Dave Vose

THE READING
I

A Logical Step-by-Step ~e(JueoC' oflRh"blllS and Drumming

This hook cOnlains lessons for learning to read drum music.

The author has spent many years researching how students progress as they learn
and develop lbeiJ: reading an d iechni cal proficiency. Th e graphic presentations.
phrasing logiC. and physica l coordination used in thi s bo ok re rl ee l thi s re sea rch
and experi ence',
The bOOK is ideal for stud en ts as they first begin drum lesso ns or fo r drumme rs
interested in learning how to rea d music.
Upon completion of thi s book. the student should be well 011 his way to beco min g a
fine percussionist with a th orough understa.nding of the fu nda menta l rhythms th at
a drummer will encounter.

~erklee Press Dave Vose

Vice President: Dave Kusek
Dean of Continuing Education: Debbie Cavalier
Managing Editor: Jonathan Feist
Director of Business Affairs: Robert F. Green
Senior Designer: Robert Heath

ISBN·1 3: 978-0-634-00961-7
ISBN-l0: 0-634-00961·3

berklee
press HAL - LEO NARD-
C ORP ORAT ION
7777 w.aLU ... OUND n o. ' >.0. O ox ' ~O 'Q

Visit Hal Leonard Online at

www.halleonard.com

Co hI C 2000, 2006 Berklee Press

All Rights Reserved

No pari of this publication may be reproduced in any form or by

any means without Ine prior written permission 01 the Publisher.
THE READING
DRUMMER
CONI(NIS
LESSON PAGE LESSON PAGE
How to Use This Book ............................... .iii 31.318 Time .................................................... 34
1. Quarter Notes and Quarter Rests .................... l 32.514 Time .................................................... 35
2. 3/4 Time ...................................................... 2 33. Accents ...................................................... 36
3. Eighth Notes ................................................ 3 34. Plams ........................................................ 37
4. Combination Study ..................................... .4 35. Combination Study ..................................... .38
5. Half Rests .................................................... 5 36. Dynamics .................................................... 39
6. Eighth Rests and Single Eighth Notes .............. 6 37. Sixteenth-Note Triplets and
7.214 Time ...................................................... 7 Measure Repeats ........................................ 40
8. Ties .............................................................. 8 38. Broken Triplets and Rim Shots ................... .41
9. Dots ............................................................ 9 39. Changing Meters ....................................... .42
10. Combination Study ...................................... l0 40. Fermatas and D.C ...................................... .43
Duet 1 .............................................................. 11 Duet 4 .............................................................. 44
II. Sixteenth Notes ......................................... .12 41. Buzz Rolls, Tenutos,
12. Abbreviation for Four Sixteenth Notes .......... 13 Staccatos, and Tempo Changes ..................... .46
13. m Pattern .................................................. 14 42. Combination Study ...................................... 47
14. 1Jj Pattern .................................................. 15 43. Ruffs and Two- Measure Repeats ................. .48
15. Combination Study ...................................... 16 44. Repeat Brackets ......................................... .49
16. Eighth - Note Triplets .................................. 17 45. 1st and 2nd Endings, Caesuras, and
Four-Stroke Ruffs ................................................ 50
17. Combination Study ...................................... 18
46. Triplets in 6/8 Time ..................................... 51
18. Combination Study ...................................... 19
47. Combination Study ...................................... 52
19. Sixteenth Rests ............................................ 20
48. Beam Over Bar and Stickings ........................ 53
20. Combination Study ...................................... 21
Duet ~ .............................................................. 22
49. 12/8 Time, Dal Segno al Coda, ,and Jffi
Immediate Tempo Changes .......................... 54
21. 6/8 Time .................................................... 23
50. Striking the Rim, "4" over "3,"
22. Combination Study ...................................... 24 and 32nd Notes .......................................... 56
23. Sixteenth Notes in 6/8 Time .......................... 25 Duet 5 .............................................................. 58
24. Cut Time/Alla Breve .................................... 26
25. Combination Study ...................................... 27
26. Rolls .......................................................... 28
27. Combination Study ...................................... 29
28. Short Rolls .................................................. 30
29.6/8 Rolls .................................................... 31
30. Sixteenth Rests in 6/8 Time ........................ 32
Duet 3 .............................................................. 33
 E"press the 618 in .. two" and the 318 in "one." A consistent pulse
should be kept when going from the 6/8 to the 3/8 time signatures.

\
-~---
( 1) (2)

HOW 10 US[ THIS BOOK

Each lesson introduces either a new concept or a Combination Study of materials previously
learned. It is important that the student masters each lesson before moving on to the next.

Each lesson is numbered (1) for easy reference and includes a "Study Guide" (2) that will be
helpful for the student to receive the maximum benefit from the materials presented on the
page . "New Material" (3) is indicated at the top of each page.

At first, it may be difficult to do an entire lesson every week. If so, a portion of the lesson
(one- half or one -third of the lesson) may be more suitable, especially if the student is also
practicing other material. The pages labeled Combination Stud), should be done as a
complete composition.

Metronome markings are not given (except for Lessons 47, 49, and 50) so that the lesson can be
practiced at a variety of tempos. A teacher can also assign a specific metronome marking if he
wishes. The ability to perform with a steady tempo and with accurate performance of the rhythms
is, of course, very important.

Specific stickings are not included so that each teacher can use his own method of teaching them
(except for Lessons 48-50) .

Dynamic markings and articulations should b e carefully observed so that the student's
musicianship will improve along with his reading and playing ability. When dynamics are not
indicated, they can be written in by the teacher, if so desired.

It is recommended that when the student is approaching a lesson that contains a new drumming
techniqtte that may be difficult (e .g., rolls, flams, etc.), the teacher should prepare the student for
it before reaching the lesson. For example, flams are introduced as new material in lesson 34. By
that time, the student should have been taught how to playa flam.

Duets, afte r each set of ten lessons, are a wonderful way to develop accuracy, balance, and
concentration.
INSIRUMfNIAIION
Some of these exercises can be practiced on a drum set, as well as a single instrument. Here are
some ways to use them with a drum set.

1. Hi-hat, right hand, play steady eighth notes.

2. Snare drum, left hand, play the written line.
3. Bass drum, play steady quarter notes.

Here's how line 1 from lesson 10 would work on a drum set.

Another approach:
1. Ride cymbal, right hand, play steady eighth notes.

2. Snare drum, left hand, play only eighth notes in the written line.
3. Bass drum, play notes in the written line that are a quarter note or longer.

Also, try writing your own original patterns. Here is line 3 from lesson 10 in the snare, with new
parts written for bass drum and hi -hat.

There are many other ways to use these exercises on drum set. Use your imagination, and enjoy
the process.
 mm N[W MAHRIAl
1 •
1 '
•
Quarter Notes and Quarter Rests Counting out loud will help you 10 understand the
time signature.

1 ~
J
1I;§;;l Jiii Jiii -_I I'
.;

3 II t ~ ~ t It ~ ~ t It ~ ~ t It ~ ~ t

4 II t t ~ ~ It t ~ ~ It t ~ ~ It ~ ~

6 II t ~ t ~ It ~ t J It ~ t J I! ~ t ~

8 II t ~ ~ ~ It ~ ~ ~ It ~ ~ ~ It ~ ~ ~

9 II ~ ~ ~ ~ I~ t ~ t ~ ~ J t II
 HSSON N[W MAHRIAl
2 3/4 Time Keep a steady tempo tllfoughout.

1 II IJ J J I t t t I
J J J I t t t

2 II •~ t •~ I
J t J I
J t J I
J t ~

3 II t J J I t J J I t •~ J I t J J

4 II J J i I
J J t I
J J t I
J J t It

5 II tJ J t J I
J J t J J J t •~ J t t t
I I I

6 II J t J J I
J t J J I
J t J J I
J J J t

7 II J J •~ t I t J J J I
J t t J I t J J t

8 II •~ t t J I t J •~ •~ I
J •~ t t I
J J J t II

9 II IJ J t I
J t J I
J •~ J I t •~ t

~
10 II J t t I t • J I
J t J I
J •~ t

11 II t J J I
J J J I t t J I
J t J

12 II J J J I
J t t I
J t •~ I t J l II

2
 ~<..,,\ ..t0~

nmN N(W MAHOIAl

iII) -
•• Eighth Notes Count the upbeat eighth notes by saying" and. "

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I- -~ • ~ -1- J IJ J
I J J J J IJ J J J J t

2 II J J J J J J IJ J J J J J IJ J J J J J IJ J J t

3 II J J J J J J J J IJ J J J IJ J J J J J J J IJ J J t

4 II J J J J J t IJ J J J J J J J I J J J J J J IJ t J t

5 II t J J J J J I J J J J J J IJ J J J J t IJ J J J J H

7 II 2J -I -I IA A A IJ -I J IJ t t

8 II FJ -I -I IA J -
I
I FJ - - I I
IA J t

9 II -I A J IJ A J IJ A J IJ J t

10 II -~ J A IJ J A IJ -~ A IJ J t

11 II FJ J FJ I J J J I FJ J A I -
~
t t

12 II -~ t -~ I FJ FJ n I FJ FJ FJ I J J t II

3
 HSSON N(W MAHRIAl
4 Combination Study
Strive for a ba lanced sound between your right -hand stroke an
left -hand stroke.

1 II t ~ .8 J ~
• IJ n J t IJ n J J IJ n J t I

2 II .8 ~ ~ J In J J J In •~ J J In ~
• J J

3 II J J n J IJ J n J IJ J n J IJ J n J

4 II JJJJJJJJ IBJ J J IJJJJJJJJIBJ J J

5 II ~ ~ J J IJ n J J I •~ ! J ! IJ n J t I

6 II ~ ~ ~ .8 I J •~ J •~ • •
~ -i
Ed J n IJ n •~ t It

7 lIi J J FJ IJ FJ J IJ t t IJ J t

IJ J FJ I J J J

9 II t A t IA A A IJ A t IJ A J

10 II A A A IJ ! A IA J A IJ t t

11 II ~ ~ ~ I! A A IJ A A IJ J J

~ IA A •~ A
12 II .8 .8 IA J A IA J 11

4
 l[SSON N[W MAHHIAl
~ Half Rests - A half rest receives two beats of s il ence.
I

IItf] J - II J d I 1_ J J J J Id J J I I

3 II J f] J f] IJ J IJ f] J f] IJ J - 12

4 II 2J IJ IJ IJ

5 II J ! J IA A A IJ I J IA J !

7 IIt J AAJ 1_ AJ I AJ JJJJIJ J J J

8 II JJJJJ BlddJJJ B IJJJJJ B i d Bd I

9 II n J J n IJ B J n In J J J J J IJ J d J n J 12

11 II I A I IA I A II A I IA I J

12 II FJ IFJ IJ FJ FJ I J II

5
 HSSON N[W MAHRIAL
6 Eighth Rests'; and Single Eighth Notes ~\ An eighth rest receives a half beat of silence .

A1 II t 'I
.. -b ~
J J I¥ )3 J J J I 'I )3 J -~ J I ·t )3 --1
• J t

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J I -I ., )3 I
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b
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IJ J

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A6 II 'I
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b
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)3 J J I .,' )3 J l

~
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I•
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·t 'I I 'I

6
 , .

HSSON N[W MAnKIAl

1 2/4 Time Careful ly observe sh'oke technique.

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IF i""'i
J~ J

B2 .. I 't
) J

B3 .. ¥ JJ t Of
I
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C3 II ! 't I- I I t I .,
I
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D1 II I I l~
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II 'I I -{
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7
 HSSON NEW MATERiAl
8 TIes '-'
A Lthough a snare drum note does not sustain.
imagine tbe sound of tbe sustained tied note.

B1 II! J n J IJ n J IJ n J IJ

B3 II J J A I¥ •4l J f IJ J A IJ f f

B4 II f n -I
= • If n = J In J n IJ J •~ If

C1 II fJ n j J IJ n j J IJ n j J IJ ! J !

C2 II J Rj R IJ=B J=B I J B j---=n IJ=B J t

C3 II J J J J J= n I J J J Jj n I J J J J J= n I J J J J J !

C4 II J J J J "I }1"/ ;b I J J J J J J J J I J J J J "/

0 0 }1 "I ;b I J= n J t II

8
 ___.Y n~~_....-~" ,;
HSSON N[W MAnRIAl ".' .. .
~ Do~ . .
A dot increases the note by half its value. A quarter note
therefore receives I'h beats of value in 2/4. 3/4. or 4/4.
,

1 lIi J }l IJ J I J }l Id J I J ) I J J IJ "~ I J !

~ ~ ~. ~ ~
1\ 1\ 1\ 1\
5 II 2 ••
I ..-.I
I 'f ,rJ °1
I
,rJ
I •b •I I 'f ,rJ

6 II 'I J3 ..I J3 I 'f J3 J J3 I 0'

I
J3 J •b I •I ! !

.,8 = ~ .,8 ~
7 II
.,8
I~ . ~.
I.,8 = ~ .8 I ~

J ~
IJ
1\
8 II A =
I
- •I• I •I ,
01 ....!
t I
I
if
t If

9 II t 'f •b J 'f J3 J I J J3 ..
I J3 I •b J 01
I 'f J3 J I J J3 J t

10 II J 1\ J
.t::;.
1\
,rJ
I J J J J IJ J3 J= J3 I J n •I •I

12 lE"3' J3 B J i li J3BJ 0: IJ J J J J II

9
HSSON NEW MATERIAL
10 Combination Study
Keep a steady tempo when playing from line to line and from
time signature to I ime signature.

~
IIfJ
__ = ;bE ':: -..b IJ R- -R- -J IJ
:- - :- ~£J
r- 'I "~ I J £J J
- l I

[ill
lIi J l J l'l;b J J 10 0 0 IJ l

;b J
Ii
[9
lIi J J 1# # I J J I - l.b y }l ,: 1# # l }l'l }l'1 I J t

II J ;b Inn I }lor " ) Il J I J=

n -In
-n- 'l ..b
: ~
'1- I J J If

[Q] ~
IIfr y R}l'l R I J }lJ }l l }ly R)'1 R I J ;bJ t I

II ) Y }l 'I }l " }l ': I '/ ) 'I }I y J1 'I }l l J J J J I J = n J l Ii

ffil
"2y ..h # y) 10 J t It '1}l # IJ J !

II A J A IA A A IA d y}l I d t # Ii
II]
lIi d y }l 1'I }lJ In n IJ n IJ=n I J J In n IJ t

10
 om
1 When performing a duet, rhythmic acc uracy is essential. Recording the performance is a good way to confirm that
unison parts are performed precisely together and that the rhythmic interplay between parts is accurate .

-" i"'i l i"'i I f, I i"'il i"'i I I i"'i

I f, i"'i f, I i"'i i"'i I I f,i"'i f, I i"'i I

"'
I
-" I I I I f, f,
. f,
. f, I I I I i"'i i"'i I

f,
. f,
. f,
. f, I I I I f,
. f, f, f, I f, i"'i I

"
I I ;--; ;--;
-" f, I
~
f,
. f, f, f, I I

;--; f, ;--; ;--; ;--;

. I I I I I I

.....

-" I I I I

.....

I I

I I

f,
-" . f,
. f, f,
. . r"i I r"i I I r"i I

I I f, f, I r"i I I I r"i I

"'

II
 HSSON N[W MAURIAL
11 Sixte~nth Notes ~ Observe even note spacing when playing sixteenth notes .

1 .. t JmJmJ J J J IJmJmJ J J J IJmJmJ J J J IJmJmJ !

2 .. J J J J JmJm I J J J J JmJm I J J J J JmJm I J J J J J t

3 . aaaa I J J J J J J J J I aaaa I J J J J )'1 t

4

12
 HSSON N[W MAnRIAl
II Abbreviation for Four SiKteenth Notes j Use a metronome and practice a variety of tempos.

A2 II
I
•. BJ

IJ J •I J J J • i J • I •I •I J I •I J J J • i • i J
i i i 1 i 1
B1 II I• • • • •

B2 II J J J J J J J J J IJ J _ n I J J J J J J J J J Inn J

B3 II ! JJJJJ It CJJ JJJJJ

B4 II J Of J'lJJJJ IJJJJJ J'l I J J 'I J'l J 12

C1 II 2 'I J'l n I JJJJ n I -r J'l n I J t I 'I }1 Of }1 I J n I -r ), n I)' 'I t

13
 llSSON N[W MAURIAL
13 :=r-,
•• •
Pattern Develop your stroke sensiti\~ty by practicing a
variet), of dynamic levels .

[EJ 112mB IBB ImB IBBImB IBB ImBIJ I

II BmlBBIBm lBBIBmlBBIBm lJ I

II J •I I JE -I I J J IJ13J IJ J IJEJ IJ J IJEJ

II t mI ¥ Jd

ffil 112 m n n 1m n n In m n In m J

II 8 8 i l l 18 8 m I." ) 8 i l l IJ J t

II m m t 1
m m t In n n m m 1 t

II 15] t -I J 115] t J J It

[9 IItmmmmlJJJJJJJJlmmmmlJJJJJ t

14
 Produce a good tone for eve,; note.

1 112 eB IBB leB IBB leBIBB leB IJ!

2 II Be lBB IBelBBIBe lBBIBelJ t

6 IIRJnR IRJnR IRJnR IJ J J

10 II J JfflJ Jffl lffi£J5ffiffi IJ JJJJJ JJJJ I J £J5J t

IS
,

lESSON N[W MAURIAl

1 ~ Combination Study Play this page as a complete musical piece.

~
II lID
~ {j•~
0: • I ~oJ £3 lID
j. •• j {j ~
•• IJ.JJJJJJJJJJJI
: _ _ _ _ _ _ _ _ _ _ __ :

II oJ A A loJ A oJ loJ A A 1 jl oJ
0:
j
jl

[ill
II n -/
jl •I In .,, •b oJ In j •b oJ I
;=n -/ n oJ

j
I oJ oJ n .rn I ••, •b .,
I
jl .,
I
"I
r'

II J jl= •I I•
b j j "
r' .,, .,,
I oJ A = oJ I oJ .,, r' t"
[9
II oJ oJ oJ In n A IJJJJJJJJoJJJJ loJ t t

.. oJ oJ oJ A It At

II oJJJJt ••, •b oJ "1 f5 oJ II

16
 3 3 J J

II illJ J J IJ £TIJ J IJ J £TIJ IJ J J i l l I

3 3

11-- CJ C JJ i J J-
1 - J I J IJJJJJJJJJ
[m J J

II .FE J •i IJ J J J J IDJ J J IJ J J ; " t

3 3 J 3 3

II J J J J J IJ J J J J IJ J J J J J J J J IJ t t II

17
 lESSON N[W MAURIAL
11 Combination Study At times a single- li ne staff is used.

3 3 3 3

1 lit 'I J)n.! illlillill.! OJ J) I.! .! .! .! 1'1 .bill.! ~ I

3 3

5 II .! n.! .! I.! m.! .! I.! .JJJj.J .J In m.! '1.b 1

3 3 3

6 II nill.! nlnm.! nlnm.J n ln.J .! n l

18
HSSON N(W MAURIAl
1 ~ Combination Study Keep a steady pulse whi le changing time signatures.

~ 3 3 3 3

lit ill n J ton IJJJ JJJJJJJJJ IJ ;bJ n I

3 3

IIJJJAJ II J J J J J J J J IJ J J J A JJJ

J 3

II J=- A i J J
- J IJ JJ J J Ii J - J J J J IA
i A

33 lID
II J J J J J J In J It J f 'I jl J I J to n JJ J JJJ J J I

3 3 J

II A 'I -b 'I - - J J J I J J J J - J -I J J II
~ i i .I
t A J

II -l --l:l JJJ f I -
~ ~II
--l:l *1===/ IA -~ J J A Ii

3 3 (g
lIi JJJA IJJJA It J 'I n J

II jl 'I "1 n jl 'I 'I n IJ n J -= A I J J J J J J J J J II

19
 lESSON N(W MAnKIAL
19 Sixteenth Rests .;, Listen for correct spacing of notes.

1 IIt@@@@lrnrnJJ5rnl@@@@ IJ J J t

6 II

20
 l[SSON NEW MATERIAL SIUDJIGU!DE
20 Combination Study Practice a variety oftempos.

\3 II mn In n 1mB l£)Jn lmn In n 1mB IJ t I!

31 II ! 'I' JJ )3 I J if 'Ion n IJ JJn n I '/' JJ '/

33 II J t <{
A I
.a J J -I -I I -I t <{
A I
J J J

34 II '/' .b I 'I ~
4 .
I
J .a .a I -r
.b t <{
..
~
I
J t t

-I J

21
 DUB
Determi ne th e most appropria te tempo fo r this duet.
2

3 3 3 3

,..; r-:; r--;

I I I I
"
I
" I r--1 I Fr"I I
" I

""

3 3 3

,..; ~ I ~ ~ I r--;
.. Fi"i I I

I 1\ r--; r--;
. I
. 1\ I I

22
 , "

nmN N[W MAHRIAl

21 6/8 Time Express the 6/8 meter with a "2" feel.

J I •i •
I
-i J J -i I•i J -I -i -I -I IJ J -I J

2 "-~ '1'1
~
- '1'1
IJ j J J 1-'
i

3 .. J j J J 'I J IJ ) j }I IJ j J J j J IJ ) J

n Ij
n j n Ij
n 'I

7 .. t

9 .. t ~
}l . ..~,j
I q
- -
i J J It Jr J jJ IJ J J J II

23
HSSON N(W MAnRIAL
22 Combination Study Keep a steady pulse throughout.

[E]
,jJ J
I 'I A
,jJ
I 'I A
f,
JEt! J -b J ,I' J J J IJ -.I

II .,. J 'I J I J J J J J J It .,,

II t·

,jJ J - - I - .. , J It •~ ¥
f,
I I }1 I }1 -I -I -I I }1 J .,
,
II t

II J J J -I IJ ¥ J J 'I
J IJ J -I J I J ¥ J J

[ill
II J 'I J 'I IJ J J 'I
A IJ 'I -I 'I IJ J J J

II J J J J 'I 'I

}1 J }1 J _.
b J }1 J
II t

II 0/ A J ), I ¥ A J }I I 'I A J }1 IJ t·

I IJ J J J
II 'I ¥ - 'I • -I II

24
 * - ,. $ ...-;.:;,. ~" "

HSSON N[W MAHRIAl .

II Sixteenth Notes in 6/8 Time Feel this in "T and make it 110w.

ITJ
1I !I oJ ·
iJoJ ·
iJjjJoJ
·l loJ l·i J J J' ··
i ~ IJ-JJJoJjjJJJJj lj J J j 'I

[2J
•
i J J •i •i J •i •
i jJ •i jJ j J h i J J J j ., J
i
II I• I I 4
I

II n •i •i n J •i I
j J •i I ...t-, n J •i n J J •i • J J J J i
I I
I
4 .

[TIl
II j nJ j nJ 1'1 n '1 n Ij nJ j nJ IJ J J J

II joJ • ioJJ JJJJJ IJ 4

i .

[li]
~ J ~
11 '1 jJJJJ. I',' JJJJJ Ii 'I - I ?J I I I I
.
i

II I !5nJ J IjJJJoJJJJJJJJ IJ jJj J n lJJJJJJJ 'I

[ill
II nJnJ

25
 lESSON NEW MlHRIAL
24 Gut Time/AlIa Breve Cut time is felt in "2:' A half note gets one beat.

1 .. eI -J I
t;;I

I"

3 .. J J J .I J
- J I
a

4 .. J J -I J J I"
I J I"

5 II J -I J J 1- J J J J

6 II J J -
I J J J J -I J

I _I I JI
7 II a
J I"

8 II t J I
• -I
I- J
I
t
I
• IJ
,J
I•
I
- I I
t)

9 II " J J -I J II

26
 HSS~N N[W MAHRIAL
2 ~ Combi nat ion Study Observe stick placement on the drum head.

J J J t J InI j I
I"

J J J J •
I
•I J J
2 ..
It I"

3 .. t J J •I J J J J

4 .. J t t J l td

5 .. J J J J J J IJ J J J J J IJ t n J IJ I t J

6 .. J J J J J J IJ J J J J J It J J J J J I"

7 .. J J J J J J J J IJ J t J IJ J J J J J In J J l

27
lESSON N(W MAHRIAL
26 Rolls ~ Strive for a good quality roll sound and maintain a
consistent tempo througho ut the duration of the roll.

~
II t ~,
- IJ J J J I~ -= ----I J J J t
----

II ___ ____ I J J J J J J J J I~ _ _IJ n J t

II' =
JIJ J J J J J J J J J J J J J J J I ~ . _

II J -I AJ

II ~ ____ J ~ J
I ---- 12

llil ..
II 2 J. -=
-I •
I
t J •I IJ -= ----IJ

II J J J •
I

II J ~
I"i J J
'"=q- ;J=:JJ -q-
--- J J }1 J

IIJJJJJJJJ
--- II
28
nsm N[W MAHRIAl STUDY GUID[
21 Combination Study Use a metronome when practicing this page.

~
II iJ ~
IJ ! IJ dJ t IJ gJ t IJ ~
IJ t

II - 1
J I• 1

'f -
b J J J
I I 'f
~
,r'
IJ J IJ 'I
,,1 J J J
~

I I !

3 3 3 3

II mm IJ=J l'f JlJE IJmJ Imm IJ=J lem IJ=J I!

II ! -ft
[ill 'f ft
-"I ft
- 'f I J. = ___ I A . A. R . IJ -
1

II J ~ JJJJIJ~ ~JJJJ I J J. Jj

II 1
n J I2IJ
- ~ J
n
I H. 'f
i=I
~
n I,J.
f EJ =
-I J
. .: -
;jJJJj
- - - - -

II J= J J q-~ J J Jq J J • 1

If
(g ..
J. J J
.. f J

II -
1
•
I J J

29
 Milintain good roll qualily du ri ng the short roll.

A3 .. ill t IB t l ill t IB t l ill t IBt l ill t I J t I!

C2 .. '/ kID ill B I 'I AJ 'f kJ I '/ kID ill -0 IJ J 19

..
C3 .. J.

30
 llSSON N[W MAnKIAl
2~ 6/8 Rolls Double the sixteenth -note strokes to create the roll as shown in
measure 2.

(~~2~2~)
II J J J J J J J IJ. -= J J J i J J J I
1 II I - -. IJ. -= J

2 II J.
~

--- =1J J
t
• JJ -J J - J J
! I
•I IJ ~
---I -
i J •i JJ •i J 'I

II J. )2_1
oi oi _ Ill. -= -I
j:
J .',
3

II •
f iJ-.J"
E3 ]
5

6 II iii...J iii iii iii iii .f'" j

!i:. IJ .: J J

7
.. JJJJJ J J

8 .. J=J ~ JJ }g J J J J J J I J J J= J 'I Jd J •
~ ~
••

9 II - IJ ~ .n J II

31
lESSON N[W MAnRIAL
lO Sixteenth Rests 1l16/8 Time
Snare dnlm music is sometimes notated with
the stems going down,

~
tE8 r r f{ J- r r r Ir r Vd- r r r Ir C' r r r r Ir r- J- r'

II
r '¥., r r ,
Of

U Ir ;; J -r Of
I
U IC' r r 'I
U IC' r r r
Of
I

[ill
II j'er r rrrrr I{er r r----1e-- re rr r1ur D i .:

ry rr r D I./ r r r r D I.i r V r r F Ir r r r r r'

Of Of

"lE""<7 .1 ..I
I
l

[9
II Y r r r r r r r r r Ir r-I r r C' r r Ii' r r r r r r r r r Ir {J r r'

II 'I
U 'I Vr F r Ir r' J- r r r I , U i 9' r F r Ir r r r r r r i
Of

[Q]
II f --- !-r r r 11'-=

II f{ r V r f{ r t D I t - r r F IV r 9' r -,.' r t -
Of
I
D I'I t D i Of
I

lID
II r r C' J r i
r II' r' Ir r C' r r Of
!
r I 0-/
r'

II rrvrr 'I rrer lrr{rr rerrr If

32
 Do not start tbis duet too quickly because the music becomes increasi ngly active at measure 5.

IIIf

III}

.;
> > » »
..
:

> >
~
.
'"
>
'" " . " I
" i

P lIif
>
>~
. . . " §
'" p III

>
-I
,..; ~ 1 r !=;
. !=;
. ~
.

~ . r
. 'I [ !=; E E

'"
> > >
~ ~ " ~
. 1
.

'I 'I >~ I '1

>" !I: >"
. !I:
.
"'

33
 Ex"!,ress the 3/8 meter in ""I."

~
II it J J J IJ J •I IJ J J •
i J J IJ.

@]
II J J J J IJ J J J J IJ J J J • IJ J J

[ill
II J. -= -I J. J J Ii J J J J J IJ 'I

~ ...
J. J IJ J •I
i
• J I:; "... J. J IJ •
i J J •I
II i "
(g
JI 'I
J= ---I J J= J I ., I
.;==j
1
.b IJ.

~
J J J= J I• J J J I• J J J IJ
i •!
i
II 'I

[Q]
II J m I •i J. J IJ ~
m I •
i •
i
•
i J iOI

'I
J J J

[Q2J
~" ---IJ = J J J I• J ---i
•---1 J J •-l •-tl II
II -= I 'I 'I

34
HS~ON N[W MAURIAl
l~ 5/4 Time Keep a consistent pulse when changing time signatures.

g) 3 3 3 3

lIiJ J J J J IJJJJJJJJJ IfEfEfEmJ

::II JJJJiJJJ.J5JJ.J3JJJ
_________________ I ",' r ~mJ
'. £J J£:aJ
~ I· •m ¥ ~~JJJ
r . I

II J JJ J f J IJ J J J IJ J J J J • J J -i
'I •--fl 'I
}l
I
J 3

II JJ LJ J EJ ¥ tEgJTI JTI J

lid nm,! •I

II ¥ .a J f J J J It!· ____

IIJ ,}In,! • by

35
HSSON NEW MATERIAl
33 Accents > Accents draw attention to tbe note.

~ > > > >

II t J J
Jj J= n IJ J J J IJ J
Jj J= n IJ J J t

II JmJ=FnB I m@m 1m I JmJ=@B4 B JmJ t

> > 3 > >

II J t Of
I
j) n IJ t m J I •I t JE n I J J •i • J J I
t

> > >

II 'I •
b J i
j) J I •I • iJ J • J J • J ill
I i
I i
j) J Of
I • b •I IJ I •I t

» > » » >

.. n m J Irn rn rn rn In m.J d n Of j) J t II

36
 Keep the grace note low when execuling the t1am.

J •I J J J

> >

IJ {? J J J

> > > > >

.:1 J J J J.;J J J J I J J J J~J J J J I J J J J~? J J J I J J J J~? t

25
II t n
> >

t ~ffi I l n l n Il n
> >

t ~fi I l n J l

37
USSON N[W MATERIAL
35 Combination Study
E"press the 6/8 in "two" and the 3/8 in "one," A consistent puis
should be kept when going from the 6/8 to the 3/8 time signatw'

'"-~-r-r-rL=U-f-F-r-r I- r- r IF r r- r- r- r-+F"----
' --")1"---
' ----1

'114
1
' -
"- --'Y--j
~ 1~
j--( "'r ' ./ U -j J- r"-'- -------;·I--U-+~"---'-~ '

-II- r- r r I~ r-r---tt-r-- r--r--N'-r-r--r--r-r-r-lf-r-r-E::r::1 I r I--r r--r-ri -' - I

1
-II~ ~ D-f-r-r-r-r"----
' --+I~-
I II'" J
r
-II-~ D r 1f D I .: r r

-II ',f--
' - rf'---r'r---1-'1J~~r-~'!-f-p--f'-----II r~'---===1f'-----~D--HI - r--r-I ',f--
'

38
llSSON N[W MAHRIAl
II Dynamics
The observance of dynamics is important for developing
musicality, A slash through the note stem means ( 0 play two notes,

OJ
II t J J - J - -I -I IlIifJ J J J J -I J IJ
P
! !

f
-J -J J
! i J

~
II -I J J J -i -i J J -I J It A J t I i • J -i J J t
p

[2J
~
II " =- =1J - JJJ-
i I
t 12 J ; J -i J J
f
[IT]
II J J J J J J Ii i ; m J i lJ J J J J IJ i 15 n t J J J J I
"1'
> > > > 3 3 > > > > >

II - nI J n t I- J J J J J J J
I •
I
I!"J !,i~, !,IJ !,I~! !,~
p f

IIJ= J q J JJ J J J
lIif

II J J J J -I t -I J J J J IJ J -I J
p f
[TI]
II J J J J -I I ~J i !,f(t\ t ~J
p

lIif f

p f

.. tJ J J J J J J J J J J 1<9 J J J J J J J J J J I J J J J J J J J J i l l J II
lIif p f

39
 USSON NEW MATERiAl
1)1
iI
Sixteenth - Note Triplets
and Measure Repeats :/.
m .1
Developing good single stroke technique will help tile performance of si,1eenlh-
note triplets. The ;,I': meallS to repeat the previous measure one time.

J I •~ J JJn
3 3 3

1 II I J J J Jn J I J JJJ A J IJ J !
3 3

2 II J J J J J J IJ J J J •-1 J I 07
V IJ t t

3 II
3 3

J JJJJ JJJJ JJJ IJ J J IJ JJJJ JJJJ JJJ IJ

3 3 3 J

n J Ii
3 3 3
~
4 II i A J J J J IJ r'
IA J J JJ I J J J J J IA J J JJI
3 3 3

oP I .. J J J J J J I oP 'I t
...
J IJ J J J IJ J • J
--1
5 II t t
3 3 3 J J J

6 II JJJJ JJJJ I JaJJ t I JD3 t I ~-j~~

• • t I JaJJ t IJ t It

3 3 3 J J

8 II 'I mA ill J 1-,' .rnA £15 J I 'I .rnA ym J I '1.rnJ J t

J

9 II .. ... ~ J •~ • i J •~ J J •-1 J ..
I
~
,..,. .,.
V
..I ... ~ J •rJ 0 J t 12
J 3 3 3 3 3 3 J 3

~-1-l~
10 II 2 J JOOJ JJOJ JOOJ JJO J JJO IJ JOOJ ••• JOOJ JJ OJ I
3 3 J 3 3 3

11 II 'I.rnJ JDJ! 1m lyfflJ mJ mm IffiffiJDJ m m I

12 II
-
m fflJ
3

-, oPi,fJ tD IJ
J

J JJOJ Bi,tJ IN nOJ

3

NliN
J

nOJ II
f I

40
 The rim shot is notated with an x for the notehead.
R.S. is also used.

3 3 3 3 3 3

1 III JJJJJ.d
------- n I JJJJJJJ n IJJJnJJ

3 6 3 6 3 6

2 II 1m JJJJJJJ I1m JJJJJJJ I1m JJJJJJJ I~ orJ o:?

3 II
R.S. 3

B
I
i
3

J J i J J J IJ
3

Of
I
r- J---,

•
~
r- J---,

J ." r- J---,

J "I n
,r'
,--3---,

Of
I
,--3---,

<a/ n n
r-- 3 ---,
01
I
IJ t t

r - 3 ----, r - 3 ---, r - J ---, r- 3 --, r- 3 ---, r- J ---, 3 r - 3 ---, r- 3 -, 3

4 II n n in ¥ 0: lid Jlj ;J I@ in J ) IJJJJJ JJJJ

R.S .
3 r-- 3 -----, ,------ J -----, r - - 3 ----, 3

5 II J¥ •I -,'
}I 0' •
I
I
IJ J J J I
I 8 xI 8
I xI
I ~J •I J3~ Iii
> J 3 »>

6 II i ol~#morW 0: Dn l"i fflmJ io:#Jmm IJ 3 J 3 3 3 J 3 J 3 I

"1 p f
J ,-3----,

7 II J Jq J MmJ t 1m IBJ ~DJ t I J J J J JmJ I

p f
r - - J ---, 3

8 II l,ffi] ~J~? J= n Il,f?or? l,f?~ta rn J5J IJJ JJ J J JJ LI

3 6 J J 3 3 3 ,----3 ---,

9 II -mJ t ~~,. t JJJJJJ 1

m m m m m IJ 0: ;z# t 1,'Ji,j? i,f? I
R.S. J >

) 3JJJ II

41
 USSON N[W MAHRIAL
3~ Changing Meters Keep the eighth note consistent when changi ng meters.

1 -H-~ r r r r ,- r Ii U U I~ r r ,- r r r Ii U r 12

2 -H-~ r ,- r r r r Ii u u u Ie r r r r r r Ii u u r le-

3 -H-~ r Dr DIt r r r r rule r Dr DIt r r r r r ~ Ie

4 -H-~ UJ 'I U Ii U I- 'I Drule UJ 'I U Ii U r Dr

'I ~ I~

5 ~ W Ii r rrr rrr r I~ rr rrr rIi rr r rrr rrrr rrIe rr rr r rw I

6 -H-~ r r r Ii r r r I~ r r r Ii r r r It

7 II tr ~ r ~ I~ r r r r r r It r ~ I- ~ Ie r r I- D '! 'I I

42
HSSON N[W MAHRIAl
40 Fermatas '" and D.C. Hold the fermata until direction is given to continue. D.C. stands for
Da Capo. which means to repeat the composition from the begilming.

'"
II t ~! ~ _I J jJ] n IE IJ jJ] n IE II jJ] n IE I
ppp ~= m np

3 > > > 3

II J J J q J J •I •I 'I 11 J •i •I J IJ zi J J •I J IJ zJ JJJ

6 6 3 3 6 3

II J~J.dJJ JJJJJJ IJ JJJJ JJJJ J J J IJJJJJJJ J J J

MJ J J J
~
•
-I
• Ii .n .n 12
~
• •~ J ~
• J J Ii .n .n II
"1

II !
-I
• JJJ J -j
• J J J
III J J
-I
• J J •-1 I1. ---I1. = = It
---
.ff

tr 'I P} 'I t# IzJ i,li zi ';ji ei ti

R.S. > r-- 3~ r-- 3 - ,

II tj · .b.l NJJJ 1-0 'I

pp

r-3~ , - J----, ,-3--,

II i B JJJJ_ 10' B JJJJ_ I'I BnJ •L J J J IfI

IIIp f

> > > > >

JEtI tJ t:l J J= - JgJ J • J J J J J J I J •I •i J J J IJ • J • J J i

I
•I
I I

D.C.
> > > > >

II J iJ •
I J= - Jg
I
•i J J J J J J J J •I 1& J tJ ,.
•i e~ •I Ie? •i J J •I -I .
I

43
 DUH
4 Perform the notes with a x notehead as a stick -on -stick rimshot. Also. blend and balance the dynamics for a
complete musical perfonnallce.

J = Rim shot
III

> > > > > > >

l1p

> > > > >

'P f

> > > > > > >

-"

" J J J J J .r:kl
~
ok
~
J , )rJ
~
I I. 4
q,
p f
> > > > >

. >-

"" p f

44
mp

> 3 3

mp f

mp f

45
lESSON N[W MAHRIAL STUDY CUID[
41 Buzz Rolls ( z ). Tenulos ( - ). Staccatos ( . ). and
Tempo Changes
A "z .. is sometimes used to specify a buzz roll. Hold notes witb
te!luto markings their full value. Play staccato notes veq sbOJ1

[I] > > > > > >

II t -%;£lO n 1m IlaJ:tJm ItaO n 1m I!m o/~to/~f lt

f
>, > > > > > > > > >

II t ~? J = 1J J J J J J J J J J oJ J J J ~ oJ 1lI.m It ~ J J J J J J J J J J J J ~ J J Ii
1' - = f

[2J > 3 3

Ia
3

- -J a
>
}l
•I
IJ J J •I •I J
I I
II I 0/ t t l It -I
1'1')1 jf
ri I. poco a poco

II -/
- ~
0/ •
~
0/
.J" I-* -
.. I
-
J I(? •I J
-

IJ
I
• •I
PJ1
acce!. poco a poco
'" - - -
z z
II J I oJ oJ
-f I J ~?
I
• -
I* J J
[li} a tempo
:: } A t? 12 •
I J •I J •I J It f l f l f l Ii! •
I J J It
iff

> 3 r- 3---,

IJ ·NJJJJ t m}lJ t
mp

R.S.. >

II J=JnJ13B IJ =JJJJ13D IJ=JJJJ13JJ I J =hJJ13B I

11If

46
 Practice this lesson at a variety of tempos.

1 II t J J=
-1 J J J
- ~
I J . •--l1 J J I -~ J ;b J --1 I---Jj --1 ---Jj J J

2 II J -~ = J J J J= J J I ;b J -
--Jj ;b J --ti -ti J ;b
I - ---Jj J ;b ;b J
I .. J
~
tg

> >

6 II J = 1J J J J J J J J I) J ', IJ J J J J J J J I jJ J I: J J:J J I

8 II J m Ii J 1\ I i
• j
12
r-- 3-----, 3

9 II 2 .,
, •
I
'I -I
I .,, J ., J I.., -I -, J I ., n JJJJ

11 II ., J -
-1 ;b
I B . B. J I
1\
,r' J ;b J
I iJ J i{
JJ JJ

12 II -JJ-
-1
3
~ -1
- n I .. J
~
J ~g J
3

J J ;b J n l1,j? 1,j? ~-1,. I

47
llSSON N[W MAHRIAL
4l Ruffs .F. J and Two - Measure Repe~ts J,. Reboll.\'d technique is used for the perfoffilance of double grace notes.
The / / means to play the previous two measures ODe t jme.

[AJ
Hi ~? t Ilj? t IvJ t Ilji t I-~~! oJ IljJ oJ
l1~p

II ~~
~!
~J ~~
h! ~J leD t leD t Itfil Nl? I, Of
ti 'I

II .:~# t
3 3

IJ J J J J J I J ~~
[ill
II i! e? I-~~! " I ~J J J I
I- ,
Of

l1if

II 'I J -
I
J J I-I nr f,
I, Of J - I
J I6 1'
f,
'I 'I

> > > >

J J J J IJ J - - - - IJ ~J IJ aJ
i i I I
II If ,
Of
,
Of

if p

2
!§ •i •i - I
J J I-i J J •
i J J
f
2r
>

II J N N IJ - -
I I
J J I ,rl
f,
J ~
-I J - I
J - I
-I

)1

ppp
J jl
I ,r'
f,
J IJ .f,

I-~
-I
> > > > > > >

II ~ ~ ,
' j 3 ~ I 'I a 'I I1. --- =1,r' ~J
f,

II
iff sfo iff

48
 Continue to develop .rOUT awareness of' phrasing.

[ill]
II Ii 11) J.? d nJ

[2J >

~ .,, ~
II
-
P
I
I 'I ~
~
....1 ..
1 ~ I~ t ~fil .,
I
I ~. =-- b ~ = 1 - f

> > >

J ~ J J J ~
II v
- - 1£ I ~fil .,., ~ ~
I
- I~
i
~

-I ~ .8
jJ' p f
119123 1 3 >

II J
p
II:J Q? ~
- J I -J J J -1 ! IF3 = J -
-1 J J I@ 'I ~ :11£
f

[TI] > > > > > > > > > >

2A A ~ ~ ~ ~ ~
II 12 J J J J J J It A A Iii - I

>

11'1 JJJJJ JJJJ I'I JJJJJ JJJJIJ J

ppp

~
II ,
u J ., J .,.
V I!
,r'
t ~ .,.
V

i,'~~
----I ~ ~ ~ ~ ~
~

II J.
---
___ IJ.
f
--- p
'I -I
It · .,,
II

1431471
J ~ J -~
II 11: -
J -~ j J j i m
- ./;" :~,~tn
." -: = - IJ J J.;0 oJ JJ J j j J :I
:
n nJ 'I
-
:11::
lIif

49
HSSON NEW MATERIAL Sl~DY GUIDE
A caesura indicates a slight pause in tbe music, Observe proper
4~
1st and 2nd Endings, Caesuras (II), and
Four-Stroke Ruffs technique while playing tbis large variety of musical expressions.

, - 3----,

t m~ J J I fE t II

J=1
>

J t :11
12. 3 3 > > > >

.. 1. J 1. _ ) 1JJJJJJJJJ J lEI
P if'

.. t JJJJ t JJJJIJ=B J
PP
> ...

.. J J J J i;bill liQPill DB IJJ J j i Jill I_,' ~[#ill 1mB I

f Pl'
.. 3
s
.. J J dJ J J J J J J J

to, \'
Ir" t

J=1
f
>

.. ern J3 J i ~# 1-/ e#@ -f' Ju J J J I Jj t t J t II

50
 E"'Press this lesson with a "two " feel.

3 3 3 3 3 3

II JJ.JJ •I J~~J J IJ JJJJ J JJJJ I J JJJJ J JJJ IJ J J J

II •• •
i

3 3 3 3 33 .13 3 3 3 .I 3 3

2 II JJJJJJJ JJJJJJJ IJJJJJJJ JJJJJJJ IJJJJJJJ JJJJJJJ IJ JJJJJJ) 'I 'I

33333 3 333333

3 II JJJJJJJJJJJJJJJJJJ IJJJJJJJJJJJJ IJJJJJJJJJJJJJJJJJJ IJJJJJJJ 'I

JJJJ IJJJJ JJJJ JJJJ In J n) t

3 3 3 3 3 3 3 3 3

JJJJ i~~~ mJ IJJJJ i~~~

4 II •••• • •••

3 3.1 J 3 3

5 II nmJ nJJJJ ImnJ JJJD J 1- ••••• JJJIJJJJmJ

3 3 3 3 3

6 II JJJ{ J J J J J In JJJn JJJn JJJ 1'1 pJ JJJ.. 'I

3 3 3 3 J 3 333

II JJJJmJJJJJJJ IJJJJJJJnmJJJ IJ m),) IJJJmJJJ) t

7

3 3 3 3 J 3 J 3

J J. J JJ J J i ~ ~~ D IJJJJJJJJ.JJJJJ.JJJJJ IJ
8 II •••• II

51
IT]
J = 112 - 126
II t Jj,;? J t,;?N3 m {m IJ 15 J JJ J J JJ JJ Im 'I 15 J m 'I 15 I
j'

II J m '1..aJ m I JmJmJnlJfflJm IJmJmJmJmJm'" I

w ff W

[1]
II 1
0 .,
I
Ji= J 0 .,
I
Jig J 0 'I
Ji= J 0
IIIp

II
; J J J J 1\
r'
I 'I J
; J J I J 0) J J J
fp = j' /lip

[TIl ] ] ]] ] ] ] 3 3 3 ]]

II JJJJJJ; J ; JJJJJJJ I JJJJJJ}lJ ; JJJJJJJ I JJJJJJ; J ; JJJJ./JJ

iff j' mj'

.,n J

em ; J ; J
•--tl •~
~
I~ 8J --= • J J II
~
II J r' J= --tl r'

52
 - r-Tr....~---.rc' ~
HSSON N[W MATERIAl ", ~:. ~ .• -: "':
4~ Beam Over Bar an'd Stickmgs ' At times, sticlcings are wri1 ten in to aid musical expression .
Be expressive but don't sacrifice accuracy,

[I] > 3» 3
r-=I i'f r.:1 J99 ~ + ......, 'I~
11£ l .... r~ 1"/
'I
~ .j......,
. . 1··· .. 1.
1

IIIf RRLR RL RLRLR L R L R R L R L R L

LRLRL R RL L LRL R p pp

[ill
Ii
>

j
>

J J jlj IJ J l ij J I J jlj J J IJrj

> > >

nJnI
sf!; p ,ff

[TIl
>
J j _I ? _I
II 0/
F'i
n --
1 1 =1 21
Ii Ii I ~ ~
z
" ~
r
i""i
~ IJ ~
i""i -1'9 j
t d?
i""i
I~ t ~ - ~ -
lip

> > 3 > >

J , Jin I J n to? IJ ~ J J t m in J n j
> > 3 > >

II JJJJ t m lAd AJ It.

p pp cresc, f

em J
ti ti Im m
3 3 3 3 3 J

II ~i ~~! ~,.
I
I ~i ~~! ~ m Im 1
ill m m I
r - - 3 -----, r - - 3 -----,

II J ~i ~i ~i It? ti d d It? J ti J ti J ItJ

> > > > >

II v
J ~~! <ji J I J ~~! ~i J I~ ill ~ ~ ~ It ti ti t I
ff.f p ff.f

53
HSSON NEW MATERIAL
12/8 Time. Dal Segno .1 Coda. ~fj ,and 12/8 has four pulses per measure. D.11Segno al CodalD.S.• 1Coda meaJlto go
49 Immediate Tempo Changes to the sign. then take the CODA. Pr.1ctice each tempo change separately.

\is
J. = 112 [A]
ww--Al m l,f? ;bm~? ) IJjJJ
> > > >

't .n~ IJW JJJJJ 't m JjJJ I

R RLR L L RLR L L RLRL RL RL RL RL R LRLRLLR RLRRLRL
1111'

> > > > > >

JJJJJ JJJJJ J JJJJJ )J4m
- •CE -CE m j 1JJ Jlj Jj
- I-~j ==-
II
RLRRLRLRRLRLRLLR R R LRLRLRLRLRL R RLR
I L R RL
P IIlj'

r - 4 ---,
> > > > > > 4

II ill ill ill ill IJ@J ;b~? M#~? I ~ro~ro~? J J J~ro I

RLRLRLRLRLRL R RLR L R R R RLR LRL RRLR LLR
P

II NJ L R
J l,i !~ J J N -
L R L R L
I

L R
oJ IN
L R
J
R
- IJ
L
I
R
", J= -i J J J J -I
R R L R L R L R
-i 'I J= •i i J J J J
R
-
R L R L R L
l1~p "!f' mp

[ID J = 144

- ,. - I J JtJ - IN J J I
> > > > > > > > >

II J JJJJJ JJ J J J l,rJNd· li t IN J J - i l1,f~ I I

R L R L L R L R L L R L R L L R L L L L R L L L R L L R L L
l'
To Coda -$-
> > > > 6 > > > > »

II J IN Jfji J J J IIN IN B JJJJJJ IJ IN J J~? J J IJ IN IN JNN I

L L R L R L L L L R L R L L RLRLRL R R L R R L R R R R L R L R L L

> > > 333 3 > 3 > 3 > 3 > 3

II J J J JtJ J JtJ I Bt? JJJJJjj.rm I J J mJ Immffiffil

R R R R L R R L R R L RLRL RLRL RRL R L R R R R R L R L R L R LR LR L

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

II JJJ m ..m m liD iD iD fD 1.,r:Fj .,r:Fj JNti N I

RLRLRLRLRLRL RLRLRLRLRLRL R RRL LLR L R L

54
 > 3 .j 3 > 3

II mmmm
RL RL RL RL RL RL
i
R
~---============
a tempo ('£;l
> > > > L£J
.. J d?2~ 1. ffidTI 11ft ffi&DJ ;OJ J IIi m~ ;OJ 3;OJ 3I
R L R R RL R L R L R L R L R L RL R L R L R L R L RLR L ALA L
fff
> > > >

II .7
To
.7
To
IJJJJJJJJJJJJJJJJJJJJJJJJI
RLALRLRLRLALALALALALALAL
/
> > > > > > > > > > > > > >

.. JJJJJJJJJJJJJJJJJJJJJJJJIJJJJJJJJJJJJJJJJJJJJJJJJ I
RLRLRLRLRLRLRLRLRLRLRLRL RLRLRLRLALRLRLRLRLRLRLRL

> > > > > > > > > > > > »»»»»»»»»»»»
.. JJJJJJJJJJJJJJJJJJJJJJJJIJJJJJJJJJJJJJJJJJJJJJJJJII
RLRLRLRLALRLALRLRLRLRLRL RLRLRLRLRLRLRLRLRLRLRLRL
lm J =>........
144
~

nl J hE ;J Jrn 1m m m m I;J J,n J hB I

R R LR L R L L LR
.
nt 3 3 D.S. al Coda

II J n J n J n J n IJ......J............J......3 .m J n IAdiJ fE tn I
-$- CODA 3 3 3 3
> >

II J til J J J tJ J. J • .I
To IJ J J J J J J 3 J J J J I
R L R A L R L L R L R L R L A L A L A L

3 3 3 3 > > > > > 3 3

.. J J J J J J J J J J J J IJ tJ ~~ 19 ;3 J n JJ J JJ JI
A R L L A R L L A R L L R L R A AL LR L R LA L R L

> > > > > > > > >

.. JJJJJJJJ£J., £J'l I" kJJJJJ I&J II

p :/

55
LESSON N[W MAURIAL Sl~DY GUID[
Striking the Rim. "4" over "3." and Walch striking aTeas when moving from rim 10 head . The 4:3
~O 32nd Notes. quarters sound as dotted eighths . Keep 32nd notes even.

= Rim

J =88
II f ~ti,[J n I LLLJ-fQ-LJ-'{ld ,I,J ,I ,L±rrJj t m JJJJJ JnJJ
1111

R L R L R L R L R L R L R L

,---4.'3 - - , > > > >

-0------9 J oJ J oJ l oJ J J J J J J J J J J J Ii t? eIE I 9i
11I}J

I 4.'3 I
J => 144
J ,J ,J ,J A ; A
II
r r r If f t t IJ Of
I t
lIif

,---3----,

II fiE fiE .n A 1'1 }l :J J J oJ oJ It } J "20

333 3333 .

II t JJJJJJJJJ IDlDlJJJJJJ ID
ppp lIif
*/
- - -
~ Of
I
~
'I
~
I

J ,I ,0
.J 3

II t J J J J J J J 1'1 ,l •I
,l ,J J ,l ,l
IJ J J J 'i ,/
R R L R R L R R L L L L R R L R R L

56
 R.S. R.S.
> > >
I I . ~ .....f . = v. =
t t
II 8 ! In? t I 8
t 1m? t t (
~
I oJ
=1
> > > > > > -

a;t)· oJ
t
-* z
I ---
II

=- 1'
=1
=f
•I
i:
0' .
--- I., J A J
1'1'
IJRJ
3 J ~,-- -I :J-~,
>

II J •I •I J •I J A I0 . I
f-
,r' J 1
0 0: i' oi,l> IJ J J J
111/ l' mp

>
I ! i

f
> >

I ~
mp f
> > > >

J = 144 r - - 4:3 ----,

II Q~ ~ ~ irJ;5).~ I J ,) ,) Q-Jd-uJ J ,) ,) ,I ,) ,Lj I I ,j ,J ,j ,j J

, 4:3 ,
> > > > 3> > 3> > > > > > >
J ,j ,j ,J
IJen n n JJJJ nJ I J J J J J J J J• • J J @ i i
II
r F F f f R L RRLR R R L R
, -1:3 ,
II
J ,j ,J ,j J .,.
01
IV? t
' I
)1
--
.,.
, J IJ t II
1'P 1'PP

57
DUEl . . . . . . ..;&11 1 t
This duel uses both orchestral-style buzz rolls" and open doub le stroke rolls
J.
5

Rim Hit sti cks together Stick-on-stick rim shot

R. S.

8
I

z = buzz roll

J = 108
[]
> > » > > >

f
r - lJ -----,>

58
 3 3 3
,,/
~ .~

P< II!/'> P -=
3

....... :lrJ
II
~
J J J j j j J ,.,2 J . J. ~ ~ }
'"
J = 120
1131 > > > > > > > > > > >
,,/
_'" F"""'"1 '"

lIif

> > > > > > > > > > >

R.S. R.S. R.S. R.S.

.. J
......
.J .J J ] J""---'.JJ J J. J •

R.S. R.S. R.S . R.S.=

I .. J .J S J J JI I J J. l • Is

, - - - - - 4: 3 - ----,
> > >
n i':i I I I I
"'" .
I1!P

II
....... 4
S J
//I
p
J J J J J
i
n J J .n J J jj
>
J

59
 > > 1231

....----- 4:3 - - - - - ,

3 > > > >

-'
---- -
I I I

---
--- .
_'Ie

• ~-
~ ~

> > > >

II
~I -J -..J -
J ..J
- -
J
-
J
-
J
-
J ~
to -..J -J -J -J -..J -J - -J -J --I -..J -..J -.J
j
-J -J -J -.J -J -J -J -J -J -J -J

> » »»

R.S.

11I!J! cresc.. 0 • 0 •• 0 0 ••• 0 •• 0 • 0 •••• 0 •

/
> >

np cresco ..... . 0 0 ••••••• 0 •• 0 •• 0 •• 0 • 0 ••• 000./

60
 I nN I 1 'I 8 Ubi ()'I111
U.S . $9 .95 I.IIN I() llllIIUO'lhl

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HL50449458
I I III
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