles.
Standard Four-Piece Drum Kit Components
The term four-piece drum kit refers to the number of drums in the kit: snare, bass
drum, top tom and a floor tom. It typically has three cymbals – hi-hat, ride and a
crash. It also comprises the hardware needed to hold its components. The four-
piece kit is the standard upon which all kit setups are based, and all drum
notation is based on this setup.
Over the next few pages you will see names of the components of the four-piece
drum kit and what makes up these components. Numerous other components
could be added to the standard setup, but this book series focuses on the standard
four-piece drum kit setup with three cymbals.
Drums
1. Snare drum; 2. Top tom; 3. Floor tom; 4. Bass drum (also known as the Kick
drum)
Cymbals
5. Crash; 6. Ride; 7. Hi-Hat
Hardware
8. Straight cymbal stand; 9. Boom cymbal stand; 10. Hi-Hat stand; 11. Snare
drum stand;
12. Bass drum pedal; (not in photo) drum stool.
Drum s
A drum is a cylindrical-shaped percussive instrument with taut membranes
(drum heads) stretched over one or both ends of the cylindrical shell. When the
membranes are struck, either with a hand or a drum stick, they resonate and
produce sound. Drums are typically made of wood, usually oak, maple or birch,
but can be made out of other materials such as plastic, metal or fibreglass, each
of which will affect its sound in different ways.
Drum Anatomy
Size and Thickness – Drums have two measurements, diameter and the depth,
and are referred to by the diameter first, then the depth (e.g. 14” x 5”). The size
of the drum affects the sound it produces. The larger the drum, the lower the
pitch. The thicker the drum shell, the higher the pitch; the thinner the drum shell,
the lower the pitch and the louder the drum.
Types of Drums on a Drum Kit
Bass Drum – A large drum with a low pitch, played with the bass drum pedal.
Mounted horizontally on the floor. The heads are usually muffled to create more
of a thud sound. Diameter: usually 20”, but can range from 16” to 24”. Depth:
usually 18”, but can range from 14” to 24”.
Top Tom – A small drum with a high pitch, played with sticks. Usually used for
fills and accents, but can also be used for rhythmic patterns. Mounted on either
the bass drum or cymbal stand, or can have its own independent stand. Diameter:
usually 10”, but can range from 6” to 16”. Depth: usually 8”, but can range from
6” to 16”.
Floor Tom – A medium drum with a medium-to-low pitch, played with sticks.
Usually played for fills and accents, but can also be used for rhythmic patterns.
Mounted on three legs which sit on the floor, or can be attached to a cymbal
stand. Diameter: usually 16”, but can range from 12” to 20”. Depth: usually 14”,
but can range from 10” to 20”.
Snare Drum – A medium drum with a high pitch. Probably the most expressive
drum in the kit due to its sensitivity and high-tension tuning. The snare wires
attached to its bottom head give it its characteristic sound. Usually mounted on
its own stand. Diameter: usually 14”, but can range from 10” to 15”. Depth:
usually 5”, but can range from 3” to 12” .
Cymbals
A cymbal is usually a round, slightly concave disc of metal made of a bronze-
based alloy. When played, it produces a sound of indefinite pitch and has
multiple tonal and harmonic properties.
Cymbal Anatomy
The edge of a cymbal creates its fullest and loudest sound and is also the thinnest
part. The surface produces the majority of the cymbal’s vibrations and sound.
Playing closer to the bell produces a higher, sharper pitch. Playing closer to the
edge produces a lower, fuller sound. The bell produces a separate tone from the
rest of the cymbal – usually a singular, high tone.
Size and Thickness – Typically, the larger the cymbal the lower pitch, with a
louder volume and longer sustain. The smaller the cymbal, the higher pitch, with
a shorter sustain. Thinner cymbals have a greater response, a lower pitch and a
shorter sustain. Thicker cymbals have less response, a higher pitch and a longer
sustain.
Types of Cymbals on a Drum Kit
Hi-Hat – Paired cymbals used to maintain a rhythmic pattern. Mounted opposite
each other on a hi-hat stand, usually with the thinner cymbal on top. Can be
played with sticks and can be opened and closed with the foot. Diameter: usually
14”, but can range from 10” to 15”.
Ride – Large cymbal used to maintain rhythmic patterns. Diameter: usually 20”,
but can range from 18” to 24”.
Crash – Accent cymbal that creates a sharp sound. Diameter: usually 16”, but
can range from 14” to 20”.
Other Types of Cymbals Include : Splash, Splish, China, Gongs, Bells,
Trashers, Effects Cymbals and Combination Cymbals (hybrids of two types of
cymbals).
Sticks
A drum stick is a type of mallet used to play particular types of percussion. A
drum stick is fashioned from a single piece of lathed wood, usually made of
hickory, oak or maple. These materials are typically used because of their
properties, i.e. strength, resistance to damage, weight, how they flex, how they
rebound. Drum sticks come in many different sizes, weights, materials and
lengths.
Stick Anatomy
The Tip – The main striking part of the stick. It can come in various materials,
most commonly wood or nylon. The tip comes in various shapes, such as: ball,
oval, teardrop, acorn or pointed. These shapes will affect how the stick rebounds
and the sound it produces.
The Shoulder – The tapered section between the shaft and the tip. It is also used
as a striking part of the stick – usually used to hit the edge of the cymbal to
create a louder crash sound.
The Shaft – The main body of the stick, typically cylindrical in shape.
The Butt – The opposite end of the stick to the tip; can also be used for playing.
Stick Length – A longer stick can create more power to give you a greater reach
around the kit. A shorter stick will give you more control and create more
rebound when playing.
Stick Thickness – A thicker stick creates more volume and power. A thinner
stick gives you greater rebound and better control for low-volume playing.
Tip of Stick – The tip affects the attack and overall sound that the stick
produces. A larger tip will create a more powerful hit, but will muffle the attack.
A smaller tip has a sharper attack, but creates less power.
Bass Drum Pedal
The bass drum pedal is an integral part of a drum kit. The pedal converts the
downward motion of a drummer’s leg and foot into a controlled striking action
on the bass drum. The pedal operates by pushing down on the foot plate, which
pulls the drive chain, which in turn pulls and turns the cam. As the cam turns, it
pulls the beater forward and also engages the tension spring, so that when the
foot plate is released the beater returns to it resting position.
The first commercial bass drum pedal was made available in the early 1900s.
Although the bass drum pedal has evolved into many variations – such as the
double bass drum pedal, cable bass drum pedal, the dual-action pedal, etc. – its
basic design has remained the same.
Bass Drum Pedal Anatomy
Hi-Hat and Hi-Hat Stan d

A hi-hat is a pair of matched cymbals mounted on a foot-operated stand. The hi-
hat consists of a top hat and bottom hat. The hats are operated by the hi-hat
stand. The stand functions in a similar way to the bass drum pedal, but instead of
the drive chain pulling on a cam, it pulls on a spring-loaded rod that controls the
top hat, which is attached to the rod via the clutch.
The top and bottom hats can be quite different in sound. The top hat is usually
thinner, allowing it to be more responsive when played with sticks. The hi-hat
can be played with just the sticks, or just the foot, or a combination of the two.
Hi-Hat Anatomy
Setting up a Drum Kit – Body Ergonomics
How a drum kit is set up is incredibly important. The kit should be arranged in a
way that fits your body ergonomically and maximises your movement,
efficiency and power. The setup should also minimise negative movements and
harmful positions that can cause damage to your body.
Every drummer will set up their kit differently, because each drummer has a
different body, and different requirements to anyone else. Height, arm length and
reach, and leg length are all factors that influence how you will set up your kit.
This section will explain the general rules about how a kit should be set up.
Keep in mind that this is a guide to finding the best playing position for your
body. You may need to set up your kit slightly differently because of your body,
playing requirements or because you have a larger kit with more components.
Always remember the importance of setting up your kit in a way that is correct
to suit your body and its movement.
What Will be Covered in This Section
How to set up and sit at a drum stool

Hi-Hat placement and position
Foot and leg placement
Tom placement
Upper body placement
Ride position
Snare drum position
Crash placement
Bass drum placement
1. The Drum Stoo l
When sitting on the stool, sit as far forward as you can while still remaining
balanced and comfortable. This allows the ball and socket joints in your hips to
have the greatest freedom of movement without being restricted by the seat.
Sitting too far back on the stool will restrict the movements of your thighs.
Sitting too far forward on the stool minimises your balance.
2. Drum Stool Height and Thigh Angle
The height of the stool will depend on how long your legs are. When sitting on
the stool your thighs should be between 100 and 110 degrees to your body. This
means your knee should be slightly below your hip joint. This position allows
the greatest amount of power to transfer from your legs to your feet, while also
requiring minimum effort to raise the leg. This position also minimises negative
strain on the knee.
3. Shin, Feet and Knee Position
Where you position your feet will depend on the length of your shins. The angle
between your shins and the floor should be 80-85 degrees. This means your
ankle should be slightly in front of your knee.
This position allows for maximum movement and energy transferral though the
legs to the foot.
If your foot is too far forward or too far backwards, it will restrict your ankle’s
movement, causing a lack of power.
Your feet should point in the same direction as your thigh to achieve maximum
energy transferral through the legs to the feet. If the feet are pointing inwards or
outwards, this can cause unnecessary strain on the feet and legs.
Your knees should be about 15 inches apart to allow enough space for the snare
drum.
4. Upper Body Position (left picture )
When sitting on the stool your spine should be straight and perpendicular to the
floor. You should not be leaning forward or backward, or to the left or right.
Sitting straight aligns your vertebrae, which takes a lot of pressure off your spine
and back muscles, allowing for greater movement around the kit.
Your shoulders should be parallel to the floor. If one shoulder is down and the
other is up, this misaligns your vertebrae and can cause damage to your body.
It is common for drummers to hunch their backs and slouch while playing. This
is a very negative position to be in, as it causes excess strain on the shoulders
and lower back. It limits your range of movement and can cause pain while
playing.
5. Snare Drum Position (right picture)
The angle of the snare should be flat or slightly angled towards you to maximise
the amount of rebound, which will give you greater control. If the snare is angled
away from you, it will force the stick to rebound away from you. If the snare is
angled too much towards you, it will dampen the rebound of the stick.
The height of the snare is very important as it affects how you play and the
sound that is produced. The rim of the snare should be about 2-3cm above your
thighs, so that your hands have the maximum range of movement without your
thighs hindering them. If the snare is too low, your thighs will block your hands
and sticks, and it will create a negative playing position. If the snare is too high,
this will minimise your movements and can force your arms into a negative
playing position.
6. Bass Drum Placement
The bass drum pedal should be placed directly under where your right foot is
positioned (as discussed previously), following the same line as your foot. When
secured to the bass drum, it should follow the same line as your thigh in order to
maximise the power transfer from your leg to the drum .
Make sure the bass drum and bass drum pedal stay in line with your thigh. The
bass drum and/or pedal can move when playing, creating a negative playing
position, as it can force you to stretch your leg out to reach the pedal or twist
your foot. If this happens you should correct it as soon as you can.
7. Hi-Hat Position
The pedal of the hi-hat stand should sit under where your left foot is positioned
(as discussed previously), and the pedal should follow the same line as your foot.
The height of the hi-hat should be roughly level with your elbow, so that when
the right stick is playing on the hi-hat, your forearm is parallel to the floor. This
allows your arm to have a 90-degree range of movement, while allowing enough
clearance for your left-hand to play the snare drum.
If the hi-hat is too high, it will decrease your arm’s range of movement and
create an uncomfortable playing position. If the hi-hat is too low, it will force
your hands to obstruct each other when playing.
The space between the top hat and bottom hat is up to the discretion of the
drummer. However, it is recommended that beginners start with a gap of 1cm.
This is because a smaller gap is easier to control while learning.
8. Top Tom Placement (picture top left)
The top tom should be in front of you, without being too far to the left or right,
so that when you are moving between the snare drum and top tom you don’t
have to change body position. This allows for more efficiency and speed.
The playing surface of the top tom should be close to the snare drum and should
only be angled slightly towards you. This minimises the distance between the
playing surfaces of the two drums and maximises your efficiency when moving
between the snare drum and the top tom.
9. Floor Tom Placement (picture top right)
The floor tom is on the right of the snare drum and should be the same height. It
should be either un-angled or slightly angled towards you.
The centre of the floor tom skin should be the same distance from you as the
centre of the top tom skin (picture bottom left), so that when you are moving
from the top tom to the floor tom, you do not have to change the position of your
arms. This increases the efficiency and speed of your movements.
10. Ride Position (left picture )
The ride should be to the right of the bass drum. The bell of the ride should be at
your furthest reach, while still being comfortable to play without stretching or
leaning forward.
The height of the ride should be the same as the hi-hat in order to minimise the
need to change arm position when moving from the hi-hat to the ride.
The ride should be slightly angled towards you. This puts the playing surface of
the ride in a good position for comfortable playing and maximum rebound.
11. Crash Position (right picture)
The crash should be in between the hi-hat and the top tom, without obstructing
either one. The bell of the crash should be at your furthest reach, while still
being comfortable to play without stretching or leaning forward.
The height of the crash should be between chest height and chin level and should
be slightly angled towards you. This is to minimise the distance between the
crash and the rest of the kit. If the crash is too high, you will decrease your
efficiency when reaching for it.
Completed Drum Kit Set Up

Keep in mind that this is only a guide. You should be comfortable when you play
and if you find that you need to move components on your kit for you to be more
comfortable, then you should do so.
As you develop as a drummer, you will discover your own personal preferences
for how you want your kit to be arranged. When this happens, always remember
to have your kit set up in a way that is complimentary to your body and your
playing movements.
Introduction to Grip Technique
Grip technique simply refers to how you hold and control the sticks. It is
imperative that you develop a good, correct grip technique, as this will allow you
to properly control the sticks, which will in turn allow you to play better and
create more fluid rhythms on the kit. Incorrect grip technique will hinder your
progression on the drums, negatively impact how you play and may cause pain
and strain in your arms.
There are two main grip techniques used for the drum kit. They are:
Matched (left picture)
Matched grip gets its name from the right-hand and left-hand grips being formed
identically, meaning that they are matched .
Traditional (right picture)
Traditional grip was developed by marching drummers who had to mount their
drums on their left side, to allow them to march while playing. The matched grip
would have been impractical. When the modern drum kit came into being, most
drummers came from a marching background and brought the traditional grip
with them.
The traditional grip is still valid and used by drummers today, simply due to
preference and tradition.
Both grip techniques are valid. However, this book series will concentrate only
on the matched grip, since this is the most prevalent. There are variations of the
matched grip which will be covered in later lessons.
Matched Grip
How to Construct the Matched Grip
Find the balance point on the stick (fig.1)
With the pad of the thumb and the second knuckle of the index finger,
loosely grip the stick about 3cm below the balance point of the stick.
This creates the pivot point, which will allow the stick to move (fig.2)
Cup the lower half of the stick with your three remaining fingers.
These are the fingers that will control the stick’s motion and rebound
(bounce). These fingers should remain in contact with the stick at all
times. However, you should not grip the stick too tightly, as this will
diminish the amount of rebound and control you get from the stick
(fig.3)
Make sure that your thumb is parallel with the stick (fig.4)
Apply this grip to both hands
Hand and Arm Position
Having your arms and hands in the correct position is incredibly important. This
will allow for the best control over the sticks and your movement.
Hand and Stick Position
Hold the sticks in the matched grip
Have the palms of your hands facing down
Place tips of the sticks in the centre of the snare drum, with the sticks
at a 90-degree angle from each other
Arm Position
Keep a straight back and shoulders to allow for the best range of
movement
Place your elbows loosely at your sides
If your elbows are too far away from your body, this will cause a negative
playing position and will waste a lot of energy. If your elbows are too tight to
your body, this will restrict your movement.
Application of Matched Grip
Striking a Drum
Movement Analysis of Matched Grip and Hand Motion:
1. Start with the tip of the stick in the centre of the snare drum. Hold the
sticks in the matched grip and have the palms of your hands facing
down.
2. Bring the stick to 90-degrees by bending your wrist and slightly
relaxing your fingers
3. Start to bring the tip of the stick to the centre of the snare drum by
straightening your wrist and contracting your fingers.
4. Just before the stick hits the skin, the wrist is straight and the fingers
are contracted.
5. As the stick hits the skin, the fingers relax to allow the stick to
rebound.
6. As the stick rebounds back, the fingers start to control the rebound, by
guiding it back to 90-degrees.
7. As the fingers start to control the rebound of the stick, the wrist starts
to bend.
8. As the stick reaches 90-degrees, the fingers have fully controlled the
rebound and are back in their relaxed position. The wrist is bent and
the whole process is ready to start again.
Do not consciously lift the stick back to 90-degrees; allow the stick to naturally
rebound. This motion is much like bouncing a ball. Striking a drum requires a
relaxed grip, because if you grip the stick too tight it will not rebound. When
practising this, notice that all the movements and elements work together to
create a fluid motion that produces a great sound with great control over the
stick.
Now it’s time to put this into action. Here are eight exercises for practising grip
technique and correct body position. The rhythms in each exercise are the same,
but the hand pattern will change. Play each exercise on its own, until you are
comfortable with it. Then play each exercise continuously for one minute.
Tips
R = right-hand, L = left-hand
While playing, concentrate on your grip, rebound and accuracy. Make
sure the grip is right every time, that the stick is rebounding (not
being lifted), and that the stick is hitting the centre of the drum
While playing, concentrate on your body position. Ensure that you are
sitting correctly. Keep your back straight and your legs and arms in
the correct position
Make sure your timing is correct; make sure that the notes are evenly
spaced apart
Make sure all the notes are the same volume and that both hands are
playing with the same amount of power
Play the exercises at a SLOW, comfortable speed. The point is not to
play them as fast as possible, but to work on your grip technique and
body position
Audio Example 1a:

Lesson Two – Notation, Notes and
Rests, Two Hand Playing, Foot
Technique, Two Voice Playin g
Lesson Overview
Lesson two is an introduction to music notation and to basic playing. We’ll
explore the basics of music notation theory and the specifics of drum notation,
looking at the information needed to understand written music and then
exploring the concept of notes and rests .
Once the concept of music notation is understood, we’ll begin looking at the
next steps in playing, which are two hand playing, foot technique and two voice
playing . Each concept will be explored in depth by looking at the theory,
methods and the techniques needed to play them. Each concept will conclude
with playing exercises to cement the ideas of that concept.
Introduction to Music Notatio n

Drumming is about understanding rhythm, and the more you understand rhythm
the better drummer you will be. Written music is simply a visual representation
of rhythm and the more you understand notation, the more you will be able to
express yourself on your instrument.
At first, written music can seem daunting. However, as your knowledge of music
notation grows, you will find it to be an invaluable tool that will benefit you
throughout your musical life. This book series will guide you through the music
notation and reading skills needed for playing the drums by sharing the
appropriate knowledge, and through practice and repetition.
Beginning Music Notation
Music notation can be broken down into three sections:
The Stave
The stave comprises five lines on which all notation is written. The position of
notes and symbols on the stave will dictate what is played.
Notes and Rests
A note is a visual representation of the relative duration of a sound. Every note
also has a corresponding rest that is equal to its relative length. The difference
between notes and rests is that a note depicts the duration of a sound , while a
rest depicts the duration of silence . Where notes are placed on the stave dictates
on which part of the kit they are to be played.
Musical Symbols
Musical symbols are marks and symbols on and around the stave that depict
direction. These directions can include: arrangement, tempo, style, dynamics,
rhythm, pitch, etc.
Drum Notation
We are going to be looking at the specifics of drum notation, including what is
written at the beginning of the stave and where to write each instrument.
At the beginning of a piece of written drum music you will see two symbols on
the stave.
The Percussion Clef

(a.k.a. neutral clef; drum clef; indefinite pitch clef).
The percussion clef is a type of clef that indicates each line on the stave
represents a specific instrument. It is written either at the beginning of a piece of
music or at the beginning of every line. All un-tuned percussive instruments
(such as the drum kit, congas, bongos, timbales etc.) use the percussion clef.
However, since each percussive instrument has its own instrumentation, a
notation key is required for each component.
The Drum Kit Notation Key
1. Crash cymbal (two notation variations)

2. Hi-Hat or ride cymbal (will be specified by H.H. or R.C. at the beginning of
section)
3. Bell of the ride cymbal
4. Open hi-hat, played with stick
5. Closed hi-hat, played with stick (always follows open hi-hat symbol)
6. Top tom
7. Snare drum
8. Cross stick on snare drum
9. Floor tom
10. Bass drum
11. Hi-Hat played with foot
Notes played by the hands are stemmed upwards. Notes played by the feet are
stemmed downwards. However, notes can be stemmed in either direction to
make it clearer to read. The drum kit key is not universal – there will be slight
variations used by different composers and authors – however, the overall
concept is the same. There will always be a key if there are any great differences.
Time Signatures
The time signature is a musical symbol which illustrates the rhythmic pulse/beat
of a bar of music. It is written at the beginning of a piece of music or at a time
signature change within a piece of music. It is commonly written in fraction
form. The numerator (top number) denotes the number of beats in a bar, and the
denominator (bottom number) signifies the length of the beat as a subdivision of
a whole note (whole notes will be discussed later in this lesson).
The most common time signature in modern music is 4/4 (pronounced four-four)
Don’t worry too much about other time signatures at the moment. This is not
something that a beginner drummer needs to know. At the moment, you only
need to concentrate on the time signature 4/4.
Bars and Beats
Bars (aka: Measures)
A bar is a tool used to organise music into equal small sections. This helps keep
track of arrangement, rhythm and time. The time signature indicates the length
of a bar as it dictates the amount and duration of the beats within each bar. Each
bar is separated by a bar line .
Beats
Beats are the term for the basic rhythmic pulses within a bar. The number of
beats in the bar are indicated by the time signature. For example, in a bar of 4/4,
there are four beats and each beat has the length of one 1/4 note. This means that
there are four 1/4 notes in a bar of 4/4, and each 1/4 note is a beat. This does not
limit the rhythmic possibilities, it just means that the count (or pulse ) will be on
these 1/4 notes (or beats).
Whole Notes, 1/2 Notes and 1/4 Note s
A note is simply a visual representation of a relative duration of sound played on
an instrument. Here are whole notes, 1/2 notes and 1/4 notes. These are the first
notes you need to know. Below you see the names of the notes, how they are
written, their duration, and how the notes correspond to each other.
All notes are divisions of each other. A whole note has the duration of four beats
(the length of a bar of 4/4), a 1/2 note has the duration of two beats (half the
duration of a whole note), and a 1/4 note has the duration of one beat (half the
duration of a 1/2 note).
Below you will see how a note is written on the stave and how many beats each
note lasts for.
Reading and Playing Whole Notes, 1/2 Notes and 1/4 Note s
Now that you have an understanding of whole notes, 1/2 notes and 1/4 notes, it’s
time to start playing them. Below are nine exercises written in 4/4 time
signature. Each exercise is two bars long and contains combinations of whole
notes, 1/2 notes and 1/4 notes. Written above each exercise is the count of beats
in the bar. Play each exercise on the snare with your right hand until you are
comfortable with it, then repeat with your left hand.
Tips
Read through each exercise, before playing it

Work out the note lengths before playing
Say the count out loud while playing
Keep the count even and don’t speed up or slow down
Audio Example 2a:

Rest s
I’ve already mentioned that every note has a corresponding rest that is equal to
its relative length, to designate the duration of silence in a bar. The rests exist
because there cannot be blank spaces in a bar, otherwise reading rhythms would
be impossible. If nothing is to be played, then a rest must be written to indicate
the required length of the silence.
Playing Notes and Rests
Because written music always contains a combination of notes and rests, it is
important that you learn how to read and play them in conjunction with each
other. Here are eighteen exercises for reading and playing whole notes, 1/2
notes, 1/4 notes and their corresponding rests.
Play each exercise on the snare with your right hand until you are comfortable
with it, then repeat with your left hand .
Tips
Read through each exercise and work out the notes and rests before
playing
Keep the count steady (do not speed up or slow down)
Play at a comfortable speed
Audio Example 2b:

Two Hand Playing
Playing and coordinating your two hands is a necessity for playing the drum kit,
as almost all drum playing is based around this. Below are eighteen exercises for
practising playing with two hands. When playing with two hands stickings are
needed. Stickings are the hand patterns that are played.
Written underneath each note is R or L, indicating which hand to play. When
stickings are indicated, they are always written under the stave. Play each
exercise on the snare until you are comfortable with it .
Tips
Read through each exercise and work out the stickings before playing
Concentrate on your grip technique and body position, ensuring they
are correct
Audio Example 2c:

Foot Technique
Foot technique is the term for the method used to play the kit with your feet.
Correct foot technique is important, as it will allow you to have a greater control
over what your foot is playing. Incorrect foot technique can cause restricted
playing and can lead to straining your lower leg.
Heel Down Technique
The heel down method is the first foot technique to learn. It allows for greater
low-dynamic control and offers more stability for beginners. This technique is
used on the bass foot (right foot) and the hi-hat foot (left foot).
Constructing Heel Down Technique
The heel is static on the butt plate of the foot pedal, the foot is in line
with the pedal, and the beater is against the bass drum skin
Raise the front of your foot up (but keep the heel on the butt plate and
your toes on the pedal). This action will bring the beater away from
the bass drum skin
Push down the front of your foot (still keeping your heel on the butt
plate and your toes on the pedal). This movement causes the bass
drum beater to hit the bass drum skin (the faster and harder you push
down, the louder the sound)
Keep your foot in contact with the pedal at all times. This maximises
your efficiency. If your foot comes off the pedal, you waste energy
getting back in contact with the pedal
Keep the beater gently against the skin when you are not playing it
Playing on Two Voices
In drumming terminology, voice refers to an instrument on the kit, so two voices
refers to playing on two instruments on the kit. Below are five exercises for
practising playing on two voices (snare and bass). These exercises are the first in
this series that require you to coordinate your hands and feet. The bass drum is
on constant 1/4 notes and the snare drum has varying 1/4 note patterns. When
playing two voices on the same beat, the voices must be played exactly together,
called unisons . It is imperative that these unisons are precisely in line with each
other and that one is not slightly in front or behind the other.
Extra Information
Notes that are played with the hands are stemmed up. Notes that are
played with the feet are stemmed down. This is to make it clearer to
read.
Notes that are stemmed up are in a separate group to the notes that are
stemmed down. This means that even though they are on the same
stave, they require their own rests.
Play each exercise with your right hand until you are comfortable with it, then
repeat with your left hand.
Tips
Read through each exercise before playing it

Make sure that the snare drum and bass drum are in unison when
played together
Audio Example 2d:

Playing on Two Voices with Multiple Notes
When playing on two voices, each voice will not always have the same note, so
it is important to start learning how to read and understand different notes on the
two voices. Below are sixteen exercises for practising playing on two voices
with multiple notes. The bass drum is on constant 1/4 notes and the snare drum
is playing a variety of all previously studied notes.
Play each exercise until you are comfortable with it. Follow the stickings written
underneath.
Tips
Read through each exercise and work out the sticking before playing it
Make sure the unisons between the two voices are together
Audio Example 2e:

Lesson Three – 1/8th Notes and 1/8th
Note Rhythms
Lesson Overview
Lesson three is a thorough look at the concept of reading, writing and playing
1/8th notes and their rhythms. In the previous lesson we studied whole notes, 1/2
notes and 1/4 notes. 1/8th notes are just the next subdivision of note. We will
explore all aspects of 1/8th notes by looking at the notation and theory needed,
playing exercises and playing them in conjunction with previously studied
concepts.
1/8th notes are the first subdivision of notes where the concept of rhythms can be
explored. This is where the fun begins, so let’s start!
1/8th notes
Below you will see an 1/8th note, a description of its anatomy and its
corresponding rest.
An 1/8th note has the duration of 1/2 a beat. In a bar of 4/4 there can be eight
1/8th notes. Illustrated below is a diagram of how 1/8th notes correspond with
whole notes, 1/2 notes and 1/4 notes.
1/8th Note Count
The 1/8th notes that are on the 1/4 note beats are on the beat.
The 1/8th notes that are in between the 1/4 note beats are off the beat .
Beaming
1/8th notes can be connected together. This is called beaming. In other words,
they are connected by removing the flag and replacing it with a beam. Beaming
notes does not affect the note duration, it just makes it visually easier to read.
Only notes with flags can be beamed. Notes are usually beamed together to fit
inside one beat, although they can be beamed to fit up to an entire bar.
1/8th Note Sticking Exercise
Much like all the other notes that have been studied so far, stickings are required
when reading 1/8th notes. The exercises below are for practising playing and
reading 1/8th notes. All the exercises have a constant 1/8th note rhythm with
different sticking patterns. Play through each exercise on the snare until you are
comfortable with it .
Tips
Read through each exercise before playing it
Work out the sticking before playing
Keep the notes even
Audio Example 3a:

1/8th Note Sticking Exercise on Two Voices
Below are nine exercises for practising 1/8th note reading while playing on two
voices. All the exercises have constant 1/4 notes on the bass drum and constant
1/8th notes on the snare with varying stickings.
These exercises require a good level of coordination between your hands and
your feet, because the hands are now playing on the subdivision that is in
between the 1/4 note bass drum pattern. When playing these exercises, be sure to
keep the unisons between the snare drum and bass drum together, and make sure
that the 1/8th notes that are on the off-beat are evenly played between the beat.
Play through each exercise until you are comfortable with it.
Audio Example 3b:
Two-Voice Playing With Multiple Notes
Now that you understand the concept of 1/8th notes and rests and playing them
on two voices, it’s time to start playing them in conjunction with previous notes
you have studied. Below are nine exercises that incorporate all the previously
studied notes and rests. Play through each exercise until you are comfortable
with it.
Tips
Read each exercise before playing it

Concentrate on note placement and note duration
Concentrate on the unisons between the two voices
Audio Example 3c:

1/8th Note Rhythms
1/8th notes are not always played in a constant stream, but are often played as
part of a rhythm. This section will look at how to build 1/8th note rhythms, how
they are played and how they are constructed.
A single beat can be divided into two 1/8th notes and so there are only four
different 1/8th note rhythm possibilities in any one beat. To construct 1/8th note
rhythms you only need to understand these four different permutations.
Below are the four different 1/8th note rhythms inside one beat. Study them and
get used to how they look.
These four different patterns are the basis for all 1/8th note rhythms. To create an
1/8th note rhythmic pattern, all you have to do is combine these four different
rhythms. With combinations of these four different patterns there are 256
different possible 1/8th notes rhythms in a bar of 4/4.
Examples of Combinations of the Four 1/8th Note Rhythms
1/8th Note Rhythm Exercises
Below are eight exercises for practising 1/8th note rhythm reading and playing.
All the exercises consist of combinations of the four different one-beat 1/8th
note rhythms from the previous page. Play through each exercise until you are
comfortable with it.
Tips
Read through each exercise and work out the sticking before playing it
Concentrate on grip technique
Audio Example 3d:

1/8th Note Rhythm Exercises on Two Voices
Below are eight exercises for practising 1/8th note rhythm reading and playing
on two voices. All the exercises have keep 1/4 notes on the bass drum with
varying 1/8th note rhythm hand patterns. These exercises involve a greater level
of coordination between your hands and feet, because your hands are now
playing patterns in between the rhythmic subdivisions of the 1/4 note bass drum
pattern. When playing these exercises, be sure to keep the unisons between the
snare drum and bass drum together, and make sure that any 1/8th notes played
on the off-beat are spaced evenly between the beat.
Audio Example 3e:
1/8th Patterns With Other Notes
Rhythms are not always played as just 1/8th notes. They are usually combined
with other rhythms too. Here are twenty exercises that incorporate all the
previously studied notes, rests and 1/8th-note patterns. Play through each
exercise until you are comfortable with it.
Tips
Read each exercise before playing it
Concentrate on note placement and note duration
Write the count above the exercise, if you need to
Audio Example 3f:

Lesson Four – Hi-Hat Technique and
Lesson Overview
The main objective of lesson four is to introduce the concept of three-way
coordination . This is the act of coordinating three of your limbs while playing.
The starting point for three-way coordination is to learn how to play the hi-hat.
Here we will explore the concept, technique and methods for playing the hi-hat.
Once this has been studied, we will look the notation and techniques required for
three-way coordination. This will be followed by a series of exercises that will
develop your ability to play three-way coordination. Three-way coordination can
be a difficult concept, as it requires a lot of dexterity. These exercises are
designed to enhance your limb dexterity and allow you to practise control over
one limb while the others are playing. This will stand you in good stead for your
future three-way coordination playing.
Hi-Hat Technique
The hi-hat’s main role is to maintain a rhythmic pattern, usually based around
the basic rhythm of a piece of music. The hi-hat is written above the top line of
the stave. All cymbals are notated with an X instead of a note head. Since the hi-
hat and ride cymbal are written on the same line, a H.H. or R.C. will be indicated
at the beginning of a piece of music (H.H. = Hi-Hat; R.C. = ride cymbal). The
hi-hat is always played closed, unless specifically notated to be played open. To
keep the hi-hat closed, just apply pressure to the pedal of the hi-hat with the left
foot.
Stick Position
Position 1
The tip of the stick plays on the surface of the hi-hat. This position offers the
greatest articulation of sound, the maximum amount of rebound, and the most
control. This is the primary hi-hat position.
Position 2
The shoulder of the stick plays the surface of the hi-hat. This offers a heavier
sound with deeper harmonics.
Position 3
The shoulder of the stick plays on the edge of the hi-hat. This offers the loudest
dynamics on the hi-hat. It is also the typical position for playing accents on the
hi-hat.
Hand Position
When the right hand is playing the hi-hat and the left-hand is playing the snare,
be aware not to block the left stick with the right hand. If the right hand is too far
forward, over the snare, it will block the left stick’s movement. However, if the
right hand is too far back, it will create an uncomfortable playing position.
Hi-Hat Technique
Below are nine exercises for practising the hi-hat. The purpose of these exercises
is to get your arms and body used to playing the hi-hat. The exercises are based
on 1/4 notes and 1/8th notes. Play each exercise with your right-hand in all three
hand positions, keeping the hi-hat closed.
Tips
Concentrate on your grip
Ensure that your hand positions are correct
Make sure that your back is straight and your shoulders are parallel
with the floor
Audio Example 4a:

Multiple Note Notation
When playing on two or more voices, sometimes multiple note notation is
required. When there are many notes to be played at the same time, there are
rules as to how they are notated in order to make the music as clear and simple
to read as possible.
Stem Sharing
Notes that are played with the hands are stemmed upwards and notes that are
played with the feet are stemmed downwards.
When you have notes that are stemmed the same direction and played at the
same time, they must share a stem. This is to make it obvious that the notes are
in unison.
Note Values
Notes which share a stem must be of the same value. Notes of different values
cannot share a stem, because the anatomy of each note would become
ambiguous (for example, if a 1/4 note and a 1/8th note shared a stem, the
ownership of the flag would become unclear).
Beaming
Because the notes that share a stem are of the same value, beaming works in the
same way.
Two-way Coordination
Two-way coordination is the act of coordinating two of your limbs while
playing. Below are sixteen exercises for practising this. Exercises 1-8 are for
practising coordinating between the snare drum and the hi-hat, and exercises 9-
16 are for practising coordinating between the bass drum and the hi-hat. Play
each exercise until you are comfortable with it.
Tips
Concentrate on hi-hat technique
Ensure the unisons between the notes are together
Pay attention to body and shoulder position
Audio Example 4b:

Three-way coordination is the act of coordinating three of your limbs while
playing. Below are 34 exercises to practise this. These exercises have three
voices: snare drum, bass drum and hi-hat. Two voices are playing a constant 1/4
note rhythm; the third voice plays 1/4 note-based patterns.
The role of each voice changes with each group of exercises. These exercises are
for practising control over one limb, while the others are playing a constant
rhythm. Play through each exercise until you are comfortable with it.
Tips
Concentrate on hi-hat technique, grip technique and body position

Snare Drum Patterns With Constant 1/4 Notes on Hi-Hat and Bass Drum
Audio Example 4c:
Bass Drum Patterns With Constant 1/4 Notes on Hi-Hat and Snare
Audio Example 4d:
Hi-Hat Patterns With Constant 1/4 Notes on Snare and Bass Drum
Audio Example 4e:
Three-way Coordination 1/8th Note Hi-Hat
Pattern Exercises
Now that you have begun to gain control over your limbs, it’s time to start
playing in a more natural way. 1/8th note hi-hats are very common in drum
playing and are the basis of many grooves. Below are sixteen exercises for
practising three-way coordination with 1/8th note hi-hats. The hi-hats are
playing constant 1/8th notes and the snare drum and bass drum are playing
rhythms based around 1/4 and 1/8th notes. Play each exercise until you are
comfortable with it.
Tips
Concentrate on hi-hat technique and grip technique

Audio Example 4f:

Lesson Five – Repeat Signs, Backbeat,
1/8th Note Bass Drum Grooves
Lesson Overview
Grooves are one of the most important tools in drumming and this lesson is an
introduction to this concept. Here we will look at what grooves are and how they
fit into drum playing. We’ll look at the notation and key elements that go along
with groove playing, before exploring the beginnings of playing grooves.
Grooves are at the heart of drum playing and are used across all aspects of
music. They are a tool that you will constantly use throughout your musical life,
so let’s begin.
Repeat Signs
Repeat signs are used heavily in drum music, so knowing how they are written
and how they work is very important. Repeat signs are musical symbols that
indicate the repetition of a section of music. They consist of two musical
symbols: a start repeat sign and an end repeat sign . Both are positioned on the
bar line.
Repeat signs simply indicate a repeat of the bar or bars contained within the
repeat symbols. If multiple repetitions are required, a number is stipulated at the
end repeat sign which indicates the number of repetitions. If there is a single end
repeat sign within a piece of music, this indicates to repeat it from the beginning
and then continue on. If there is a single end repeat sign at the end a piece of
music, this indicates to repeat it from the beginning and then finish.
Example of Single Bar Repetition

Repeat signs at beginning and end of a bar indicates to play the bar, then repeat,
and then continue.
Example of Multiple Bar Repetition

A start repeat sign at beginning of the first bar and an end repeat sign at end of
last bar indicates to play the bars, then repeat, and then continue.
Example of Multiple Repetition

A start repeat sign at the beginning of the first bar and an end repeat sign at end
of last bar, with numbered indicator, indicates to play the bars and then repeat as
many times as the number specifies, and then continue.
Here are nine exercises for practising playing repeat signs. The exercises are
divided into four sections: single bar repetition, multiple bar repetition, multiple
repetition and combinations of repeat signs.
It’s easy to miss the repeat signs when reading a piece of music, so it’s important
to work out where they are and to understand what they indicate before playing.
Tips
Read each exercise before playing
Work out where the repeat signs are before playing
Work out what the repeat signs indicate before playing
Single Bar Repetition

Audio Example 5a:
Multiple Bar Repetition

Audio Example 5b:
Multiple Repetition
Audio Example 5c:
Combinations of Repeat Signs
Audio Example 5d:
Drum Grooves
Drum grooves are a repeated phrase that secures the rhythm, tempo and time.
Because of the drum kit’s rhythmic properties, it is perfect for this role. A drum
groove achieves this by playing on the rhythmic subdivision of the music and
accentuating the time signature and rhythmical accents.
Grooves are the backbone of drumming. Without grooves, the line between noise
and orchestrated sound becomes ambiguous. Drum grooves secure musicians
and lead them musically. Grooves can be simple and unchanging, or
continuously developing and never repeating. A groove is a drummer’s most
used tool. One of the key parts of a drum groove is the backbeat
The Backbeat
The term backbeat refers to the accented notes that are typically on the 2nd and
4th beat in a bar. The backbeat can vary, depending on the time signature.
However, it is almost universally on the 2nd and 4th beat. These accents are
typically played on the snare, but can be played on any part of the kit.
The backbeat and the drum kit go hand in hand, as they both came into being
around the same time. In the early 1900s the drum kit had started to develop, and
by the late 1930s it had become the modern drum kit. At the same time the
musical genres of jazz, country and gospel were evolving. Very quickly, these
genres started to adopt the drum kit. The drummers who were playing at that
time began to mimic the strong rhythmic accents of these genres, emphasising
the 2nd and 4th beat (originally hand claps or other percussive instruments).
As new styles arose and the drum kit gained popularity, the concept of playing
on the 2nd and 4th beat became very widespread. It continued in the 1950s with
the birth of Rock ‘n’ Roll. The drum kit was an integral part of this genre, as was
the backbeat. From this moment on, the backbeat truly became ingrained into
popular music and has only increased in popularity.
Backbeat With 1/8th Note Bass Drum Grooves
When approaching groove playing, the best place to begin is to learn how to play
1/8th note bass drum patterns while playing a hi-hat pattern with a backbeat on
the snare. To construct and play 1/8th note-based bass drum patterns, you need to
understand the sixteen different 1/8th note bass drum rhythms that fit inside two
beats.
Below you will see these sixteen patterns. These exercises are written in a 2/4
time signature. A 2/4 bar has two beats in a bar and each beat has the duration of
a 1/4 note. Simply put, a 2/4 bar is half the length of a 4/4 bar. With these sixteen
bars of 2/4 you can create 256 different combinations in a bar of 4/4. These
exercises have 1/8th note-based bass drum patterns, constant 1/8th note hi-hats
and a backbeat on the snare. Play each exercise until you are comfortable with it
.
Tips
Ensure the note unisons are together

Pay attention to the repeat signs
Audio Example 5e:

1/8th Note Bass Drum Grooves in 4/ 4
Below are eighteen exercises in 4/4. Each 4/4 bar on this page is a combination
of two 2/4 bars from the previous page. For example, exercise 1 on this page is a
combination of exercise 1 and 5 from the previous page. Play each exercise until
you are comfortable with it.
Tips
Work out the pattern before playing

Audio Example 5f:

Two Bar Groove s
The term two bar groove describes a repeated groove phrase that lasts for two
bars and these are very common in drum playing. The nine exercises below are
two bar grooves made of combinations of the 2/4 bars we’ve just looked at.
Play each exercise until you are comfortable with it.
Tips
Read and work out each exercise before playing

Concentrate on bass drum technique
Audio Example 5g:

Lesson Six – 1/16th Notes, 1/16th Note
Rhythms
Lesson Overview
Lesson six is a thorough look at the concept of reading, writing and playing
1/16th notes and their rhythms. In the previous lessons we have studied whole
notes, 1/2 notes, 1/4 notes and 1/8th notes. 1/16th notes are just the next
subdivision of note. We will explore all aspects of 1/16th notes by looking at the
notation and theory needed, playing exercises and playing them in conjunction
with previously studied concepts. 1/16th notes are widely used in rhythmic
patterns and can create a lot of playing possibilities. Understanding them will
expand your drumming vocabulary and give you access to more rhythms, so let’s
begin!
1/16th notes
Below you will see a 1/16th note, a description of its anatomy and its
corresponding rest.
A 1/16th note has the duration of 1/4 of a beat. In a bar of 4/4 there can be
sixteen 1/16th notes.
1/16th notes and 1/16th note rests look similar to 1/8th notes and 1/8th note
rests. The difference is that a 1/16th note has two flags and its rest has two arms,
whereas an 1/8th note has one flag and its rest has one arm. Below is a diagram
showing how 1/16th notes correspond with whole notes, 1/2 notes, 1/4 notes and
1/8th notes.
1/16th Note Count

Beaming
1/16th notes can be beamed together in the same way as 1/8th notes. However,
since 1/16th have two flags, they require two beams.
1/16th Note Stickings
Much like all the other notes that have been studied so far, stickings are required
when reading 1/16th notes. The exercises below are for practising playing and
reading 1/16th notes. All the exercises have a constant 1/16th note rhythm with
different sticking patterns. Play through each exercise on the snare until you are
comfortable with it. Play each exercise with the indicated sticking until you are
comfortable with it
Tips
Audio Example 6a:

1/16th Notes in Conjunction With Other Notes
Below are twenty exercises for practising playing 1/16th notes in conjunction
with the previous notes studied. Each exercise has constant 1/4 notes on the bass
drum. This is to help you keep time and to help you understand how the different
notes coincide with each other. Play each exercise with the indicated sticking
until you are comfortable with it.
Tips
Read through each exercise and work out the rhythm and sticking
before playing it
Keep the bass drum consistent
Count out loud while playing
Audio Example 6b:

1/16th Note Rhythm Notation
1/16th note rhythms are normally written as a combination of 1/16th notes and
1/8th notes. This makes them easier to read.
Below are five 1/16th note rhythms. In each column, the 1/16th note rhythms are
notated differently.
The first column shows the rhythm as 1/16th notes with 1/16th note rests.
The second column shows every 1/16th note that is followed by 1/16th note rest,
replaced with an 1/8th note (to make it clearer to read).
The third column shows how these notes are beamed together (to make them
easier to read). The third column is the most common form of notating 1/16th
note rhythms.
Beaming 1/16th Notes and 1/8th Notes Explained
When beaming a 1/16th note rhythm that contains 1/16th notes and 1/8th notes,
you must be aware of how many beams are on each note.
Remember that the beam is a replacement for the flag of the note. A 1/16th note
has two flags, so it has to have two beams. An 1/8th note has one flag, so it has
one beam.
When beaming 1/16th notes to 1/8th notes, the second beam on the 1/16th note
cannot connect with the 1/8th note.
Playing 1/16th Note Rhythms
Now that you understand the concept of 1/16th notes and 1/16th note rhythms, it
is time to start playing them. Below are five exercises for practising playing
1/16th notes rhythms. Each exercise has a constant 1/4 note bass drum to help
with the accuracy of the 1/16th notes rhythms.
Play each exercise with the indicated sticking until you are comfortable with it.
Tips
Make sure note placement is correct
Audio Example 6c:

1/16th Note Rhythms in Conjunction With Other
Notes
1/16th note rhythms are rarely played just on their own; they are commonly
played in combination with other notes. Below are 36 exercises for practising
playing 1/16th note rhythms in conjunction with the previous notes studied. Play
each exercise with the indicated sticking until you are comfortable with it.
Tips
Work out the rhythm before playing

Concentrate on the placement of the bass drum
Concentrate on the sticking rhythms
Audio Example 6d:

Combining 1/16th Note Rhythms
1/16th note rhythm combinations are a typical occurrence in drumming. Below
are eighteen exercises for practising playing 1/16th note rhythms in conjunction
with other 1/16th note rhythms. Play each exercise with the indicated sticking
until you are comfortable with it.
Audio Example 6e:
Lesson Seven – Fills, Playing on the
Toms
Lesson Overview
The main object of this lesson is to introduce fills and the playing concepts that
go with them.
Firstly, we will explore what fills are, why they are used, their notation, the
instrumentation that is typically used and the body positions needed. Then we
will then look at some exercises to get you playing fills, so you can understand
the concept of how they are formed. Finally, we’ll look at exercises to get you
playing fills in conjunction with grooves, as this is the most natural way of
playing them.
Fills are where a drummer can convey their own musical expression. They are
also a lot of fun, so let’s get started.
Drum Fills
Drum fills are a central part of drum playing. A fill is simply a rhythmic or
playing embellishment that a drummer can use at their discretion. In its original
form, the drum fill was a short rhythmic segment which was used to fill the
space in the transitions between sections in a piece of music. Today, drum fills
have many uses and purposes within drum playing.
A fill can be used as a cue to lead the other musicians and listeners into the next
section of a song. It can be used to accentuate rhythmic patterns within a piece of
music. It can be used at the beginning of a song to set the tempo and rhythm for
that piece of music. It can also just be used for the drummer’s own musical
expression.
There are no set rules for fills. They can be any length and for any purpose. They
can have a very complicated rhythmic pattern, or they can be very simple. A fill
can also follow the rhythm of another instrument or it can have its own rhythm.
Fills are typically played on the snare drum and the toms. However, they can
also be played on any voice on the drum kit, whether it’s a solo voice or a
combination of voices.
Drum Fill Notation
Drum fills are very rarely notated in full, or in part, outside of an educational
environment, because they can be very complicated to notate, or because the
composer may not know that much about drums. Usually in a chart (a piece of
written music) the composer will not write a specific fill, but simply note fill ,
with a marker to indicate length.
If a specific rhythmic pattern is needed, the composer will write the basic
rhythmic pattern with fill written above it, to show that the drummer can
embellish the rhythmic
pattern.
Playing on Toms
Playing on the toms is an integral part of fill playing, as the majority of fills are
played on the toms. Below you will see the technique, body position and
notation needed for playing on each tom.
Top Tom
Keep your body straight and do not lean forward. Leaning too far forward will
put excess strain on your shoulders and lower back. Hit the centre of the skin.
Keep the correct grip technique and hand position and keep your elbows in.
Floor Tom
Keep your body straight and do not twist too much or lean towards the floor tom.
If you twist too much you will put extra tension on your lower back and can
cause damage to your body. Hit the centre of skin. Keep the correct grip
technique and hand position. Keep your elbows in.
Moving Between Drum s

When moving between the drums, your body position should only change
minimally. Your movement should be as fluid as possible, expending the least
amount of effort. Striking the drums should be solid and accurate. If your body
position changes too much when moving from drum to drum, you will waste
energy and lose power and speed.
Top Tom Playing
Below are eighteen exercises for practising and getting used to reading and
playing on the top tom.
Tips
Work out the rhythms before playing
Concentrate on body position and arm placement
Do not lean forward
Audio Example 7a:

Floor Tom Playing
Below are eighteen exercises for practising and getting used to reading and
playing on the floor tom.
Tips
Work out the rhythms before playing
Do not lean sideways or over-twist the back
Audio Example 7b:

Moving Around the Kit
The term moving around the kit refers to playing on one voice, then moving to
another voice in a fluid manner. Being able to move around the drum kit is an
important part of fill playing, as it will allow you to creatively express yourself
in any way you want to.
When moving around the kit you should be comfortable, but your body position
should not change too much. If you are over-stretching or over-twisting to move
around the kit, you are wasting energy and potentially putting yourself in a
negative playing position.
Below are thirty-eight exercises for practising moving from the snare, to the top
tom, to the floor tom.
Tips
Work out the voicing and sticking before playing

Concentrate on body position
Audio Example 7c:

Playing Groove and Fills
Drum fills are seldom played on their own – they typically precede and are
followed by grooves. Below are eighteen exercises comprising one bar of groove
and a one bar fill. These exercises are designed to help you transition from
groove playing to fill playing.
Tips
Work out the voicing before playing
Concentrate on the transitions between the groove and the fill; do not
rush
Audio Example 7d:

Lesson Eight – Simile Marks, Fills of
Different Lengths, Four-bar Phrasing
Lesson Overview
In the previous lesson, we explored the idea of fills. However, fills are not
always the same length. This lesson will explore the idea of fills of different
lengths and how to play them in a more natural context. We will look at the
notation required for this and have an in-depth look at fills of different lengths
though playing exercises.
Finally, we will look at playing grooves and fills in a more natural way, by
studying the concept of
four-bar phrasing. We will learn why this concept is important, before studying
a variety of playing exercises to cement this idea.
Simile Marks
Simile marks (Pronounced sim-ee-lee ) are used throughout drumming notation
and it is imperative that you understand what they are.
Simile marks are repetition symbols that indicate the repetition of the previous
bar or bars. Simile marks can be used on their own or in conjunction with repeat
signs.
Single Simile Mark
A single simile mark is made up of one diagonal line with two dots. It means to
repeat the previous bar and is positioned in the middle of the bar.
Double Simile Mark
A double simile mark is made up of two diagonal lines with two dots. It means
to repeat the two previous bars and is positioned in the middle bar line of the
two-bars.
Example of Single Simile Mark
Example of Multiple Single Simile Mark
Example of Double Simile Mark
Example of Multiple Double Simile Mark

Playing Simile Marks
Now it is time to start reading and playing simile marks. Below are six exercises
for practising reading single and double simile marks. Play each exercise until
Tips
Work out where the simile marks are before playing
Work out what the simile marks indicate before playing
Audio Example 8a:
Playing Fills of Different Lengths

In the previous lesson we studied fills that lasted for four beats, but even when
playing in 4/4, fills can be played over any number of beats.
This section will examine fills that last for one, two, and three beats. When
playing a fill that is shorter than a bar, you play the groove until the fill starts.
One-, Two-, and Three-Beat Fills
In some pieces of music, a four-beat fill could overpower the music, whereas in
some pieces of music a one-beat fill would be too sparse and leave the music
sounding empty. It’s therefore important to know fills of different lengths, so you
can choose an appropriate fill for a piece of music. Below are 58 exercises for
practising fills that last one, two and three beats.
Play each exercise with a bar of groove in front of it. (Use the example groove
below for each exercise).
Tips
Work out the voicing and rhythms before playing

Use the stickings you have learnt previously and say the count out
loud while playing
Audio Example 8b:

One-Beat Fills
Audio Example 8c:
Two-Beat Fills
Three-Beat Fills
Audio Example 8d:
Four-bar Phrasing Concept
Four-bar phrasing is a natural and well-used tool in drumming. It consists of
four bars, with the first three being groove based and the fourth bar being a fill.
This idea can be used in many ways. There can be three bars of groove followed
by a bar of drum fill, as stated. There can be three bars of one groove followed
by one bar of a different groove. There can be three bars of quiet playing
followed by one bar of loud playing etc. However, the most common form of
four-bar phrasing is three bars of groove followed by a bar of drum fill.
Variants of Four-bar Phrasing are :
Eight-bar phrasing
Sixteen-bar phrasing
Thirty-two-bar phrasing
The lengths of these variants are different, but the concept of the embellishment
occurring in the final bar is the same. The following section will look at four-bar
phrasing and its possibilities.
Four-bar Phrasing
Below are eight exercises for practising four-bar phrasing. Each exercise has
three bars of groove and one bar of fill. The fills range from four-beat to single-
beat fills. There is also simile notation in each exercise. Play each exercise until
Tips
Work out the voicing and rhythms before playing
Use the stickings you have learnt previously
Audio Example 8e:
Four-bar Phrasing Concept Playing

Below are four exercises for practising the four-bar phrasing concept. Each
exercise has three bars of groove and one bar of fill. However, the fills in these
exercises are not set. In the exercises replace the fill with any that have been
previously studied. Play at least five different fills for each exercise.
Tips
Look through the previously studied fills

Concentrate between the transitions between fills and grooves
Write down the exercises
Audio Example 8f:

Lesson Nine – Ride Technique, Playing
the Hi-Hat With the Foot, Four-way
Coordination
Lesson Overview
The main objective of this lesson is to develop four-way coordination . This is
the technique of playing using all four limbs simultaneously. However, before
tackling this concept, a few more techniques need to be studied: ride technique
and playing the hi-hat with the foot.
We will have an in-depth look at all the techniques required for four-way
coordination, by studying their concepts, their notation and though playing a
series of exercises that will cement these concepts. Once you are comfortable
with these concepts, we will tie them all together and start using four-way
coordination.
Four-way coordination is one of the most challenging elements of drum playing.
However, it is also one of the most musically rewarding. Being able to
coordinate all four of your limbs allows you to create interesting, rhythmically
diverse grooves. Having this control will allow you to truly express yourself
creatively on the drum kit.
Ride Technique
The ride is a large cymbal that is played with the right hand. It has a similar role
to the hi-hat, which is to maintain a rhythmic pattern, usually based around the
basic rhythm of a piece of music. The ride and hi-hat are notated on the same
line of the stave. What differentiates them are the symbols R.C. or H.H. (R.C. =
ride cymbal and H.H. = hi-hat). These will be written at the beginning of a
section to indicate which one is to be played.
Stick Position
Position 1
The tip of the stick plays on the surface of the ride. This offers the greatest
articulation of sound, the maximum amount of rebound and the most control.
This is the primary position used on the ride.
Position 2
The shoulder or tip of the stick plays on the bell of the ride. This offers a high
pitched, cutting sound, generally used for accents.
Position 3
The shoulder of the stick plays on the edge of the ride. This offers the loudest
dynamics on the ride.
Hand Positio n
When the right-hand is playing the ride, the grip technique and hand position
should be the same as when playing the snare or toms.
Playing on the Ride
Below are nine exercises for practising playing on the ride. The purpose of these
exercises is to get your arms and body used to playing the ride. The exercises are
based on 1/4 notes and 1/8th notes. Play each exercise with your right-hand in all
three hand positions.
Tips
Concentrate on your grip
Ensure that your hand positions are correct and that your back is
straight and you are not leaning.
Audio Example 9a:

Two-Way Coordination Ride Playing
Below are sixteen exercises for practising two-way coordination while playing
the ride. Exercises 1-8 are for practising coordinating between the snare drum
and the ride, and exercises 9-16 are for practising coordinating between the bass
drum and the ride. Play each exercise until you are comfortable with it.
Tips
Concentrate on hi-hat technique
Write the count above the exercise, if you need to
Audio Example 9b:

Three-way Coordination Ride Playing
Below are sixteen exercises for practising three-way coordination while playing
the ride. Play each exercise until you are comfortable with it.
Tips
Concentrate on ride technique

Concentrate on arm and hand position
Audio Example 9c:

Playing the Hi-Hat With the Foot
Below are sixteen exercises for practising playing the hi-hat with the foot.
Playing the hi-hat with the foot is notated at the bottom of the stave. Because it
is a cymbal, it is notated with an X and is stemmed downwards because it is
played with the foot. Play each exercise until you are comfortable with it. The
technique for playing the hi-hat with the foot is the same as playing the bass
drum.
Tips
Concentrate on ride technique and foot technique

Say the count while playing
Audio Example 9d:

Four-way Coordination
Four-way coordination is term given to playing using all four limbs. It is one of
the hardest aspects of playing drums and true mastery of this skill can take a
long time. Throughout this chapter, we have looked at all the individual
techniques needed for four-way coordination (ride technique, two and three-way
coordination while playing the ride, and playing the hi-hat with the foot while
playing the ride). The exercises below combine everything from this lesson to
give you an introduction to four-way coordination.
Tips
Concentrate on ride technique

Concentrate on foot technique
Be aware of where the foot hi-hat is played
Audio Example 9e:

Lesson Ten – Bar Line Notation, Crash
Technique, Transitioning Between the
Hi-Hat and the Rid e
Lesson Overview
In previous lessons, we have studied playing grooves while playing on the hi-
hat, four-way coordination while playing on the ride, and playing fills. However,
we have not yet played these three concepts in conjunction with one another.
Here we will explore the concept of transitioning between the hi-hat and the ride
with fills. We will take an in-depth look at all the techniques required for this
concept by studying the notation needed, the techniques required and through
playing a series of exercises that will cement these concepts. Once you are
comfortable with these concepts, we will tie them all together to get you
transitioning between the hi-hat and the ride.
Bar Lines
There are different types of bar lines, each with their own meaning, and it is
essential that you understand what they mean. Bar lines are very much like the
punctuation in a sentence. They separate bars, they separate different segments
of music, and they signify the end of a piece of music. All of this helps you to
keep track when reading.
To begin with you should know that drum music, as you have seen, is written on
a stave .
Stave
The stave (or staff) is five lines on which all notation is written. The position of
notes and symbols on the stave dictates what is to be played.
The range of the stave is increased with ledger lines.

Ledger Lines
Ledger (or leger) lines are extensions of the stave for notes outside of the stave.
In drum notation, this is typically used for cymbals or extra instrumentation.
These are the different types of bar lines. Read though them all and learn their
meanings.
Single Bar Line s
These are used to separate bars and help keep track of arrangement, rhythm and
time.
Double Bar Line

This is used to separate sections within a piece of music. For example:
separating a chorus from a verse. This helps to keep track of an arrangement and
make it clearer to read.
Bold Double Bar Line

This is used to represent the end of a piece of music. This also helps to keep
track of arrangement and gives a piece of written music a definite end.
Crash Technique
Unlike the ride and the hi-hat, the crash is typically not used for maintaining a
rhythmic phrase. Its characteristic use is to provide accents in a piece of music,
which is why it is often referred to as an accent cymbal . The crash is normally
played with the right-hand for two reasons: firstly, it is usually easier and simpler
to move the right hand from the ride or hi-hat to the crash; secondly, since the
crash is notated with an X above the stave, it is usually written as part of the ride
or hi-hat pattern. However, either hand can play the crash.
Stick Position
Position 1
The shoulder of the stick plays on the edge of the crash. This offers the loudest
dynamics and is the primary position used on the crash.
Position 2
The tip of the stick plays on the surface of the crash. This offers a lower
dynamic, but with the greatest articulation of sound, the maximum amount of
rebound and the most control.
Position 3
The shoulder or tip of the stick plays on the bell of the crash. This offers a high-
pitched, cutting sound.
Hand Position
The hand position is the same as playing the ride or hi-hat.
Crash Playing
The crash has two forms of notation, both of which are widely used. This book
series will be focusing on crash notation variation 1.
Below are sixteen exercises that will help you get used to playing the crash in
conjunction with the hi-hat, snare and bass. Play each exercise in all three
positions until you feel comfortable.
Tips
Concentrate on crash technique, grip technique and arm and hand

position
Pay attention to where the crash is written and ensure the unisons
between the notes are together
Audio Example 10a:

Groove Playing With The Crash
Now that you are used to playing the crash, it is time to put it into some grooves.
Below are exercises for playing the crash in a groove context. Play each exercise
until you are comfortable with it. Play each exercise in crash position 1.
Tips
Concentrate on crash technique
Ensure the tempo is not affected by playing the crash
Play each exercise slowly at first until you are comfortable
Audio Example 10b:
Crashes are rarely played on every bar. They are normally played only for
accents or in the transition between segments in a piece of music. Below are
exercises for practising playing the crash in a two-bar context and a four-bar
context, both of which are more natural ways of playing.
Two-bar Exercises
Play each exercise from above in a two-bar format, with a crash only on the first
bar.
Four-bar Exercises
Play each exercise from above in a four-bar format, with a crash only on the first
bar.
Ride Playing With The Crash
So far you have played the crash in conjunction with the hi-hat only. Now it’s
time to start playing the crash in conjunction with the ride. This requires more
dexterity because playing on the ride typically entails four-way coordination. So,
when you combine four-way coordination with moving the right hand from the
ride to the crash, it requires an extra level of adroitness.
Below are exercises for playing the crash in four-way coordination grooves. Play
each exercise until you are comfortable with it and use crash position 1.
Tips
Concentrate on crash technique
Ensure the tempo is not affected by playing the crash
Audio Example 10c:
Two-bar Exercises
Play each exercise from above in a two-bar format, with a crash only on the first
bar.
Four-bar Exercises
Play each exercise from above in a four-bar format, with a crash only on the first
bar.
Four-way Coordination With Crash and Fills
One of the most natural and effective ways of playing a crash is after a fill. This
is because a crash hit gives a definite end to the fill and a strong start to the
groove that follows. Below are two-bar exercises for practising four-way
coordination grooves with fills, and with a crash on the first beat of the groove.
Tips
Read the grooves and the fills before playing them
Ensure the hi-hat on the foot stays constant
Pay attention to the crash notation
Keep your speed constant; do not speed up or slow down
Audio Example 10d:

Four-way Coordination, Fills and Crash Concept Playing
Below are four exercises for practising four-way coordination with fills and
crash. In these exercises, replace the fill with any that have been previously
studied. Play at least five different fills for each exercise.
Tips
Look through the previously studied fills
Concentrate on the transitions between fills and grooves
Keep the hi-hat constant
Audio Example 10e:

Transitioning Between the Ride and the Hi-Hat
Four-bar Phrasing With Fills of Different Length s
Transitioning between the hi-hat and the ride is a very common part of drum
playing. This is normally used when switching to another section in a piece of
music, or switching between loud and quiet sections. The most challenging part
of moving between the hi-hat and the ride is the transition from three-way
coordination to four-way coordination. The move between the ride and the hi-hat
is typically transitioned with a fill.
Here are some exercises for practising moving between the ride and the hi-hat
with fills of different lengths. Play each exercise until you are comfortable with
it.
Tips
Read the grooves and the fills before playing them
Understand the structure before playing
Work out where the repeat symbols are and what they mean before
playing
Ensure the hi-hat on the foot stay constant
Pay attention to the symbols R.C. and H.H.
Audio Example 10f:
Audio Example 10g:

Audio Example 10h:
Audio Example 10i:
Audio Example 10j:
Audio Example 10k:
Audio Example 10l:

Audio Example 10m:
Audio Example 10n:
Audio Example 10o:
Audio Example 10p:

Audio Example 10q:
This concept does not stop with these exercises. You can continue your
exploration of this idea by creating your own transition exercises, using any hi-
hat groove, with any four-way coordination ride groove, and with any fill. Don’t
let the end of this book be the end of your practising. The lessons continue in the
next volume, Drum Kit Fundamental Studies – Book 2.
Keep practising and become the drummer you want to be!
About the Autho r
Daryl Ingleton began his musical life at a young age, starting with the trumpet at
age 8. He studied this instrument for many years, until he wanted to expand his
musical knowledge. He then switched instruments for many years until he found
drums and percussion at the age of 15. Since then he has studied with published
authors, internationally touring musicians and industry greats. In 2006 he was
accepted into the London College of Music where he studied with some of the
UK’s best session players and tutors. He later graduated with a Bachelors of
Music with Honours degree.
From then on, he became involved with shows, bands and projects throughout
London, in various different styles and situations. During this time, he also
continued his independent training, always striving to learn more, which led him
to travel to different continents to further his studies and pursue different
avenues of the music industry.
Throughout his music life Daryl has always been eager to share his musical
knowledge. Because of this he has developed an understanding of how to
communicate this knowledge in a way that is easily understandable. Daryl wants
every drummer to have the best understanding of their instrument possible, and
these books are his effort to share the techniques and knowledge he has hone d
over a decade of learning and practising.
Please enjoy and take all the knowledge you can from this book series.
Thank You!
This book series has been a passion project of mine for many years. From the
initial concept, to the first draft, and then to the completed article, it has taken a
lot of my concentration and dedication.
Throughout my musical life, and through the creation of this series, I have
received a lot of support from many people. I would like the thank my family
(Peter Ingleton, Diana Ingleton, John Sellars, Joyce Sellars, Katrina Harling and
Lauretta Hunt) who encouraged my musical education by helping find tutors and
schools, and for allowing me to play for hours on end without complaint. Thanks
to my first drum tutor (Dave Zubraski), who got me hooked on drums and
percussion.
To all of my tutors who showed me new ideas and concepts (Erik Stams, Darryn
Farrugia, drumTech and the London College of Music). To all my musical
friends and peers (the Babilondon Crew, the Radstock Crew, the Just Like Little
People Crew), who shared and grew their music with me. To everyone who
helped with the creation of this series (Luke Hollingworth and Fundamental
Changes Ltd). And to my partner (Lucie Fournaison) who always encouraged
my playing and writing.
Finally, I would like to thank you, the reader, for purchasing this book and series.
The information here is meant for you, and I am personally very happy that you
have taken the step to further your musical education.

Learn To Play Drums The Complete Drum Method Volume 1

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Copyright © 2018 Daryl Ingleton

Cover Image Copyright: Shutterstock: Uximetc pavel

If you’re reading this book on an eReader, double-tap each image to enlarge

Schedule Your Practice

Play slowly. It is important to play slowly when encountering new

Reading and Writing Notation Proficiency

Hi-Hat and Hi-Hat Stan d

How to set up and sit at a drum stool

Completed Drum Kit Set Up

Audio Example 1a:

Introduction to Music Notatio n

The Percussion Clef

1. Crash cymbal (two notation variations)

Read through each exercise, before playing it

Audio Example 2a:

Audio Example 2b:

Audio Example 2c:

Read through each exercise before playing it

Audio Example 2d:

Audio Example 2e:

1/8th Note Count

Audio Example 3a:

Read each exercise before playing it

Audio Example 3c:

Audio Example 3d:

Audio Example 3f:

Audio Example 4a:

Audio Example 4b:

Concentrate on hi-hat technique, grip technique and body position

Concentrate on hi-hat technique and grip technique

Audio Example 4f:

Example of Single Bar Repetition

Example of Multiple Bar Repetition

Example of Multiple Repetition

Single Bar Repetition

Multiple Bar Repetition

Ensure the note unisons are together

Audio Example 5e:

Work out the pattern before playing

Audio Example 5f:

Read and work out each exercise before playing

Audio Example 5g:

1/16th Note Count

Audio Example 6a:

Audio Example 6b:

Audio Example 6c:

Work out the rhythm before playing

Audio Example 6d:

Moving Between Drum s

Audio Example 7a:

Audio Example 7b:

Work out the voicing and sticking before playing

Audio Example 7c:

Audio Example 7d:

Example of Single Simile Mark

Example of Multiple Single Simile Mark

Example of Double Simile Mark

Example of Multiple Double Simile Mark

Audio Example 8a:

Playing Fills of Different Lengths

Work out the voicing and rhythms before playing

Audio Example 8b: