Chris McCaig 23/4/25 Chris McCaig 23/4/25

The Breakbeat Bible - Stylistic Studies (Hip Hop)

Stylistic Studies - Hip Hop

Chris McCaig 22/4/25 Chris McCaig 22/4/25

Syncopation - 16th Note Triplets and 32nd Notes

Triplets: Lessons Six, Seven, Eight
16th Notes: Lessons Nine, Ten, Eleven
Substitute Diddles 1 and 2 and Double Note Singles (Language of Drumming) for all triplet and 16th note exercises.

Chris McCaig 22/4/25 Chris McCaig 22/4/25

The Language of Drumming - 16th Note Triplets and 32nd Notes

Diddles 1 and 2 (pg. 19-22)
Double Note Singles (pg. 25-26)

Play these rhythms over Syncopation Lessons 6-11

Chris McCaig 22/4/25 Chris McCaig 22/4/25

Groove Essentials 2.0 - Rock Grooves

Rock Grooves 48-57 (pg. 14-28)

*Grooves 58-61 covered in Level 2

Chris McCaig 22/4/25 Chris McCaig 22/4/25

Time Functioning Patterns - Linear Time Feels

Using Linear Phrases to Play Time (pg. 41-43)
Basic Linear Phrases (pg. 44-47)
Triplet Linear Phrases (pg. 50)
Linear Time Feels with Single and Double Strokes (pg. 51-52)

Chris McCaig 22/4/25 Chris McCaig 22/4/25

Time Functioning Patterns - Rhythmic Independence

Cymbal Ostinato Possibilities (pg. 6-10)
Fat-Back Exercises (pg. 11-14)
Snare Drum / Bass Drum Combinations (pg. 15-16)
Improvising with Snare Drum / Bass Drum Combinations (pg. 17)
Alternate Accent Possibilities (pg. 18)
Hi Hat Exercises (pg. 19)

Chris McCaig 22/4/25 Chris McCaig 22/4/25

Stick Control - Jazz Independence

Single Beat Combinations (pg. 5-7)

Chris McCaig 22/4/25 Chris McCaig 22/4/25

Stick Control - Jazz Vocabulary

Single Beat Combinations (pg. 5-7)

Chris McCaig 22/4/25 Chris McCaig 22/4/25

Technique Patterns - Compound Stickings

Group A Stickings (pg. 35-39)
Group B Stickings (pg. 40-46)
Group C Stickings (pg. 47-49)
Group D Stickings (pg. 50-52)
Group E Stickings (pg. 53)
Studies Involving Sticking Mixtures (pg. 54-58)
Moving An Accent Through A Rhythm (pg. 59)
Applying Compound Stickings to the Drum Set (pg. 60-70)

Chris McCaig 22/4/25 Chris McCaig 22/4/25

Sticking Patterns - Polyrhythmic Stickings

Rhythmic Figures Over Large Spans of Time (pg. 55-57)
Studies on Quarter Note Based Figures (pg. 58-78)
Studies on Dotted Quarter Note Based Figures (pg. 79-86)

Chris McCaig 22/4/25 Chris McCaig 22/4/25

Syncopation - Accents for Fills & Solos

Lesson One: Accented 8th Notes (pg. 47-49)
Lesson Two: Accented Dotted 8th/16ths (pg. 50-52)
Lesson Three: Accented Triplets (pg. 53-58)
Lesson Four: Triplets with Mixed Sticking (pg. 59)
Lesson Five: Accented 16th Notes (pg. 60-63)

Chris McCaig 22/4/25 Chris McCaig 22/4/25

Syncopation - Jazz Independence

Syncopation Set 1 (pg. 33)
Syncopation Set 2 (pg. 34-37)
Syncopation Exercises 1-9 (pg. 38-46)

Chris McCaig 22/4/25 Chris McCaig 22/4/25

Syncopation - Triplet Fills

Lesson Six: 8th Note Triplets & Quarter Notes (pg. 14-15)
Lesson Seven: 8th Note Triplets & 8th Notes (pg. 16-17)
Lesson Eight: 8th Note Triplets & Dotted 8th/16ths (pg. 18-19)

Chris McCaig 22/4/25 Chris McCaig 22/4/25

Syncopation - 16th Note Fills

Lesson Nine: 16th Notes & Quarter Notes (pg. 20-21)
Lesson Ten: 16th Notes & 8th Notes (pg. 22-23)
Lesson Five: Dotted 8th/16ths (pg. 12-13)
Lesson Eleven: 8th/16th Combinations (pg. 24-29)

Chris McCaig 22/4/25 Chris McCaig 22/4/25

Syncopation - 8th Note Fills

Lesson Four: 8th Notes & Quarter Notes (pg. 10-11)
Lesson Twelve: 8th Note Rests (pg. 30-32)

8th note rhythms can be played as fills by moving the notes around the drum set.

Parallel motion - Both hands move in the same direction

Contrary motion - Both hands move in different directions

Oblique motion - One hands move around the set while the other hand stays in the same place

You can also experiment with different stickings. You could use single strokes, or you could play double strokes on the 8th notes, or you could play unisons.

Once you’ve experimented with these motions try setting up a 4 bar phrase, with 3 bars of playing time and 1 bar of fill.

Practice these 4 bar phrases by playing along to music.