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)
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)
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)
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)
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)
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.
The Language of Drumming - Dynamics & Sticking
Dynamic Letters (pg. 15-16)
Sticking Letters (pg. 17-18)
Diddles 1 and 2 (pg. 19-22)
Flams (pg. 23-24)
Double Note Singles (pg. 25-26)
Sticking 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)
Sticking Patterns - Singles & Doubles
Accented Single Strokes (pg. 5-7)
Single Accents (pg. 8-9)
Double Accents (pg. 10-11)
Triple Accents (pg. 12-13)
Quadruple Accents (pg. 14-15)
Studies Involving Accented Single Strokes (pg. 16-25)
Rhythm & Meter Patterns - Polyrhythms
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)
Rhythm & Meter Patterns - Mixed Rhythms In Odd Meters
Studies on Quarter Note Based Figures (pg. 19-36)
Studies on Dotted Quarter Note Based Figures (pg. 37-42)
Meter Studies (pg. 43-54)
Rhythm & Meter Patterns - Subdivision Combinations
Dynamics (pg. 5-12)
Exercises on Quarter Note Based Figures (pg. 16-17)
Studies on Quarter Note Based Figures (pg. 18)
Stick Control - Short Rolls and Triplets
Triplets (pg. 8-9)
Short Rolls and Triplets (pg. 14-15)
Short Rolls in 6/8 (pg. 24-29)
Combinations in 3/8 (pg. 30-32)
Combinations in 2/4 (pg. 33)
Stick Control - Rolls
Single Beat Rolls (pg. 10)
Double Beat Rolls (pg. 11)
Closed Rolls (pg. 12)
Review of Short Roll Combinations (pg. 13)
The Language of Drumming - Odd Groupings
Words (pg. 41-44)
Threes / First Position (pg. 45-46)
Fives / First Position (pg. 47-48)
Sevens / First Position (pg. 49-50)
Threes / Second Position (pg. 51-52)
Fives / Second Position (pg. 53-54)
Sevens / Second Position (pg. 55-56)
Threes / Third Position (pg. 57-58)
Hi Hat Words: Three, Five & Seven (pg. 59-60)
Words Recap Sheets (pg. 61-64)
Independence Words (pg. 65)
Time Functioning Patterns - Linear Phrasing
Linear Phrasing (pg. 40)
Basic Linear Phrases (pg. 44-47)
Using Linear Phrases to Play Solos (pg. 48-49)
Triplet Linear Phrases (pg. 50)