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HL06631474

Master Studiesby Joe Morello

edited uv Rick Mattingly

@ Copyright 1983, 2000 by Modern Drummer Publications, Inc.International Copyright Secured All Rights Reserved

Printed in U.S.A.

Published bv MODeRnu DRummgR''Publications Inc.

12 Old Bridge Road, Cedar Grove, New Jersey 07009

ExcLUSIVELY DIaTRIBUIED BY

Zf,HAL.LeotvARD@l<-coFrpoFtATIoN

DedicationAlthough the actual writing of this book began about ten years ago, in concept it was born many years earlier, while I wasstudying with Mr. George Lawrence Stone of Boston. At that time, the only book Mr. Stone had to his credit was Stick Control,which I practiced religiously. However, being a bit precocious, I would frequently experiment with different ways to practice my

assignments. At my lesson each week, I would show these ideas to Mr. Stone and ask his opinion of them. He always seemedto enjoy them, and one day, he honored me with the dedication of his second book, Accents And Rebounds, which he claimedwas inspired by some of my experiments.

Still not satisfied, Mr. Stone suggested that I rewrite Stick Control. I told Mr. Stone that I felt Strbk Controlwas perfect just theway it was. I would never consider rewriting it, but I would love to collaborate on a new book with him. Unfortunately, my hectictour schedule and Mr. Stone's untimely passing turned this dream into an impossibility.

I therefore dedicate this book to Mr. George Lawrence Stone, and to my other two teachers, Joseph D. Sefcik and BillyGladstone, and to my wife, Jean Ann.

Design and Layout: David CreamerCover Photography: Rick Mattingly

Soecial thanks to:Debbie Andreas

Jerry BognerSteve Forster

Danny Gottlieb

ContentsIntroduction

by Jim Chapin

Prefaceby Joe Morello

ACCENT STUDIES8th Notes With AccentsTriplets With Accents ...8th-Note and Triplet Combinations

BUZZ ROLL STUDIES8th Notes With Buzz Rolls

61218

Triplets With Buzz Rolls2025

STROKE COMBINATION STUDIESSingle and Double Combinations....Double and Buzz Combinations. . . .

Single and Buzz Combinations....Single, Double and Buzz Comblnations....S-Stroke Roll Gombinations.T.Stroke Roll Combinations.S-Stroke and 7-Stroke Roll Combinations. . .

9-Stroke Roll Combinations.

CONTROL STUDIES

3031323234363739

Sticking ExerciseTable of Time...EnduranceVelocity

40424445485254

Progressive AccentsDynamics.The Stone "Killer"

FILL-IN STUDIESGroups of Three With Fill-lns ....Groups of Four With Fill-lns ....Threes and Fours With Fill-lns ....Groups of Two With Fill-|ns.....Endurance Exercise With Fill-lns. . . . .

OSTINATO STUDIESFLAM STUDIES

6670727375

76

Flat Flams8th Notes With Flams

828690Triplets With Flams

Biography e4

' Introduction

Quite a complicated recipe, this making of a drummer: theability to maintain an even tempo; a firm sense of meter; goodcoordination between hands and feet; quick reflexes; the self-discipline that enables one to practice hard and withconcentration.

These are fundamental building blocks, and any youngdrummer should consider himself blessed if he starts his

career with a sizable chunk of even one of them. Even thegreatest players make it clear that, in spite of their success,the preponderance of their talent usually lies in but one or twoof the above areas.

This is what makes Joe Morello so amazing. He has novisible weaknesses. His time is impeccable; his taste is

unerringly correct with reflexes like lightning. And hiscoordination, on many different levels, is unique.

On top of what must have been an outstanding originaltalent, the fact that Joe is one of the world's championpracticers is also largely responsible. Many drummers haveconditioned themselves, sometimes grudgingly, to be with theirdrums for some appreciable portion of their waking hours. Joe,who has been playing drums for over thirty years, is still in thefirst flush of a great love affair with the instrument.

Joe first studied with Joe Sefcik in his hometown ofSpringfield, Massachusetts. Sefcik was a remarkable teacherwho gave him a fine background, and then suggested Joestudy with George Lawrence Stone, a delightful man, who wasjust overjoyed with Joe. Of course, the lessons proved to bejust as rewarding for the teacher as the pupil.

When I spent a day with Mr. Stone in 1951, he talked about"the outstanding kid from Springfield" a good part of the time'Of course, I didn't connect the "drum monster" I met at theValley Arena that very next year with Stone's prize pupil.

As far back as the mid-'SOs, Joe was far along in the processof developing his own special and devastating technique, askill which has given rise to some marvelous drum mythology:"Man, I never heard anything like it! That cat was rolling with hisleft hand!" This technique might be characterized as a sort ofperpetual motion of evenly divided three- or four-note phrases'

Many drummers make a rough attempt at this effect by firstdragging the stick, in a kind of repeated buzz, and thenopening it, trying vainly to produce evenly divided accentedtaps. Superficially, it might be said that Joe does the samething, but in contrast, his sound is perfectly "round," with no

breaks in continuity.Probably, it is Joe's most amazing invention, but perhaps

some credit belongs to the late Billy Gladstone and his theoryof "catching the bounce." Joe took only a few lessons fromGladstone, but all he has ever needed was the spark of an ideafrom which to build an imposing edifice.

Speed? Joe can perform with one hand what others need twohands or more to achieve. How did he arrive at this pinnacle?Talent, energy-and an analytical mind.

New York's Hickory House was a iazz and steak house forabout forty years. From late 1952 until 1955, when he leftMarian McPartland to join Dave Brubeck, Joe held open drumclinics there. Sitting at the oval bar that enclosed thebandstand entitled a young drummer to more than the trio;during the intermissions, one could follow Joe lo a rear table towatch him perform miracles on a folded napkin.

by Jim ChaPin

ln his first few months in New York, Joe's intense interest in

drums and his natural modesty often conspired to get him introuble. In perfect innocence and admiration, Joe would asksome respectable, though perhaps not overwhelming' tech-nician to demonstrate a facet of his learning. Falling into thetrap, and without any idea of Joe's capabilities, the "mastef'would display his technique. In all sincerity, Joe wouldenthusiastically ask, "ls this right?" and then proceed- toreproduce whatever had been demonstrated-twice as fastand much cleanerl

Until the pecking order had been established, and Joe'soriginal position as "new boy in town" had turned into

unöhallenged "king of the hill," his sincere thirst for knowledgemade some unwary drummers quite nervous.

The Dave Brubeck Quartet had acquired a respectablefollowing of jazz fans well before Joe joined the group' Theirconcerts were sellouts all over the country' However, Joebrought a new solo voice into the fray, along with the facilityand flexibility to anticipate and complement Brubeck's searchfor new rhythmic directions in iazz. Many composers in the popfield learned their lessons well at the feet of these masterexoerimenters.

During the Brubeck years, Joe produced a body of recordedsolos that has no parallel in all iazz. In addition to all thetechnical excellence on display, the final impression is one ofdelightful discovery. The solos are so full of episode, ofdelicious surprises, and of theme and variation that they standon their own as drum compositions.

Joe has maintained a lower profile recently, concentrating on

teaching and cutting down on personal appearances. But

hearing- Joe today is a real revelation. He is a veritablepowerhouse. Part of this relatively recent step forward is his

increased use and understanding of the Moeller system, whichhe was forced to achieve from a distance and almost byintuition.

Sanford Moeller, through years of observation, had

discovered'that there was a common trait that "swift" drummersseemed to share: the look of the hands and arms in

relationship to the sticks. The action of the "thrown" accentsmade it appear as though the sticks had a secret power of theirown. The exercises that Moeller invented and compiled utilizedthe extraordinary acceleration of whipping accents, and an

axiom of physics: "An object in motion (in this case the tip ofthe stick), rivhen allowed to move freely, tends to stay in

motion." Moeller claimed no origination of the system, and he

believed that really gifted students would eventually develop it

naturally through trial and error.Joe never studied with Moeller. In later years, Moeller

developed a habit of discouraging students from enrolling forlessons. His rejection of Joe seems tragic in retrospecl.Moeller would have been very proud to see what Joe hasaccomplished with his system, even from a distance. He hasachieved standards of speed and dexterity that the "old man"could never have possibly anticipated.

The student of this present work will find a real, bul realistic,

challenge here. For shining out from each exercise is the lightfrom the lively intelligence of Joe Morello-an all-timedrumming genius.

Preface

on techniqueMaster Studies is not intended to be a "how-to" book. By that I

mean that it's not an instruction book that will teach youvarious hand and stick oositions. nor does this book haveanything to do with any "style" of playing, nor is it intended togive the drummer some "hot licks." This is a workbook ofmaterial to use in developing the hands for accenting, and forcontrolling the different pressures used in single strokes,double strokes, and closed rolls. You can go through this bookusing whatever techniques you've been taught, and you canapply the ideas in this book to any style of music you want.Furthermore, this book does not have to be practiced in anyparticular order. You can skip around and work on whicheverexercises are most appropriate to your needs at any giventime.

Technique is only a means to an end. The goal is to playmusically, but some drummers lose sight of this and approachthe drums strictly from a technical standpoint. Often, theybecome so fascinated with speed that they miss the wholepoint of music. So just studying this book for the techniquealone doesn't make any sense. You have to apply thetechnique to the music you are playing. lf you need to useaccents, for example, this book will help you develop the abilityto put an accent wherever you hear one. But when you areplaying, you should not be thinking, "Well, now I'm going to playpage such-and-such trom Master Studies;'The ultimate goal is

by Joe Morello

to be able to play what you hear in your mind and to be able toplay it instantly.

Although I am known as alazz drummer, I never studied jazzdrumming with anyone. My teachers were Joseph D. Sefcik,George Lawrence Stone, and Billy Gladstone, who were notjazz drummers by any means, but who knew how to get a goodsound out of a drum. In my travels around the world, I've runinto many different approaches and techniques. I think it wouldbe presumptuous of me to declare my way of playing as beingthe "end-all" of techniques. However, there is one thing that I

want to make very clear: l've come to the conclusion thateverything is done with natural body movement. The wrist turnsand everything have to be natural; they have to fit the way thebody is made. You must use everything in a natural way. Afteryou have been playing awhile, you will develop an individual-ized style, and each style has its place.

Some of the things in this book are unusual, and they mightgive you different ideas about things you can do. For example,some of the accents are in odd places, and in that respect, itmight open your mind to different patterns. But ultimately, it'sup to your imagination to develop your own creativity. So thisbook is just to help you develop your facility, keep yourself inshape, and help you become aware of what your hands aredoing and how they're working. How you use the technique isup to you.

speed contest with the metronome. When you forget aboutbeing musical and start worrying about speed, you aredefeating the purpose of music. Being able to play 16th notesat a metronome setting of 270 doesn't mean a thing if you can'tplay them musically.

I suggest starting off slowly each time you practice. Makesure you are totally relaxed. After your muscles are warmedup, you can gradually increase the tempo, one metronomemarking at a time. lf, at any point, you start to feel tension inyour hands, wrists, or arms, STOP. Move the metronome backa couple of notches and work from a tempo at which you aretotally relaxed. This is what will eventually build speed.

We all have days when we don't seem to be able to play aswell. Maybe yesterday you were able to play a certain exercisewith the metronome set at 160, but today you feel tension ifyou try to go past 148. Fine. Stay at 148. Playing stiffly at 160won't do you a bit of good. Eventually, you'll work your wayback up to 160. Your top speed may go up and down from dayto day, but if you average your speed and compare it week toweek, you should see some improvement.

Experiment with using the metronome on different beats. Youmay want to start with the metronome clicking off each beat ofthe bar. But after you can do that, try it with the metronomeclicking off only the first beat of each bar, or set themetronome to click on the "2" and "4" of each bar, or have itplay on each "and" in a bar. There are a variety of ways to usethe metronome. Use your imagination.

using the metronomeI feel that the exercises in this book should be practiced with ametronome. But it is imoortant to understand what a metro-nome will do and what it will not do.

A metronome will help you to be rhythmically accurate; it willnot teach you to swing. The metronome can be used to gaugeyour development; it should not be used as a challenge. Let'slook at each of these points.

The metronome is useful in teaching you to space your notescorrectly and keep time. The metronome will not slow downwhen you play the fast parts; it won't speed up on the slowparts; it won't change the pulse when you change from Sths totriplets to 16ths. lt can be very valuable in helping you to learnrhythmic relationships (such as those in the "Table of Time"section in this book). lt will also help prepare you for playingwith a click track, if you should encounter one in a recordingstudio.

The metronome will nof teach you to swing or groove. That hasto do with feeling, and the metronome has no feeling; it's amachine. However, don't be afraid of the metronome either.There has been a myth going around for years that, if youpractice with a metronome, you'll play mechanically. That's nottrue. So use the metronome as a guide, but don't let it becomemore importanl than it really is.

One way of using it as a guide is by gauging your progresswith it. As your proficiency increases, you can play with themetronome set at higher tempos. Psychologically, being ableto see your progress is helpful. But don't get involved in a

" Accent Strrdies8th notes with accentsThis section combines alternate stickings with one-handed stickings, whilestressing accents. lt is essential to maintain only two dynamic levels in each ex-ercise: the accented level and the unaccented level. Also, be sure to keep aneven sound when moving from alternate strokes to one-handed strokes, andvice-versa. Following is a list of suggestions for difierent ways to play this sec-tion:

Play without accents-make sure each stick sounds the same, as though theexercise is being played with one hand.

Vary the dynamic level between the accented notes and the unaccented notes.For example: 1) unaccented notes p; accents mf . 2) unaccented notes mf; ac-cents f. 3) unaccented notes mp; accents rf. etc.

When one-handed stickings are used, fill in 16ths with the opposite hand. Forexample,

1)

can be played:

RLRRRRRR

>:>

RL

>

LRLLLLLL

:>>

LR

:>

--

r I i-FFi l-FFi - ra a aaaaaaaaaaaLRLR LRLRLRL

>i_''l i_'laaaaaadJ

-- --

a J aaa Jaa)la)tLRL RLRLRLRL

11)

R

can be played: _>

RL

Interpret Sths jazz style:

Play as triplets. For example:

J>>

i-i iTi i-i-])ta,))J)a)JJa rn JTl fn i-r:'!l

--

| | --.i --ii - |a o aaaaaaaaaaaRLRLRLRLRLR

>

tTt,7,LL

:>l--

| | i-i r iiil i?i-a a aoa oaaaoataRLR LRLRLRLR L

l-1 =aa

RLRRRR

=J 3

3>> 3rFr -TladadaaRRLRLL

J>> 3

s 9- 3 3l-l-l l-Fl i-i-j i-i-iJ)J)J)JJJ)))

LLLLRLRRRRRRs J= 3 3

LRLLLLLLRL RR RRRRL RL LLL LL

H?:'ä, lf r f r lo'lf F f F lo'lf r-.f I Lf l"n

Play accented notes on tom-toms; unaccented notes on snare. Various patternson bass and hi-hat.

Rights with right foot on bass drum; lefts with left hand on snare; right handplays 8th notes on ride cymbal; hi-hat on "2" and "4".

lnterpret Sths jazz style; rights on bass; lefts on snare; jazz rhythm on ride cym-bal; hi-hat on"2" and"4".

These exercises can also be applied to the drumsel:

Play all previous suggestions while playing various patterns on bass drum andhi-hat. For example:

cym.S.D.B.D,

Hi-Hat

Play on double bass drums.

These are only a few of the many ways these exercises can be played. Try tofind ways to apply these exercises to your own situation and your own needs.Remember: these exercises only have value if they are applied in a musicalway.

RLRLRRRRLRLRLLLLl> :>

RLRLRLRR

t>>

LL

:> :>

RL

l>

LR

>>

LR

:>

:>>

LR LL LL LL

RRLRL

>

L

:>

LLRLRLL

RLRRLLLLLRLLR

LLRR>

RLLLLL

LRLLRRRRR

>:>>

RRRLRR

>

LRRL

>

RR

RLRRLL

LRLLR

R RR

LRR

RRR

RRR

RR

RRR

LL

RLRRLRLL

LLLL LLL

>

LRLLRLRRL

>>:>

RRR:>

RRRRRLRRLR

:>>

LL

LLLLLLLLLRLLRL

>>

RR

>

LRLLLLLL

>>

RL RL

RRRLRRR>>

LR:>

LR

LLLL

l>

LRLR

>

LL

:>

RL

:>

LRLRLRRLLLLLLLL>:>>>

RRRRR

>

RLRLLR

>

RLLRRLRLL

:>>

RRLLR LR

:>

R LL L

LRLL>

LR;>

RR

LRRRL RR

>

LRRLRRLLL

RR

:>

RRRRRR

LLRRLR

:>>

RRLLRLLL

>>

RRRRRl>

RRLLRRLL>

RR LL

LRL>

LLRR

>:>

RLR>

RR>

LRR

LRL

RRLL

LL

RR

RLR>

RLR

>>

LRLL

>>>

RRRL>>>

:> l> >

LR

RL

RRR

RL

>

LR

:>

LR

:>

RLl>

RL>

RRRR>

LRRRl>

RL>

RR:> :>

LLR

>

RRRL:>>>

LLl>

LLl>

RLRR:>

LLLLLLL

>

RLL:>

LRLLLLL:>>

LR;>

RLR

RRLRL>>

RR

LRLLLRLL

LRLLRL

L LL

tz

RLLLLLL

:>

RRRLRLRRLL>:>

RLL

triplets with accents

cym.s.D.an

Hi-Hat

Play straight 8th notes on bass drum against the triplets (two against three)'

R L RL L L R LR L L L;1 3 > 3 3

S.D.

B.D.

Transfer one-handed notes to bass drum.

S.D.B.D.

This is similar to the first section, but here we're using triplets. Again, strive for

evenness of sound, paying particular attention to the dynamic level between the

accented and unaccented notes'

Many of the suggestions from the first section can be applied to this section as

well. Here are some additional ideas:

Rights on bass drum; lefts on snare; hi-hat on "2" and "4"; shuffle rhythm on

ride cymbal.

>3

RL R>3

RL

RLRLLLRLRLLL RLRLLLRLRLLL

3>3 3>3 3>3 3 >3

RRRLRLRRRLRL RRRLRLRRRLRL

3>3

RLRLRLRRRLRL RLRLRLRRRLRL

3>3

3> 3

RLLLRLLLRLRR LRRRLRRRLRLL>3 3;- 3 ;- 3 :>3 3;- 3 ;- 3

RLLLLRLLLRLR LRRRRLRRRLRL>3;=3;-33

RLLRLLRLLLLL LRRLRRLRRRRR

3> 3> 3> 3>

RLRLRLRLRLLLR'LRLRLRLRLLL

LRLRLRLRLRRR> 3 3> 3 3

3> 3>

LRLRLRLRLRRR3> 3 3

RLRLRLRRRRRR LRLRLRLLLLLL3>3>3 :>3>3 3> 3

llr

RLRLLLLLLRLR LLLLLLRLRLHL

>3 >>3 >3 >3 >3

RLLRLLLRRLRR>3>3>3:>3

RLRLRRLLLLLL3>3>3

RLRLRLRRRRRR3

:>>>

RRRLRLRLRLLL

>3>3>-3>3

RRLLRRLLRRLL3> 3>- 3 3

3 =-3- -3- 3

3> 3>

3>>>

RLLRLLLRRLRR:>3,>-3>3>3

LRLRLLRRRRRR

LRLRLRLLLLLL

RRRLRLRLRLLL

:>3>3>3>3

RRLLRRLLRRLL

RRRLLLRRRRRR

3>3 3>3 3>3 3>3

RRRRLRLLLLRL3>> 3 3 >> 3

R L L-L L L L L R R L L

:>3 3>> 3

LRRRRRRRLLRR3>

3 >> 3

LLLRRRLLLLLL

RRRRLRLLLLRL

RLLLLLLLRRLL

LRRRRRRRLLRR

LLLLRRRRLLLLRRRRLLLLRRRR

RLLRLLRLRLRR3 >3 3

-3-- -l

LRRLRRLRLRLL3>3 3>-3 3 >3

RLLRLLRLLLRR LRRLRRLRRRLL

3>- 3 >- 3

RRLRLLRLRRLL3 : 3 .>3

3 >-3

RRLRLLRLRRLL3 : 3 >3

RR LLRLRLLRLR LLRRLRLRRLRL

>3 3>3l> :>3

LRLLRLRRLLLLRLRRLRLLRRRR3>3>3 >3 -l>3>3

RLLRRRL\LRLR LRRLLLRLRLRL

> 3 >3

RLRRLRLLRLRR LRLLRLRRLRLL

RLRLRLRRLLRR

:>3>3>3>3

:>33

LRLRLRLLRRLL

RLRLRLRLRLRR>3>3 3> 3>- :>3>3 3> -?>

r-

LRLRLRLRLRLL

RLLLLLRRLRRLRLLLLLRRLRRL

>3

RLLLRRRLLLRR3>

RLRLLRLLRLLR LRLRRLRRLRRL

3>3 3>3

RRLLRLLRRLRR3>> 3 3> 3>> 3

RLRLLRLRLRRL RLRLLRLRLRRL

>3>-3

>3 :>3

RLRLRLRRRLRR

>3

LRLRLRLLLRLL

LRLRRRRRRRRR

LRLRLRLLLLLL

RLRLLLLLLLLL:>3>3>3>3

RLRLRLRRRRRR>3>3>3>3

LLLLLLRRRRRR

RLLLRRRLLLRR>3

RRLRRLRLRLLR LLRLRLRLRLRL

LLRLLRRLRLRL>3

>3

>3>3>3

RLRLRLRLRLRL

RLRLRLRLRLRL RRRRRRRRRRRR

>3

LRLRLRLRLRLR LLLLLLLLLLLL

>-3 3> 3>- 3:>


:>3:-3 3;- 3;- 3;= 3>-

LRLRLRLRLRLR LLLLLLLLLLLL

>3 3>-

RLRLRLRLRLRL

3> > 3 >- 3

LLLLLLRRRRRR

3;-

LRLRLRLRLRLR

3>=>- 3 ;- 3

RRRRRRLLLLLL

RLRLRLRRRRRR

3;= >3;-3

LRLRLRLLLLLL333J


LRLRLRLRLRLR>.?=3j^J

LLLLLLLLLLLL3

RLRLRLRRRRRR3 >> 3

LRLRLRLLLLLL

3>> 3 3 >> 3

RLRLLLRLRLLL RLRLLLRLRLLL

8th-note and triplet combinationsThese exercises combine ideas from the previous two sections. Remember topay attention to the sound you are making, and strive to eliminate any tensionfrom your arms, wrists and fingers.

RLLRLRLLL LR

3

RLRL

:>

RRR:>

RL RRR

3>>

RLR L

3>>

RLLLRLRLL:>3>>

RRRLRLLLRL RR LLLLRLLj>>

L R L L R LL LLLLRLRLL

RLLLLLLRLL3>->i>

RRRLRLLLR

RL

RRL RL RL3>:>

RRLR L

3:>- >

RR3>

LLRL>

RLRLL

RR LL R

3> >

R LL3

RL L L

3>

L

>

RRLRLRRLRL R L RLL LLL R L

>3

RRLRRLRLRL RLLLLLRLLL

RL R L R L L L L

RRLRLRRRR3>-

LR>>

LLLL

>

R RR L L

3>-

LLL

J

LLLR

3',/

RRRR

:>3

RLLLLLRLLLLR

l>

RRRL

RLR

3

LR L

:>

RLRL

RLRL

RLRL

3>

RLR

:>

RRRRRR

:>

LL R

3>

L

3>

LLR

3>

RRLRRL

LRLL RLRL

:>3;=3

L RL L R L RL

R R LRL R R

RLRL L L L

>3

R RL R L RR L R LRRLRLRRLRL

20

Buzz Roll Studies

8th notes with buzz rollsGoing from single strokes to buzz (multiple rebound) strokes requires a differentpressure, which is controlled primarily with the fingers. The important thing to re-member here is that "pressure" does not mean "rigidity" or "tension." sdtheseexercises, then, will help. develop the sensitivity in the iingers that is necessaryto. control this pressure. You must be able to immediately apply the pressurewhen needed for a buzz, and then be able to immediateiy r'eieäse it for singlestrokes.

There are a variety of ways to play this section. Following are a few sugges-tions:

Play without accents.

Play the buzz notes as staccato as possible.

Play the buzz notes as legato as possible.

Play the buzz notes as double strokes.

Drumset suggestions:

Accent buzz strokes with the bass drum.

12) .TrrTr,tTtiT,)rlv1l ; l lv1t I l ll

Play buzz notes on tom-toms, getting a muffled effect by pressing the stick intothe head.

Play buzz notes on snare drum; all others on tom-toms.

RL

RLRLRL RLRLRLRL

>

RL RL RL

:>

RL RL RL

:>

RL RL

>

L

>

RLR

RLRL RLRL>

RLRLR>

RL:>

RL RLRLRLl>

RLRL

RL:>

RLRL:>

RL RLRL>

RL RL

RLR>

RLR LRLRL>

LRLRL

RLRLRL

LLLRRLLLRL

>>

LRRRL

:> :>

RRLR

>>

L

>

LR>-

RL>

LRRLRLLRL

>)>

R

>

L

>

L

>-

LRL

>

L

)>

RLRRLR>>

RRR>

RRRRRL

l>

RR

LRL>-

RL>

RRRL

RLR

>

LLRR

RRLLRRLL RL

l>

LRRLL:>

LLRRLR

:>

LRRLRLLLL

:>

LRR

RRLR

RRL LRLRR>

RLLLL

>

LRL

:>

RL RL LRL RL RL

LRL RLRL

>

RLRL

>

RL RRL

>

RLL RLRR

RLR LLRL LRRLRL

RLRR

RRLR

24

LRLRLRL

RL

.>

RLR

>

LRL

>>

RL

>-

RLR

>>

LRLRL

:>

R

>

LRL

>

RL

>

RL

RL

RRRL LLR>>-

LL>>

RL

RR

RLR>

RLRLRLRL

l>

RL

>

RLR>

RL:>

LR>>

RLR>

LRL

RL

RLRL

triplets with buzz rolls

These exercises are similar to those in the "8th Notes With Buzz Roll" section,in that they combine short buzzes with alternate or single-hand stickings. Re-member to stay relaxed when changing pressure between single strokes andbuzz notes.

r>3

RLRLRLRLRLRL RLRLRLRLRLRL

>3


>3


r>3>3 >3>3



:>3


RLLRLLRLLRLL RLLRLLRLLRLL

26:>3>-3

LRRLRRLRRLRR LRRLRRL RRLRR

3-=- 3

RLLLLLLLRLLL RLLLLLLLRL LL?3>= 3>-

LRRRRRRRLRRR LRRRRRRRLRRR?

>

LLLRLRLRL3 >- 3>- 3

RLLLLLRLRLRL

>=3 3 ;= 3;- I

>3>3

RLL

>3

LRRRRRL3>. 3

RLRLR3>- 3

RLRLRLRLRLRL3> 3 J> 3

RLRLRLRLRLRL????'>-:>

L

L R L R L R L RL R L R

?33

RLRLRLRR RRR LRLRLRLRRRRR3>. :>3 3 >- 3>> 3

RLRLRLRLRLR L RLRLRLRLRLRL3>, 3 :>-

3:-3:>

LRRRRRLRLRLR3 >-3

LRLRLRLRLRLR

J>- 3

RLRLRLRLRLRR LRLRLRLRLRLL

:>3

RRL

>3

LRLLRRLRR LLRLLRRLRRLL

3>

RLLRRLRRLLRLJ3J3

LRRLRRLLRLRL3^3^:>J>J

3::-3

RRLLRRLLRRLL: > 3>= :

RRLLRRLLRRLLJ

RRLLRRLLRRLL RRLLRRLLRRLL3>-3 r>3 3 >_3

RLRLRRLRLRLL RLRLRRLRLRLL3>- 3 3>- 3 3 ::=- 3 :='

RRLRLRLLRLRLRRLRLRLLRLRL3>-3 3>-3

LLRRLLRLLRRL RRLLRRLRRLLR3> 3> 3>


3 >3

3>3 3> 3 > 3

RLRLRLRLRLRL RLRLRLRLRLRL3>-33>- 3>- 3 :>-3 3>

RLRLLLRLLRLR LLLRLLRLRLLL

:> 3 :>-


>3>

>3 3> 3:>


:>3

>3 3 -'- 3>-

RLLLLLLLRLLL RLRLLLRLRLLL:>3>3 3>=

RLLRLLLLRLRL

r>3>33

3>-

RLLRLLLLRLRL

>3->3

3>r :>3:>-3

RLLRLRLRLRLRRLLRLRLRLRLL3>-33>3 :>3,>3 3>=3

LRRLRLRLRLRR LRRLRLRLRLRL

3;= 3>-J> j;= :>3:>-j t>-

RLRLRLRLRLRL RLLRLLLLRLLL

3 ::=- 3 s>3

RLRLRLRLRLRL RLRLRLRLRLRL-l>3

LRLRRRLRLRRR LRRRRRRRRLRR> 3> -i > _?>

RLRLRLRLRLRL RLRLLRLLRLLL

>JJ >> 3

RLRLRLRLRLRL3 - - 3 =-J

3 >> 3 -9

LRLRLRLRLRLR3--3 -3 3-

LRRRRRLRRRRRi >j-- 3 3

3>>

LRLRLRLRLRLR RLRLRLRLRLRL> 3:> : 3 3

RLRLRLRLRLRL RLRLRLRLRLRL3>> 3;= : ??3J >> " > >

LRLRLRLRLRLR3>- 3>> 3>- 3

RLLLLLLLRLLL RLRLRLRLRLLL3>- 3>- >3

LRLRLRLRLRLR

-j -=- 3 3 3

RLRLRLRLRLRL3> 3::=

RLRLRLRLRLRL RLRLRLRLRLRL3>_ 3> 3>_ 3> 3>_ J>

RRRLLLRRRLLL LLLRRRLLLRRR3:- 3;=

> 3> :

LRLRLRLRLRLR3>> 3>-

j ;-3

RLRLRLRLRLRL>3

-? >- -? >_

RRRRRRLLLLLL

3>- 3:>- 3::=

RRRRRRLLLLLL

30 Sfioke Combination Strrdies

Going from single strokes to double strokes lobuzz (multiple-rebound) strokes

invotves different ptätå,iå. on tn" sticki. You must be able to change the pres-

sure your fingers ;;;i*g-än the sticls without tension developing in the

wrists.

when going between single stro,kes and double strokes, the idea is to get the

same sound, even though your hands är" oniv roving half as fast when playing

the doubles,

when moving between doubles and buzz strokes, the important thing is not to

tiöffi;; är"ring töb* *i"t. The hands will be moving at the same speeo;

ifi" Oitt"tbnce is-the pressure you apply with your fingers'

when going from singles to buzz strokes, again, the hands will be going only

hatf as fast on tn" öå"riä";i"" The idea iö to get as many.rebounds a:Ig:sr-

bte. Some people ili;;o"; their hands too faåt because they're not getting

enough rebounds. ätåätiåä lio*ry ut first so you can..concentrate on making the

sticks rebound, even though at a srow teÅpo, the,roll will not gound T:?I Af-

i;;t;, oluårop thå abitityio get a,good rebound from the stick, vou can In-

creäse the tempo and close the roll'

single and double combinations

LL R R

RLRL RRLL R LRL RRLL RLRLRRLLR LRLRRLL

RRLRLRLLRRLRLRLL RRLRLRLLRRLRLRLL

double and buzz combinations

R RL L R R L L R R L L R R L L RRLLRRLLRRLLRRLL

RRLLRRLLRRLLRRLL

RRLLRRLLR RRLLRRLLR

RRL LR RRLLR RRLLR RRLLR

RRLLRRLLRRLLRRLL LLR LL R LLR LL

RRL RRL RRL RRL

R LL RRL

RRLLRRLLRRLLRRLL

LL RHL

32

single and buzz combinations

v tTrT-TTltttltttttl

RLRLRLRLRLRLRLRL RLRLRLRLRLRLRLRL

RLRLRLRLRLRLRLRL

RLRLRLRLR

RLRLR R LR LR RLRLR

RLRLRLRLRLRLRLRL

RLRLRLRLRLRLRLRL

LR L LR LRL L RLRL

single, double and buzz combinations

Jt_:a_f - J t J t - J - - - - - - - -'/

RLRLRLRLR

RLRLR

RLRLRLRLRLRL

RLRLRLRLRLRL

RL R LRLRL

RLRLRLRLRLRLRLRL R

RLRLRLRLRLRLRLRL RRLLRRLLRRLLRRLL

RLRLRLRLRRLLRRLL

RLRLRLRLR RRLLRRLLR

RLRLR RRLLR R L RL R RRLLR

RLRLRLR LRLRLRL RRLLRRLLLRRLLR

RRLLRRL LRLRLRL

RLRLRLR LRLRLRL

RRLLRRL LLRRLLR

RLRLRLRLRLRLRL

RRLLR LLRRL RRLL

RLRLRLRLRRLLRRLL

94S.strokerollcombinations

nfEi-n-r-E-r--nr-nln L R L

N-I-.---N I- R L R L R L R L

>

RLRLRLRLRLRL

NTNI-RLRLRLRL

R L RTR L R L R L R L R L R L

>> )>

NI-NTNI- RLRLRLRLRL

R L RL RLRLR LR L

:>

RLRLRLRL

PLRL

N I-NLRL R L R L R L

NNTTNTRLRLRLLRRLRLRLRLRLRLRLRLRL

NNI-I-NLLRRLRLRLRL

RL

:>

RL>-

n-=-r n r- R L RRLLR LLRRL

>

RLRL RLRLRLRL

RLRLRLRLRLRL

RLRLRLRLRL RL

RLRLRLRLRL RLRLRL RR1 LRLLRRLRLRLRL

RL RLRL R LRL R L

RLRLR LRLRL RLRLR LRLRL RRLLR LLRRL RRLLR LLRRL

RL

>

RL RLRL

>

RLRL

>

RLRLR LLRRL R L R L R L

R LRLRL RL R L R L L L R LLRRL R L R L R L L L

RL RLRLRLRLRL

t>>>>

R LRLRL R L R L R L R L

R L R L RLRLR L R L R L R L R L RRLLR L R L R L

RLRLRLRLRLRL RLRLRL RLRLRL

:>

R LRLRL RLRLR L L L L L R LLRRLRRLLRLLLLL

R L R L R L R L LL LL R L R L R L R L L L RLRL

R L R L R L R LRLRL RLRL RLRLRLRLLRRLRRLL

RLRLRLRLRLRL R L R L R L R L R L RLR{-

36

7-stroke roll combinations

LLRRLLR>

LRLRL>

R LR:>

LRLRLRL R L R L R L R L

>>t>

R L R LRL

=>

R L R L RLl>

L R L RRLLRRL R L R L R

RLRLRLR L R L R L R L R

R L R LRLRLRL R L R L R

L RLl>

RLRLRLR LR L RL>

RLR:>

LRLRLRL:>

RL

R L R L R L RLRLRLR L R

>-

L R L RL R LRLRLRL R L

R L R L R L RRLLRRL R L RLR

l>

RLRLRLRL

R L R L RL R LR LRLRLR R L R L R L R L RLRLRL

R L R L R L R L R LLRRLL RLRLRLRLRLRL

RRLLRRL R L RRLLRRL R L

L

:>

L

RLRLRLRLRLRLRLRLRL

RLRLRLR L R LRLRLRL R L RLRLRLRLRLRL

RLRLRLR LRLR LRL R LRLR LR LLRRLL R LLRRLLR LLRRLLR

LRLRLRL RLRLRLR L RLRLRL RL LRLRLRLR

5-stroke and 7-stroke roll combinations

RLRLRLR L R L R L RLRLRl>

LRLRLRL R L R L R LRLRL

RRLLRRL R L R L R LLRRL>

RLRLR L R L RLRLRLR L R LRLRLRLRLRLRLRLRL

RRLLR L R L RRLLRRL:>

RL RLR LR LRLRL>

RL

RL R LRLRLRL R L RLRLR:>

L R L RLRLRLR L R LRLRL:>>

R LLRRLLR L R LLRRL

>

LRL RLRLR

>

L RL

>

RLRLR LRLRL RLRLRLR L R LRLRL RLRLR LRLRLRL RL

l>

--RRLLRLLRRL RRLLRRLRL RLRLRLRLR[-

RLRLR LRLRLRL R L RLRLR LRLRL RLRLRLRL R LRLRL

RRLLR LLRRLLR L R LLRRL

RLRL RL

RRLLRLLRRLLRLLRRLLRL RLRLRLRLRLR

R LRLRLRLR LRLRL RLRLRL

>

R LRL RLR L R LRLRL RLRLRL

RLLRRLLRLRRLLRLLRRLL LRLRLRLRL

l>

RLR

>

RLRLR LRLRL RLRLR LR LRL RRLLRRL RRLL R RL RR LLRRL

RLRLR LRLRL RLRLR LRLRL LRL

:>

RL

:>

RLRLRL

>

RLRLRLRLRLRLR LRLRL RRLLRRL RRLLRLLRRLLRL

RLRLRLRLRLRLRLRLRLRL RLRLRLRLRLRL

9-stroke roll combinations

RLRLRLRLRL RL RLRL RRLLRRLLRL R L R L RL

RLRLRLRLR L R L R L R L

R L R LRLRLRLRL R L R L RRLLRRLLR L R L R L R L

RL RL

>>

RLRLRLRLRLRLR LRL

R L R LLRRLLRRL R L R L RLRLRLRRLLRRLLRL

RLRLRL RLR L R L R L R L RLRLRLRLRLRL

RLRLRLRLRLRLRLRL RLRLRLRLRL RLRLRL

R LLRRLLRRL R LLRRLLRRL

Always remember that practicing these exercises merely for the technique isuseless. You must apply the technique in a musical way.

RLRLRLRLRLRL

40 Control Studies

sticking exercise

The purpose of these exercises is to develop the ability to go from one stickingto another, without changing the sound. In other words, each exercise shouldsound as though it is beihg played with one hand. You should start by practicing

each exerciseindividually.-After you reach a certain proficiency with each one,try playing them togethei, that is, going directly from the Sths to the triplets, and

then intoifre tOtns. Be sure that you do not tense up when you play the fastersections; you should be just as relaxed when playing the 16ths as you are whenyou play the 8ths.


RRLLRRLLRRLL RRLLRRLLRRLL

RLRRLRLLRLRR LRLLRLRRLRLL

RRLRRLRRLRRL RRLRRLRRLRRL

RLLRLLRLLRLL RLLRLLRLLRLL

table oJ timeThis will help your development of the single-stroke roll, and also help you de-velop the ability to play various subdivisions evenly. At first, you should accentthe first note of each rhythmic grouping, as indicated. As proficiency increases,eliminate the accents,

Start the exercises slowly, at a metronome marking of about 53. As your tech-nique and speed develop, increase the tempo setting on the metronome. Even-tually, you should play this exercise at a marking of about 100. But start it slowlyat first, making sure all the notes are even. Playing this smoothly and evenly ismore important than playing it at a fast tempo, And do practice this with a metro-nome. (Refer to the section on "Using the Metronome" at the beginning of thisbook.)

Following are some suggestions to help you play the larger groupings.

Nrn*-This is based on the 8th-note triplet. Think of dividing an 8th-note tripletinto triplets.

JJJ

-FFF-F-lll I lllFH FF FFaaa aaa aaa

Ien-Based on the group of five. Play a five on each 8th-note beat, or think otplaying a five grouping with the right hand, and filling in with the left.

12

Eleven-This does not subdivide equally, but at first it might help you to countas shown.

1+2+3+4+5+6 1+2+3+4+5+6

--

::aaa a o a aa aa a aa oa aaaa aa o---

Twelve-Play a six grouping on each 8th-note count, or think of playing a sixwith the right hand while filling in with the left.

IJJ3

---

aaaaaJaaaaaaRLRLRLRLRLRL

R

or

enduranceYou should play each two-measure section four times before going on to the.next line. ns witfr the "Table of Time," start by accenting the first note of eachrhythmic group. After you can do that easily, eliminate the accents.

Note: You may want to start out by just doing each line once. When you can do

that comfortably, then increase to two times, then three, finally working your wayup to doing eaöh line four times. This is another good exercise to help developyour ability to play the single-stroke roll.

10

11

il t2

velocity

The faster you play, the looser and more relaxed you have to be. In these exer-cises, you just need to drop the stick and then keep it going. Try to get yourhand to follow the motion of the stick. To do this, basically, the first note isstruck using the wrist, and the other notes are controlled by the fingers. The im-portant thing is to free yourself from tension, because any tension will break theflow of energy.

Practice each line eight times, slowly at first. Never play faster than a speed atwhich you can play relaxed and cleanly.

46Ir-3--r

LL3

LLLL3 r-3--r

RRRJ

RRRRR33

RRRRRR

RRRRRRRr- 3____-_

RRRRRRRR

RRRRRRRRR333

3 --3-----t

RRRRRRRRRRR3333

LLLLLLL33r

LLLLLLLL

LLLLLLLLLL

LLLLLLLLLLL3333

RRRR3 r-3----

LLLLLL

3 r-3 ---

LLLLLLLLL

RRRRRRRRRRr_ 3-_r

RRRRRRRRRRRR LLLLLLLLLLLL

RRR LLL

RRRR

RRRRR

RRRRRR LL LL

RRRRRRR

RRRRRRRR LLLLLLLL

RRRRRRRRR

RRRRRRRRRR

LLLL

LLLL

LLLLLLL

LLLLLLLLL

LLLLLLLLLL

LLLLLLLLLLLRRRRRRRRRRR

48

RRRRRRRRRRRR LLLLL

RRRRRRRRRRRRR LLLLLLLLLLLLL

RRRRRRRRRRRRRR LL LL LL LL

RRRRRRRRRRRRRRR LLLLLLLLLLLLLLL

RR RR RRR RR RR RRRRR L L L L L L L L L L L L L L L

i

I

I

IIII

LL

13

progresstye accentsThe idea of this is to give you the ability to accent anywhere in the bar that youwant. I would suggest that you start by playing this mf and really hitting the ac-cents hard (about tt|. Play each bar eight times and then immediately go to thenext bar until you have reached the end. After you are comfortable with this,practice with various dynamic levels, for example:

unaccented notes p; accents mp

unaccented notes mp; accents fff

unaccented notes f accents ff, etc.

Another way to play these exercises is with accents on the first four 8th noles,throughout.

1. > > > > r> 2.>- > :> >

Practice these exercises using alternate sticking, starting with either hand.

3>6

P:

6 :>-

6;-6 16i

6>- 20 :

50

>>>>

>>>>>:>

>>>>>>>>

>>>>>>>

>>>>>

>>>>>

>>>>>>>

>>>>>>

s --=--9

3 >->->9> 3 =-=--L=.'=-

3 -=--L-=-- 6 3 =--J--=--=-- 6

3 -=-==L=t-=---L

>>>>>>>>>>

6 -,=-=-=--L--

>>>>>>

==9=-=-6>:>>>>35

52

dynamicsThese exercises are good for dynamic control, and they are also lremendousendurance builders. Within the crescendos and diminuendos, there should be nosudden changes in volume. They should be done smoothly so that with the cre-scendos, each note is louder than the one before, and with diminuendos, eachnote is softer than the one before, Take these slowly enough that you can con-trol them.

Each exercise is written with a suggested dynamic range, but don't stop there.After mastering the range that is written, go back and apply a variety of dynamicranges to the same exercises. For example, exercises 1 through 4 are writtenwith a range trom pp to ff. After practicing with that range, try the following sug-gestions: pppto fff; ppto mt mpto ft pto f and so on. The more ways you playthese exercises, the more they will help you, and the more control you will gain.

2

w

w- .ff

-

ffP

ff3>>>>>>>>

p

11

mfW->:>>

nw-

w *-

ff w-

w ff p:ff P

-33

-PP

ff-w

.f.f -

l1P

54 the Stone "killer"

George Lawrence Stone wrote this out for me one day, and jokingly sa.id, "This

is a k-iller." I found it to be tremendous for endurance. Originally, he only wroteout the first four lines of this. I then expanded on it by adding accents and fill-ins, and then applying the same idea to triplets and duples. The idea, as Stoneexplained it, was to work each hand individually before you put them together..

lAitly Gtadstone used this same concept of developing each hand individually.)

OnCe yOu have worked your way through all six Sections, you can move on tothe triplet exercises, and then the duple exercises.

These exercises are not meant to be practiced all at once. They are grouped

into sections. First, start with the 8th-note section-the 4's, I's, 12's and 16's.

Play the 4's fifty times each (counting the right hand). Then do the 8's fifty times,the 12's fifty times, and the 16's fifty times. The first time you try this, you maynot be ablsto do that many repetitions. lf necessary, start by doing each line

only ten times. Gradually work your way up to where you can do fifty repetitions.It may take several weeks; that's okay. Work at your own pace, depending onyour ätage of development. But remember: stay relaxed throughout the entireäxercisel The key to speed and endurance is relaxation. Do not allow yourself totense up in an attempt to play faster or longer. As soon as you become tense,you are defeating the purpose of the exercise.

After you have reached a certain proficiency with the first section, go to the sec-tion with the accents on the first note of each group. Practice this the same wayas the first section-gradually working your way up to more repetitions. At thispoint, it would be good to continue practicing the first section in addition to thesecond section.

After reaching a proficiency with the second section, move to the third section-accents on thie last note of each group. At this point, you might stop working onthe first section and concentrate only on the two sections with accents.

Once you feel fairly comfortable with the accent sections, move on to the sec-tion wfth fill-ins. Again, start with only as many repetitions as you can handlecomfortably. (Althöugh by now, after having spent a few weeks with the firstthree sections, you should be seeing an obvious improvement in your endur-ance.) Practice the fill-in sections in the same manner in which you practiced thefirst three sections: work on the unaccented section first, and then add the ac-cented sections.

Section 1

Stone "killer" t part one

RRRRRRRR LLLLLLL

RRRRRRRRRRRR L L L L L L L L L L LL

I I

RRRRRRRR R R R R R R RR LLLLLLLL LLLLLLLL

Section 2

RRRRLLLL>>

R RRRR

>

RRRRRRRRRRRR

LLLLLLLL

>

LLLLLLLLLLLL

RRRRRRRR RRRRRRRR LLLLLLLL LLLLLLLL

Section 3

RRRRRRRRRRRR LLLLL LLLLLLL

:> :> :> :> :> :> :>

tl

RR LLLLLLL LLLLLL

Section 4

RLRLRLR LRLRLRL

RL RL RL RL RL RL RL R L RL RL RL R L RL RL R L

R L R L R L R L RL R L R L R L R L R L RL R L R L RL R L R L RL. R L RL R L R L R L R L

RL R L RL R L R L R L R L R L R L R L R L RL R L RL RL R L R L R L R L R L R L R L RL R L R L R L R L RL R L

57

Section 5

RLR

:>

LRLR LRL

:>

RL R L R L RL R L RL RL R L RL RL R L RL RL RLR L

RL RL RL R L RL R L RL RL RL RL RL R L RL RL RL RL R L RL RL R LR LR L RL

RL RL RL RL RL RLRL RL RL RL RL RL R L RLRL R L RL RL RL RL RL R LR L R L RL RL R L RL RL RL RL

Section 6

RLRLRLRLRLRLRL

:>:>>

R L R L RL R L R L R L R L R L RL R L R L R L R L R L R L

RLRLRLRLRLRLRLRLRLRLRLR LRLRLRLRLRLRLRLRLRLRL

R L R L RL RL RL RL RL RL RL R L RLR L RL RL RLR L RL R LR L R L R L RL RL R L RL RL R LRL RL RL RL

58 Stone ttkiller" t part two

Section 1

Section 2

RRRRRR LLLLLL

RRRRRRRRR LLLLLLLLL

RRRRRR RRRRRR LLLLLL LLLLLL

RRRRRR LLLLLL

RRRRRRR LLLLLLLLL

RRRRRR RRRRRR LLLLLL LLLLLL

RRRRRR LLLLLL

Section 3

Section 4

RLRLRLRLR L R LRLRLRLRLRL

R L R L R L R L R L R LRLRLR LRLRLRLRLRLRLRLRL

RLRLRLRLRLRL RLRLRLRLRLR LRLRLRLRLRLR LRLRLRLRLRL

60

Section 5

Section 6

LRLR LRLRL

RLRLRLRLRLR LRLRLRLRLRL


R LRLRLRLRLRL RLRLRLRLRLR L R L R L R L R L RL R L R L R L R L R L RL



RLRLRLRLRLRL RLRLRLRLRLR LRLRLRLRLRLR LRLRLRLRLRL

Stone "killer" t Part three

Section 1

RRR

Section 2

RRRRR

RRRR

RRLL

LLL

RRRR

LLLLLRR

RRR LLL

62

Section 3

R RL L

:>:

Section 4

LRLRLRL


-I

RLRLR L R

RLRLR L R L R L R L R L R LRLRLRLRLRLRLRL

Section 5

RLRL

RLRLRLR LRLRLRL

RLRLRLRLRLR LRLRLRLRL R L


Section 6

RLRLR L LRLR

RLRLRLRLRLR LRLRLRLRL R L

R

>


64 Eventually you can practice various combinations of exercises. A few sugges-

tions are given below.

R RR RL L L L RRRRRRRR LLLLLLLL

RRRRLLLL RRRRLLLL

RR RL LL RRRRRR

RLRLR LRLRL RLRLR LRLRL

LLLLL

RLRLR LRLRL

RLR LRL RLRLRLR LRLRLRL

RRRRLLLL RRRLLLRRRLLL

RRRRL L LL

RLRLR LRLRL

lhe "Stone Killer" can also be applied to drumset. Here are Some suggestions:

Cvm.S.Tom

f1{åBass R R R RL L L L

CVm.S.TomSnareL.TomBass

RRRRLLLL

RLR L RL

RRRLLLRRRLLL

Remember to always use your own imagination to come up with additional ways

to use these exercises.

66 Fill-In Studies

groups of three with fill-insThe idea of this is to keep a continuous flow of accented triplets with one hand,while filling in with the other hand. This, again, goes back to the principle of de-veloping each hand individually. lt will also help develop your ability to accent,and doing the fill-ins will help your coordination. These exercises are written witha left-hand lead, but you should also practice these with a right-hand lead-ac-cented triplets with the right hand; fill-ins with the left hand.

z=i

LRLRL L L L L L L L L L

LRLRL

:>

LRLRL

)>

LLLL

l> l>

LRLRL LRLRL LRLRL LRLRL LLLL

:> :>

LLL

>

L

>

LL

;>

L

l>

L

l>

L

>

LLLLLLL

:>l>>

LRLRL L L

l>

LRLRL LRLRL L LLRLRL L L

:>

LRLRL L L

>

LRLRL L L

:>>

LRLRL

>

LRLRL

l>

LRLRL

12--

LRLRL

l>

LRLRL

l>

LRLRL

l>

LRLRL L L L L L L LRLRL L L LRLR

L L LRLRL L L L

LRLRL L L L LRLRL LRLRL

L LRLRL L LRLR

tq-,

L L LRLRL LRLRL LRLR

L LRLRL

>

LRLRL LRLRL

:>

LRLR LLLL

>

LLL

>

LLL

;>

LRLR

>

L LRLRL L

;>

L LRLRL L

l>

LLLL

l>

L

:>

LL

>

L LRLRL LRLR

L LRLRL LRLRL L L L LRLR L LRLRL LRLRL LRLRL LRLR

L L LRLRL L L

>

L

l>

L LL LL LRLRL L

l>

L LRLRL L

>

LL

24-

L L LRLRL LRLRL LLLL

)>

L L LRLRL LRLRL LRLRL L

LRL LRLRL LRLRL LRLRL LR LLLL

:>

L LRLRL L L L L

LRL L L L LRLRL LL

>

L LR

>

LRL LRLRL L L L L L L LR

LRL LRLRL LRLRLLRL

:>

LRLRL L

l>

L LRLRL LRL

:>

LRLRLRL L L L L L L L L LRLRLRL L L LRLRLR

L L L LRLRLRLRLRLRLRLRLRLRLRLRLRLRLRL L L

LRLRLRLRLRLRLRLRLRLRLRLR L L L L L L LRLRLRL L L

LRLRLRL L LRLRLR

:>

LRLRLRL

:>

LRLRLRL L L

>

LL LL

>>

LL

>

LRLRLRLRLRLRLRLRLRLRLR LR

L LRLRLRL L LRLRLRL L

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70 groups of four with fill-ins

This is based on the same idea as the previous section. Here, you will be play-ing accented groups of four with one hand, while filling in with the other hand.Again, after learning to play these as written, you should practice them with thestickings reversed.

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72

threes and fours with fill-insThis is based on a combination of the previous two sections. lt is recommendedthat you practice each of these first without the fill-in notes. For example, num-ber 1 should first be practiced like this:

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L L L L L L L L L L LLL

Remember to also practice these examples with the stickings reversed.>3>-3>3>-g

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groups of two with fill.ins

This section is based on playing accented groups of two with one hand, whilefilling in with the other hand. As with the previous sections, practice these alsowith a right-hand lead.

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endurance exercise with fill.ins

This exercise should also be practiced starting with the right hand. Start slowlyand gradually work it up, Each line should be played eight times.

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76

Osfinato Strrdies

Note: Before studying this section, you should be proficient with the "Stone Kill-er" section.

The idea here is to be able to play an ostinato with one hand and have totalfreedom with the other hand. Again, we're dealing with control of the instrument.The more control you have, the more confident you will be as a player.

You should first practice each ostinato figure by itself, using only the left hand.Then practice each one using only the right hand. (This goes back to the idea ofdeveloping each hand individually and then putting them together. Practicingthese exercises in this way will also be good for accent control.)

'--&

10

Note: this is merely an accent played on every third note.

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After practicing these patterns, the patterns given in the "8th Notes with Ac-cents" section and the "8th-Note Triplets with Accents" section of this book canalso be used as ostinatos by playing each example with one hand.

After you feel comfortable with an ostinato pattern, play the pattern with your lefthand, while playing different rhythms with your right. A few examples are givento get you started, but don't stop with those. Learn to play any possible rhythmagainst the ostinato. After you can do this, reverse hands: play the ostinato withthe right hand and the various rhythms with the left.

11_:

r- 3rr 3-r r- 3r r 3r

--31 r-3---r r-3-r r- 3 -r r- 31 r3-r3--J --

1-- 3-1r-3r r- 3-r r 3r

t- 3-r r- J-r

r-3r

These patterns, obviously, are only to get you started. After you can play eachof these in conjunction with an ostinato, practice additional patterns of yöur ownchoice. until you are able to play any possible rhythm with one hand, whilemaintaining an ostinato with the other. You should also apply various accentsand dynamics to these patterns.

Once you have reached a certain proficiency, start putting the rhythms togetherinto phrases. An eight-measure example is given, but again, don't stop here.Take any reading book and play the music against an ostinato. Also, the "FlatFlams" section in this book can be adapted to ostinato playing. The ultimate isto be able to improvise freely with one hand, while playing an ostinato with theother.

Following are a few suggestions for using ostinatos on the drumsel:

Ostinato with left hand on snare; improvise freely with right hand on cymbals ortom-toms.

Same as above with various bass drum and hi-hat patterns.

Ostinato with left hand on snare or closed hi-hat; various rhythms broken up be-tween right hand on tom-toms and right foot on bass drum.

Ostinato with right hand on floor tom; left hand improvising freely on snare drum.

Ostinato with right hand on bell of ride cymbal; different ostinato with left handon snare drum.

The possibilities for using ostinatos are limited only by your own imagination. Becreative.

Note:the author used this idea on "Bossa Nova U.S.A." with the Dave BrubeckQuartet. A bossa nova pattern was played as an ostinato on the snare drumwith the left hand, and the right hand freely improvised on the ride cymbal.

82

FIam Studies

llat llamsThe term "flat flam" is used here to describe both sticks hitting exactly together'

These exercises "r"

roii åffective when played on two different surfaces' They

could be played on t*JOltt"rent drums, a'drum and a.cymbal, a drum and a

cowbell, or whateve;. ön; hand is maintaining a steady pulse (first 8th notes,

in"n Ath-note triptetsj *nif" tn" other hand pläys varioY,t lhytf't: After,learning

to do these with the-åanät, in"V could also'be done with the feet, or with combi-

nations of hands and feet. Use your imagination'

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8th notes with flams

These exercises should first be played as written, on a snare drum or practicepad, without accenting the flams. After playing these at a medium dynamic,practice at various dynamic levels, from very soft to very loud. You should alsopractice different ways of playing the flams, from very closed-almost "flat"-tosomewhat open. As with any excercise, adapt it to your own particular needs,and to the type of music you will be playing. A rudimental drummer will probablyuse a lot of arm motion in playing the flams; a concert drummer might want towork on these using finger and wrist control; a drumset player might want loplay the flams between different drums. Use your imagination. These examplesare only to give you ideas.

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These patterns are not necessarily the ones you will use when playing, but youwill be able to use the same techniques any way you want. You may be able tohear a million "hip" phrases in your mind, but if you can't get them out, theywon't do you any good. So this is to give you the facility to play what you hear inyour mind. These exercises may also stimulate your imagination, which will, inturn, develop your own creativity.

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Biography

Joe Morello was born on July 17,1929, in Springfield, Mass.Having impaired vision since birth, he devoted himself to indooractivities. At the age of six, his family's encouragement led himto studying the violin. Three years later, he was featured withthe Boston Symphony Orchestra as soloist in the Mendels-sohn Violin Concerto. At the age of twelve, he made a secondsolo appearance with this orchestra. But upon meeting andhearing his idol, the great Heifitz, Joe felt he could neverachieve "that sound." So at the age of fifteen, Joe changed thecourse of his musical endeavors and began to study drums.

Joe's first drum teacher, Joe Sefcik, was a pit drummer for allof the shows in the Springfield area. He was an excellentteacher and gave Joe much encouragement. Joe began sittingin with any group that would allow it. When he was not sitting in,he and his friends, including Teddy Cohen, Chuck Andrus, HalSera, Phil Woods, and Sal Salvador, would get together andjam in any place they could find. Joe would play any job he was

called for. As a result, his musical experiences rangedrudimental military playing to weddings and socialEventually, Mr. Sefcik decided it was time for Joe to moveHe recommended a teacher in Boston, the greatLawrence Stone.

Mr. Stone did many things for Joe. He gave Joe most oftools for developing technique. He taught Joe lo read.probably most important of all, he made Joe realize hisWAS INin jazz, not legitimate percussion as Joe had hol

rgh his studies with Mr. Stone, Joe became known asThrough his studies with Mr.' "'--Y"best drummer in Springfield, and rudimental champion ofEngland.

Joe's playing activity increased, and he soon found hion the road with several groups. First, there was Hankand the Grand Old Opry, and then Whitey Bernard. Afterconsideration, Joe left Whitey Bernard to go to New York City.

A difficult year followed, but with Joe's determination and

Joe Morello with George Lawrence Stone Joe during his early years in New York:-

The Dave Brubeck Quartet pertorming at the White House.

help of friends like Sal Salvador, Joe began to be noticed.Soon he found himself playing with an impressive cast ofmusicians that included Gil Melle, Johnny Smith, Tal Farlow,Jimmy Raney, Stan Kenton, and Marian McPartland. Afterleaving Marian McPartland's trio, he turned down offers fromthe Benny Goodman band and the Tommy Dorsey band. Theoffer he chose to accept was a two-month temporary tour withthe Dave Brubeck Quartet, which ended up lasting twelve-and-a-half years. lt was during this period that Joe's techniquereceived its finishing touche's from Billy Gladstone of RadioCity Music Hall.

Since 1968, when the Dave Brubeck Quartet disbanded, Joehas spread his talents over a variety of areas. He maintains avery active private teaching practice. Through his associationwith the Ludwig Drum Company, Joe has made greateducational contributions to drumming, as well as the entirefield of lazz, by way of his clinics, lectures, and guest solo

appearances. With the help of his guide dog, Matthew, Joe hasbeen performing with his own group throughout the UnitedStates.

Joe has appeared on over 120 albums, of which 60 were withthe Dave Brubeck Ouartet. He won the down beat award forfive years in a row, the Playboy award for seven years in a row,and is the only drummer to win every music poll for five years ina row, including Japan, England, Europe, Australia, and SouthAmerica. He is mentioned in Who's Who in fhe East, twelfthedition, and the BIue Book, which is a listing of persons in theUnited Kingdom, lreland, Canada, Australia, New Zealand, andthe United States who have achieved distinction in the arts,sciences, business, or the professions. Revered by fans andmusicians alike, Joe is considered to be one of the finest, andis probably one of the most celebrated, drummers in the historyot jazz.

modern drummer

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